European Art & Old Masters by Freeman's

EUROPEAN ART & OLD MASTERS JUNE 12, 2017

EUROPEAN ART & OLD MASTERS

AUCTION Sale 1577 Monday, June 12, 2017 at 10am 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 68, Inside Front Cover: Lot 140, Inside Back Cover: Lot 89

EUROPEAN ART & OLD MASTERS DEPARTMENT David Weiss Senior Vice President | Specialist dweiss@freemansauction.com 267.414.1214

Alasdair Nichol Vice Chairman | Head of Department anichol@freemansauction.com 267.414.1211

EXHIBITIONS Thursday, June 8

10:00am-5:00pm

Friday, June 9

10:00am-5:00pm

Saturday, June 10

10:00am-5:00pm

Sunday, June 11

10:00am-5:00pm

By appointment only on the morning of the sale

CLIENT SERVICES Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236

Lot 76 (detail)

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

Lily Liu Cataloguer | Department Administrator lliu@freemansauction.com 267.414.1253

EUROPEAN ART & OLD MASTERS lots 1-193

Lot 159 (detail)

1 REMBRANDT VAN RIJN (dutch 1606-1669) “SELF PORTRAIT OPEN-MOUTHED, AS IF SHOUTING: BUST” c. 1630. Etching. Plate size: 2 15/16 x 2 7/16 in. (7.5 x 6.2cm) Sheet size: 3 13/16 x 2 11 1/16 in. (9.7 x 6.8cm) [Bartsch 13; Hollstein (White and Boon) 13; New Hollstein 67, third state of three, with the second dot on the nose and removed top right plate scratch] provenance: Private Collection, Texas. $2,000-3,000

2 REMBRANDT VAN RIJN (dutch 1606-1669) “THE STROLLING MUSICIANS” c. 1635. Etching. Plate size: 5 1/2 x 4 9/16 in. (14 x 11.6cm) Sheet size: 6 x 4 7/8 in. (15.2 x 12.4cm) [Bartsch 119; Hollstein (White and Boon) 119; New Hollstein 141, second state of three with three dots lower center] provenance: Collection of Edward Rudge (per annotation verso). Private Collection, Massachusetts. $1,000-2,000

3 ALBRECHT DÜRER (german 1471-1528) “MAN OF SORROWS WITH ARMS RAISED” c. 1500. Engraving. Plate size: 4 1/2 x 2 3/4 in. (11.4 x 7cm) Sheet size: 4 9/16 x 2 13/16 in. (11.6 x 7.1cm) [Bartsch 20; Meder 20] provenance: Craddock & Barnard, London, United Kingdom. Private Collection, Pennsylvania. By descent in the family. Private Collection, Pennsylvania. $1,000-2,000

(part lot) 4 JACQUES CALLOT (french 1592-1635) “LES GUEUX” 1622. Complete set of 25 etchings including title page, various sizes [Lieure 479-503] (25) provenance: Private Collection, California (acquired in Paris c. 1960). $1,500-2,500

5 ATTRIBUTED TO LORENZO BALDISSERA TIEPOLO (italian 1736-1776) HEAD STUDY Red chalk on pale blue paper Sheet size: 8 1/2 x 6 in. (21.6 x 15.2cm) provenance: Collection of Dr. George Laporte (Lugt 1170). Collection of Paul Garnier (per hand-written notation on card affixed to frame verso). Collection of Jean Gaspard Félix Ravaisson-Mollien (per hand-written notation on card affixed to frame verso). Private Collection, New York, New York. $2,000-4,000

6 CIRCLE OF CARLO MARATTA (italian 1625-1713) ST. JOHN OF PATMOS Red chalk on white paper Sheet size: 10 1/4 x 7 3/4 in. (26 x 19.7cm) provenance: Collection of Mary Brandegee (per stamp on mount; Lugt 1860c). Collection of Giovanni Piancastelli (per label on frame; Lugt 2078a). Private Collection, New York, New York. note: The present drawing appears to be a study for the Circle of Marattaâ&#x20AC;&#x2122;s painting of the same subject in the Rijksmuseum, Amsterdam. $5,000-7,000

7 FOLLOWER OF FRANCESCO GUARDI (italian 1712-1793) HARBOR SCENE Pen and black ink with gray washes and touches of light brown ink on laid paper, with framing lines Sheet size: 4 13/16 x 6 1/16 in. (9.2 x 15.3cm) together with: ITALIAN SCHOOL (early 19th century) A CARAVEL AT FULL SAIL Pen and brown ink on paper Sheet size: 4 3/16 x 5 3/4 in. (10.6 x 14.6cm) (2) provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-2,000

8 MANNER OF FRANCESCO GUARDI (italian 1712-1793) VENETIAN VIEWS WITH FIGURES Four brown pen and ink drawings on paper Sheet sizes: FIGURES ALONG A BRIDGE: 10 15/16 x 7 9/16 in. (27.8 x 19.2cm) FIGURES BY A QUAY: 10 15/16 x 7 1/2 in. (27.8 x 19.1cm) FIGURES BY A COLUMN: 10 15/16 x 7 1/2 in. (27.8 x 19.1cm) FIGURES BEFORE A CHURCH ENTRANCE: 10 7/8 x 7 7/16 in. (27.6 x 18.9cm) (4) provenance: Private Collection, New Jersey. $1,000-2,000

9 ATTRIBUTED TO PIETRO TESTA (italian 1611-1650) SCENE FROM THE HISTORY OF ALEXANDER THE GREAT Inscribed ‘di Nicolo Marcola’ bottom right; also inscribed in pen ‘Coll. of John B***S Thacher’ bottom right; also inscribed ‘Nicolo Marcola/N. 594’ bottom center on mount, pen and dark brown ink on paper with: STUDY OF STANDING YOUTH verso, annotated with an inscription in Italian and ‘Di Nicolo Marcola P.P.’ upper left, black chalk Sheet size: 15 15/16 x 12 1/4 in. (40.5 x 31.1cm) provenance: Collection Vischer (1751-1825), Innsbruck, Austria, Lugt 2115? (per annotation bottom center on mat). Collection Thatcher (per annotation bottom center on mat). Private Collection, California. $2,000-3,000

10 GIOVANNI BATTISTA DELLA ROVERE (italian 1561-1630) DEATH OF A SAINT Inscribed in brown ink verso, pen and brown ink with brown wash on paper Sheet size: 10 7/16 x 5 in. (26.5 x 12.7cm) together with: RAYMOND LAFAGE (french 1656-1684) TWO SCENES OF TRIUMPHS Inscribed on verso, pen and brown ink with brown wash on paper, laid down Sheet size: 7 5/16 x 13 3/8 in. (18.6 x 34cm) (2) provenance: Private Collection, California. note: The composition of the drawing by Della Rovere relates to the right portion of the drawing “Death and Burial of St. Dionysus,” Christie’s, London, sale of July 6, 1999, lot 45. $2,000-3,000

11 ITALIAN SCHOOL (16th century) SCENE FROM TRAJAN’S COLUMN Inscribed ‘polidor caravago’ bottom left and ‘no. 24’ bottom right, pen and brown ink on paper, laid down (executed on two pieces of joined paper) on 18th century blue mount Sheet size: 6 1/16 x 15 11/16 in. (15.4 x 39.8cm) provenance: Private Collection, New Jersey. $2,000-3,000

12 ATTRIBUTED TO AGOSTINO CARRACCI (italian 1557-1602) STUDY OF A TREE IN A LANDSCAPE Pen and brown ink on paper Sheet size: 7 3/4 x 11 3/4 in. (19.1 x 30cm) together with: ITALIAN SCHOOL (late 17th century) BRIDGE WITH CASTLE IN DISTANCE Pen and brown ink on paper Sheet size: 12 1/4 x 9 in. (31 x 22.7cm) (2) provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-2,000 13 ITALIAN SCHOOL (17th century) TWO SCENES FROM THE LIFE OF CHRIST Red chalk with reddish brown wash on paper, with sketches in red chalk verso Sheet size: 7 5/8 x 11 5/16 in. (19.4 x 28.7cm) provenance: Private Collection, California. $1,000-1,500 14 ITALIAN SCHOOL (17th century) THE LAST SUPPER Pen and brown ink with gray wash on paper, arch form, laid down Sheet size: 8 7/8 x 10 5/8 in. (22.5 x 27cm) provenance: Private Collection, Washington, D.C. $1,000-1,500

15 CIRCLE OF LUCA CAMBIASO (italian 1527-1585) STUDY OF HERCULES Inscribed ‘16’ and ‘Cambiaso’ bottom left, pen and brown ink on paper laid down Sheet size: 11 1/2 x 7 in. (29.2 x 17.8cm) together with: BOLOGNESE SCHOOL (17th century) STUDY OF A MALE NUDE WITH DRAPERY STRADDLING A TREE Black chalk on paper Sheet size: 11 5/8 x 6 15/16 in. (29.5 x 17.6cm) (2) provenance: Private Collection, California. $1,000-1,500

16 DOMENICO MARIA FRATTA (italian 1696-1763) STUDIES OF SEVEN HEADS Inscribed (faded) ‘Dom. Fratta’ bottom center, pen and brown ink on paper, laid down on old mount Sheet size: 6 7/16 x 9 1/4 in. (16.4 x 23.5cm) provenance: Sotheby’s, London, sale of July 2, 1997, lot 134. Private Collection, New Jersey. $1,000-1,500

17 ATTRIBUTED TO GAETANO GANDOLFI (italian 1734-1802) STUDIES OF NINE HEADS Inscribed ‘Gandolfi fece’ bottom right, pen and brown ink on paper Sheet size: 6 7/16 x 9 1/4 in. (16.4 x 23.5cm) provenance: Private Collection, New Jersey. $1,000-1,500

18 GENOESE SCHOOL (16th century) MADONNA AND CHILD Pen and brown ink over black chalk on paper Sheet size: 4 /1 4 x 3 3/4 in. (12 x 8.2cm)

together with: ITALIAN SCHOOL (17th century) STUDY FOR A SACRIFICE Inscribed ‘Caravagio’ bottom left, pen and brown ink with brown wash and traces of red chalk, laid down Sheet size: 10 1/8 x 7 7/8 in (26.2 x 19.8cm) (2) provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-2,000

19 DUTCH SCHOOL (late 17th century) SUSANNAH AND THE ELDERS Pen and brown ink on paper, laid down on old mount Sheet size: 5 1/4 x 5 3/16 in. (13.3 x 13.2cm) provenance: Collection of Dr. N. Meyer (1775-1855). W. Drugulin, Leipzig, sale of May 12, 1862. Private Collection, New Jersey. $1,000-1,500

20 FRENCH SCHOOL (18th century) ARTEMIS AND ACTEON Pen and brown ink with brown wash heightened with white on gray paper Sheet size: 6 1/4 x 12 1/2 in. (15.6 x 32.2cm) provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-1,500

21 CIRCLE OF JACQUES-ANDRÃ&#x2030; PORTAIL (french 1695-1759) PORTRAIT OF A WOMAN, LOOKING OVER HER SHOULDER with: STUDY OF A SEATED WOMAN and STUDY OF A BOY verso, red and black chalk on tan paper Sheet size: 11 7/8 x 7 5/8 in. (30.2 x 19.3cm) provenance: Private Collection, New York, New York. $1,000-2,000

(verso)

(recto)

22 FRENCH SCHOOL (18th century) STUDY OF A HEAD With calligraphic pen strokes in brown ink verso, red chalk on buff paper Sheet size: 6 15/16 x 5 5/16 in (17.6 x 13.5cm) together with: ATTRIBUTED TO CLAUDE GILLOT (french 1673-1722) TWO MEN GIVING ALMS TO A BEGGAR Brush and brown ink with brown washes over black chalk on laid paper Sheet size: 5 5/8 x 3 5/8 in. (14.2 x 9.2cm) (2) provenance: Private Collection, New York, New York. note: It has been suggested that the first work in this lot is likely by the hand of a French artist working in Rome and may be based on an antique statue. $1,000-1,500

23 FRENCH SCHOOL (17th century) MADONNA AND CHILD with: TWO STUDIES OF A SEATED WOMAN verso, black chalk on gray paper Sheet size: 9 1/4 x 9 1/2 in. (23.4 x 23.9cm) together with: ATTRIBUTED TO GEORGE MOUTARD WOODWARD (british 1760-1809) CLERIC AND MAIDEN with: PUTTO SKETCH verso, pen and brown ink on paper Sheet size: 6 5/ 16 x 3 7/16 in. (16 x 8.7cm)

together with: BRITISH SCHOOL (early 19th century) MAN CAPTURING PIG Indistinctly inscribed on paper laid down Sheet size: 3 5/16 x 3 9/16 in. (8.3 x 9cm) (3) provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-1,500

24 RAYMOND LAFAGE (french 1656-1684) PASTORAL SCENE WITH DIANA AND NYMPHS WITH SOL ON HER CHARIOT PULLED BY OXEN Pen and brown ink with touches on black chalk on paper Sheet size: 13 1/8 x 10 1/2 in. (33.3 x 26cm) together with: FRENCH SCHOOL (early 19th century) SHEPHERD IN A FOREST Brush and brown ink with brown washes, heightened with white gouache on wove paper Sheet size: 16 x 17 3/4 in. (40.5 x 45cm) (2) provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-1,500

25 ATTRIBUTED TO NOÃ&#x2039;L NICOLAS COYPEL (french 1690-1734) STUDY FOR PRESENTATION IN THE TEMPLE with: TWO STUDIES OF A SEATED WOMAN verso, black chalk on paper Sheet size: 7 x 5 7/8 in. (17.7 x 14.8cm)

together with: FRENCH SCHOOL (18th century) SEATED RIVER GOD White chalk with stumping on gray paper Sheet size: 15 5/8 x 19 1/2 in. (39.7 x 49.4cm)

together with: FRENCH SCHOOL (19th century) SLEEPING WOMAN with: STUDY OF SLEEPING WOMAN verso, black chalk on brown paper Sheet size: 8 3/4 x 11 1/4 in. (22.2 x 28.6cm) (3)

provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $2,000-3,000

26 FRENCH SCHOOL (18th-19th century) STUDY FOR A PATTERN: FLOWERS with: STUDY FOR A PATTERN: FRUITS AND FLOWERS verso, pen and brown ink heightened with watercolor on paper Sheet size: 6 1/2 x 8 3/8 in. (16.4 x 21.2cm) together with: * GUIFLOT (french early 19th century) VIEW OF A COURTYARD Signed and dated ‘Guiflot Rome/1818’ bottom left, black chalk, pen and brown ink and brown wash on paper, laid down Sheet size: 3 3/4 x 4 1/2 in. (9.6 x 11.3cm) together with: CONTINENTAL SCHOOL (19th century) ALPINE LANDSCAPE Brush and black and gray inks, gray washes and blue watercolor on wove paper Sheet size: 9 x 13 in. (22.8 x 32.9cm)

(part lot)

27 FRENCH SCHOOL (18th century) DESIGN FOR A PROJECT WITH FOUNTAIN With framing lines, pen and black ink with gray washes over black chalk on paper 11 5/16 x 17 3/4 in. (29.8 x 45.1cm) together with: FRENCH SCHOOL (18th-19th century) PAGE OF SKETCHES With old inscription in brown ink on verso of mount “Part of the Pavement of the Temple of Fortuna Prenestina (today Palestrina, Rome). Stt. Montfaucon,” and inscribed “Le Poussin” verso, black chalk on paper, laid down, pair sketches 11 x 16 3/8 in. (28 x 41.5cm) together with: FRENCH SCHOOL (18th-19th century) VIEW OF NEPI Inscribed in black chalk, ‘a Nepi court’, ‘22’ and ‘t.t.’ in brown ink , black chalk on paper, with Pro Patria H.H. & Zoon (late 18th -early 19th century) watermark Sheet size: 12 3/8 x 16 1/4 in. (31.4 x 41.3cm) (3)

provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. note: A less finished presentation drawing of ‘Design for a Project with Fountain’ (the first drawing in this lot) would be typical of studies submitted for the Prix de Rome at the Royal Academy of Architecture, Paris. $2,000-3,000

together with: GERMAN SCHOOL (19th century) ITALIANATE LANDSCAPE WITH FIGURE Inscribed indistinctly at bottom edge, pencil, black chalk and white gouache on wove brown paper Sheet size: 10 1/4 x 15 in. (26 x 38cm) (4) provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-1,500

28 MANNER OF JAN BREUGHEL THE ELDER (flemish 1568-1625) FOUNDRY IN THE MOUNTAINS Inscribed in pencil ‘Je. Breughel/KVS/’ verso; also inscribed ‘Bez. 83’ verso, pen and brown ink with brown and blue-gray washes on paper Sheet size: 7 1/16 x 11 5/8 in. (18.2 x 29.5cm)

provenance: Muller, Amsterdam, sale of July 5-6, 1927, lot 178 (as Jan Breughel the Elder). Paul Brandt, sale of April 4-5, 1944, lot 45 (as Jan Breughel the Elder). Private Collection, Buffalo, New York (since c. 1970s).

note: This drawing repeats the composition of an oil on copper by Jan Breughel the Elder in the collection of the Doria Pamphili, Rome, circa 1602, see K. Ertz and C. Nitze-Ertz, “Jan Breughel der Ältere (1568-1625): Kritische Katalog der Gemälde,” Lingen 2008-10, no. 576. $2,000-3,000

29 MANNER OF JAN BREUGHEL THE ELDER (flemish 1568-1625) HARVESTING WHEAT With old pencil inscription ‘J. Breughel le Vieux (?)/De Velours (?)/Col. Piek’ verso; also inscribed ‘Bez. 38’ verso, brown ink with blue wash on paper Sheet size: 7 1/16 x 11 5/8 in. (18.2 x 29.5cm) provenance: Collection Piek (per inscription verso with label and in red chalk ‘Bez. 38’). Private Collection, Buffalo, New York (since c. 1970’s). $2,000-3,000

(part lot)

30 NORTHERN EUROPEAN SCHOOL (18th century) SEATED SAINT IN THE WILDERNESS and KNEELING SAINT IN THE WILDERNESS Pair red chalk drawings heightened with touches of white on laid paper Each, sheet size (approx.): 16 1/4 x 9 5/8 in. (40.7 x 24.5cm)

together with: BRITISH SCHOOL (18th century) THE MARTYRDOM OF A FEMALE SAINT and THE DEPOSITION The former inscribed in brown ink ‘B.A.G.’ recto and verso, and inscribed ‘part of a painting behind altar’ verso; the latter inscribed ‘Cassolani in a Church’ bottom left, pair red chalk drawings heightened with white chalk on paper Larger, sheet size: 22 x 16 7/8 in. (55.8 x 42.8cm)

31 CORNELIS DE GRIENT (dutch 1691-1783) SHIPPING IN A CALM Signed ‘C. de Grient’ bottom right (on barrel), with old inscription verso ‘C. de Grient’ and Crowned Strasburg Lily (Dutch 18th century) watermark, pen and brush with gray ink and washes on paper Sheet size: 9 1/16 x 14 in. (23 x 35.3cm)

together with: FRENCH SCHOOL (18th century) A YOUNG WOMAN STANDING WITH HANDS ON HER HIPS With ‘P.F. ALBY’ watermark, red chalk on paper Sheet size: 9 3/4 x 6 7/8 in. (24.9 x 17.4cm) (5) provenance: Private Collection, Florida. $2,000-3,000

together with: DUTCH SCHOOL (17th century) STUDY OF A MAN FROM REAR, PEERING THROUGH A DOORWAY Pen and brown ink, brown wash, watercolor and touches of red chalk on paper, inscribed in brown ink ‘1634’ bottom right Sheet size: 6 1/2 x 3 7/8 in. (16.6 x 9.8cm) (2)

provenance: Tretyakov Gallery, Moscow. Private Collection. By descent in the family. Private Collection, Montana. $1,000-2,000

32 JACOB SAVERY IV (dutch b. 1736) A COUNTRY WEDDING FEAST Signed and dated ‘Jacob Xavery Fecit/A.D. 1768’ bottom right, colored chalks and gouache on paper 19 3/4 x 28 1/2 in. (50.2 x 72.4cm) provenance: Sotheby’s, New York, sale of January 13, 1988, lot 260. Private Collection, Louisiana. $3,000-5,000

33 FOLLOWER OF HERMAN VAN SWANEVELT (dutch c.1600-before 1665) FIGURES AT REST IN AN ITALIANATE LANDSCAPE Oil on canvas 22 1/4 x 44 in. (56.5 x 111.8cm) provenance: Private Collection, Delaware. $3,000-5,000

34 DUTCH SCHOOL - ITALIANATE (17th-18th century) EXTENSIVE LANDSCAPE WITH FISHERMAN AND VILLA Oil on canvas 13 3/4 x 16 7/8 in. (34.9 x 42.9cm) provenance: Private Collection, Florida. $1,500-2,000

35 FOLLOWER OF KAREL DUJARDIN (dutch 1626-1678) FIGURES WITH THEIR ANIMALS IN A LANDSCAPE With artist and title printed on label verso, oil on panel 13 7/8 x 21 1/2 in. (35.2 x 54.6cm) provenance: Private Collection, New York. $2,000-3,000

36 FOLLOWER OF PAUWELS CASTEELS (flemish c. 1649-1677) MILITARY SKIRMISH Oil on canvas 29 1/8 x 62 1/2 in. (74 x 158.8cm) provenance: Private Collection, New York. $2,000-3,000

37 SOUTHERN NETHERLANDISH SCHOOL (18th century) BATTLE SCENE Oil on canvas, unframed 23 1/2 x 32 1/2 in. (56.7 x 82.6cm) provenance: Private Collection, New York. $1,500-2,000

38 MANNER OF REINIER NOOMS (CALLED ‘ZEEMAN’) (dutch 1623-1667) NAVAL ENGAGEMENT Oil on canvas 17 3/4 x 21 3/4 in. (45 x 55.3cm) provenance: Private Collection. By descent in the family. Private Collection, Montana. $2,000-3,000

39 FOLLOWER OF ANGE-JOSEPH-ANTOINE ROUX (french 1765-1835) “ACTION BETWEEN H.M FRIGATE ‘AMBUSCADE’ AND THE FRENCH FRIGATE ‘BAYONNAISE’” Identified with artist name ‘Nicholas Marie Ozanne’ (French 1728-1811) and title on original period frame, oil on canvas 23 3/8 x 30 in. (59.4 x 76.2cm) provenance: The Parker Gallery, London, United Kingdom. By descent in the family. Private Collection, Montana. $4,000-6,000

40 ITALIAN SCHOOL (17th-18th century) FIGURES IN AN EXTENSIVE LANDSCAPE Oil on canvas, octagon shape 29 7/8 x 45 5/8 in. (75.9 x 115.9cm) provenance: Private Collection, New York. $1,500-2,000

41 CIRCLE OF JEAN JOSEPH BIDAULT (french 1758-1846) LANDSCAPE WITH A HILLSIDE TOWN Oil on paper laid on canvas 14 1/2 x 19 5/8 in. (36.8 x 49.8cm) provenance: Private Collection, New York, New York. $1,000-2,000

42 ITALIAN SCHOOL (17th-18th century) FIGURES IN A LANDSCAPE Oil on canvas, unframed 25 1/8 x 19 in. (63.1 x 42.3cm) together with: DUTCH SCHOOL (17th-18th century) BACCHANALE Oil on panel 25 3/8 x 23 1/4 in. (64.5 x 59cm) (2) provenance: Private Collection, New York. $2,000-3,000

43 NORTHERN DUTCH SCHOOL (early 17th century) SAINT SEBASTIAN Oil on cradled panel, diamond shape 23 1/4 x 23 3/8 in. (59.1 x 59.4cm) provenance: Behr Family, Amsterdam. Boot Family, Amsterdam (by 1945). Acquired from the above. Collection of Mr. van der Schaaf. Private Collection, Europe. $5,000-7,000

44 JOHANNES VOORHOUT THE ELDER (flemish 1647-c. 1723) ELEGANT CHILDREN WITH DOG IN A LANDSCAPE Oil on canvas 15 9/16 x 12 3/4 in. (39.5 x 32.4cm) provenance: Private Collection, Philadelphia, Pennsylvania. exhibited: “Oud Hollandse en Vlaamse Meesters,” Galerie Katz, Dieren, November 22, 1962-January 15, 1963. literature: Denis Vanderkar, The Connoisseur, London: November, 1961, p. XIX. note: We wish to thank the RKD for their kind assistance in cataloguing this lot. $2,000-3,000

45 MANNER OF JAN WYCK (dutch 1640-1700) EQUESTRIAN PORTRAIT Indistinctly inscribed on partial stretcher label verso, oil on canvas 40 3/4 x 31 5/8 in. (103.5 x 80.3cm) provenance: Private Collection, New York, New York. $1,000-2,000

46 FOLLOWER OF JAN JOSEFSZ VAN GOYEN (dutch 1596-1656) BOATS BY THE SHORE Oil on panel 7 1/4 x 11 1/4 in. (18.4 x 28.6cm) provenance: Private Collection, Pennsylvania. $1,000-2,000

47 FOLLOWER OF MELCHIOR Dâ&#x20AC;&#x2122;HONDECOETER (dutch 1636-1695) PEACOCK, ROOSTER, HENS, DOVE AND BIRD OF PREY IN A FARMYARD Oil on canvas, unframed 20 1/2 x 25 1/4 in. (52.1 x 64.1cm) provenance: Private Collection, Tennessee. $1,500-2,000

48 SOUTHERN NETHERLANDISH SCHOOL (17th century) APOLLO RIDING HIS CHARIOT ACROSS THE SKY Oil on panel 29 1/4 x 42 in. (74.3 x 106.7cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

49 OTTMAR ELLIGER THE YOUNGER (german 1666-1735) THE BANQUET OF CLEOPATRA Signed with conjoined initials and dated ‘16 GL 68’ bottom center right, oil on canvas 23 5/8 x 28 1/2 in. (60 x 72.4cm) provenance: Kuhms Museum, Amsterdam, Netherlands. Peltzer Collection, Aix-la-Chapelle, Germany (acquired from the above). Sale, Antwerp, n.d. Ruys-Orban Collection, Liege, Belgium. Desoer-Orban Collection. With Léon Seyffers, Brussels, Belgium. Christie’s, South Kensington, sale of October 31, 2001, lot 134. Private Collection, Florida. note: This painting may be compared with Elliger’s ‘Achilles discovered amongst the daughters of King Lycommedes’ and the ‘Dance of Salome’ in the Hermitage, St. Petersburg. $8,000-12,000

50 FOLLOWER OF PIAT JOSEPH SAUVAGE (flemish 1744-1818) CHERUBIC ALLEGORIES Pair oils en grisaille on canvas, unframed Each: 19 x 30 5/8 in. (48.3 x 77.8cm) (2) provenance: Private Collection, New York, New York. $2,000-3,000

51 HISPANO-FLEMISH SCHOOL (16th century) PIETÀ Oil on panel 14 x 9 7/8 in. (35.6 x 25.1cm) provenance: Private Collection, Florida. $2,000-3,000

52 RICHARD BRAKENBURG (dutch 1650-1702) AN INTERIOR WITH WOMAN SERVING MEAT AND WINE, CHILDREN PLAYING ON FLOOR, AND FIGURES PLAYING CARDS Signed ‘R. Brakenburg’ bottom center, oil on canvas 19 3/8 x 15 3/4 in. (49.2 x 40cm) provenance: Kunsthandel Borzo, Amsterdam, Netherlands. Private Collection, Europe. $3,000-5,000

53 CONTINENTAL SCHOOL (18th century) STILL LIFE OF FLOWERS AND FIGS ON A LEDGE Oil on canvas 31 3/4 x 39 3/4 in. (80.7 x 101cm) provenance: Private Collection, Tennessee. $2,000-3,000

54 CARLO ANTONIO RAINERI (italian 1765-1826) “COUCOU BLEU”; AND TWO COMPANIONS One signed ‘Carlo Anto Rain***’ bottom right; two signed and dated ‘Carlo Anto Raineri 1795’ bottom left; the first inscribed ‘Coucou bleu/Cardinal Dominiquain hupé/Makackin à tête d’or/Manackin à tête blanche’; the second inscribed ‘La grande Linotte de Vignes/Lory Mâle des Indes Orie[n]tales/Perruche de Pondichery’; the third inscribed ‘Martin pecheur/La Lavandiere/Le Héron pourpré Hupé,’ three temperas on canvas Each: 24 1/4 x 34 (61.6 x 86.4cm) (3) provenance: Sotheby’s, New York, sale of June 4, 2015, lot 128. Private Collection, Massachusetts. $10,000-15,000

55 MANNER OF FRANCESCO MALAGOLI (italian 18th century) OUTDOOR STILL LIFE OF GRAPES; AND A COMPANION Pair oils on canvas Larger: 14 1/4 x 19 1/4 in. (36.2 x 48.9cm) (2) provenance: Private Collection, Tennessee. $1,000-2,000

56 MANNER OF FRANCESCO NOLETTI (IL MALTESE) (italian 1611-1654) AN ELEGANT INTERIOR WITH MIXED FLOWERS, SPANIEL ON A CUSHION, AND A PARROT Oil on canvas 40 3/4 x 36 1/8 in. (103.5 x 91.8cm) provenance: Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

57 CIRCLE OF FRANCESCO FRACANZANO (italian 1612-1656) A SAINT HOLDING A STAFF Oil on canvas 28 x 21 in. (71.1 x 53.3cm) provenance: Private Collection, Washington, D.C. $3,000-5,000

58 BERNARDO STROZZI (italian 1581-1644) SAINT FRANCIS IN ECSTASY Oil on canvas 57 7/8 x 47 in. (147 x 119.4cm) provenance: Private Collection, Genoa, Italy (1937). Private Collection, Miami, Florida (1988). Private Collection, Florida (acquired from the above in 1989). literature: Luisa Mortari, Bernardo Strozzi, De Luca: Rome, 1966, p. 131, fig. 9. $25,000-35,000

note: Also known as ‘Il Prete Genovese’ and ‘Il Cappuccino,’ Bernardo Strozzi was one of the leading Genoese painters of the early 17th century. Strozzi also worked in Venice, where he gained recognition as one of the leading artists of the age, with the Doge of Venice Francesco Erizzo

becoming one of his patrons, along with the Catholic Cardinal, members of the Grimani family, and the Patriarch of Venice Federico Baldissera Bartolomeo Cornaro. Strozzi’s paintings are characterized by their boldness, energetic brushwork and rich, glowing colors, though his style continued to

develop throughout his career. Beginning with a late Mannerist style and gradually maturing toward a greater sense of naturalism, Strozzi ultimately synthesizes elements of Northern painterly influences with a realistic, monumental starkness. His later works are characterized as being

sketchier and more luminous, often with robust forms. His subject matter included paintings of history, allegories, genre, still lifes and portraiture. The authenticity of this painting has been confirmed by Professor Craig Felton.

59 ITALIAN SCHOOL (17th century) MAGDALENE Inscribed ‘G. Reni’ on partial label verso, oil on panel Sight size: 12 x 9 1/8 in. (30.5 x 23.2cm) provenance: Private Collection, Virginia. $1,000-2,000

60 FOLLOWER OF JUSTUS SUSTERMANS (flemish 1597-1681) PORTRAIT OF FERDINANDO II DE MEDICI WEARING ARMOR AND A FLAT LACE-TRIMMED COLLAR Oil on canvas 30 x 24 in. (76.2 x 61cm) provenance: Private Collection, Florida. $5,000-8,000

61 MANNER OF TITIAN (italian 1485-1576) PORTRAIT OF CHARLES V, BUST LENGTH Stamped ‘P.W.S.’ verso, oil on panel 16 7/8 x 12 3/8 in. (42.9 x 31.4cm) provenance: Collection of Duke of Taranto (per label verso). Collection of Baroness de Pommerent (per label verso). Private Collection, New York. $1,000-2,000

62 CIRCLE OF NICCOLÃ&#x2019; BAMBINI (italian 1651-1736) QUEEN DIDO IN CARTHAGE Oil on canvas 35 1/2 x 63 1/8 in. (90.2 x 160.4cm) provenance: Private Collection, New York. $2,000-3,000

63 MANNER OF FRANCESCO GUARDI (italian 1712-1793) SANTA MARIA DELLA SALUTE Oil on shaped canvas 23 x 38 in. (58.4 x 96.5cm) provenance: Private Collection, New Jersey. $4,000-6,000

64 FOLLOWER OF FRANCESCO SOLIMENA (italian 1657-1747) ADORATION OF THE MAGI Oil on canvas 27 1/4 x 36 in. (69.2 x 91.4cm) provenance: Private Collection, New York. $2,000-3,000

66 FOLLOWER OF ANTOINE-JEAN (BARON) GROS (french 1771-1835) PORTRAIT OF LOUIS-ALEXANDRE BERTHIER (1753-1815) Inscribed in pencil ‘Le Marshal Berthier (fait par Gros)’ on stretcher verso, oil on canvas 17 7/8 x 13 13/16 in. (45.4 x 35.1cm) provenance: Property from the Estate of Daniel W. Dietrich II. $3,000-5,000

65 FOLLOWER OF BARTHOLOMEUS VAN DER HELST (dutch 1613-1670) PORTRAIT OF A GENTLEMAN, HALF-LENGTH, HOLDING RIGHT HAND TO HIS CHEST Oil on canvas 29 1/2 x 24 1/2 in. (75 x 62.2cm) provenance: By descent in the family. Private Collection, Montana. $3,000-5,000

67 CIRCLE OF ALPHONSE HENRI PERIN (french 1798-1874) IL CAMPIDOGLIO WITH SANTA MARIA IN ARACOELI Oil on canvas 14 3/4 x 20 in. (37.5 x 50.8cm) provenance: Private Collection, Florida. $5,000-7,000

68 HUBERT ROBERT (french 1733-1808) PAYSAGE AVEC UNE STATUE ÉQUESTRE Signed with initials ‘H.R.’ and dated ‘1780’ on stone tablet at bottom center left, oil on canvas 22 x 35 in. (55.9 x 88.9cm) provenance: Collection of Leon M. Lowenstein, Paris, France (1935). Private Collection, Paris, France. Property from the Daniel W. Dietrich II Foundation. literature: Galerie Jean Charpentier, In the Collection of Leon M. Lowenstein, exhibition catalogue, December 17, 1935, p. 32, no. 76.

note: Earning the nickname ‘Robert des Ruines’ (“Robert of Ruins”), Hubert Robert is considered amongst the most important painters of architectural ruins and capriccios (imaginary landscapes) in 18th century France. His paintings were particularly popular with French aristocracy, undoubtedly helped by his father Nicolas Robert being an upper-servant to the Marquis of ChoiseulStainville. By the 1770s, Robert had received the appointment of Draftsman and Designer of the King’s Gardens. He also designed gardens for the Marquis de Laborde and the Marquis de Girardin, and the philosopher Voltaire commissioned him to paint decorations for his theater at Ferney. Robert received a classical education at the Collège de Navarre in Paris, and later with the entourage of the Count of Stainville in Rome in 1754. Spending the next eleven years in Italy, he developed a fascination with ruins, as well as close ties with Italian artists Giovanni Battista Piranesi, Giovanni Paolo Panini, and Jean-Honoré Fragonard - each of whom would serve as a strong influence. Robert’s keen interest in ruins paintings coincided with concurrent excavations at Herculaneum and Pompeii, and the subsequent strong European fascination with antiquity. Highly prolific and much beloved as a draftsman, printmaker, and designer of gardens and furnishings for the wealthy and for royalty, Robert was even awarded prestigious lodgings in the Louvre from 1778 until 1802. With his blending of factual accuracy with fantasy, Robert maintains his standing as one of the premier painters of his day. $50,000-70,000

69 ATTRIBUTED TO RICHARD PATON (british 1717-1791) “THE MONUMENT CAPTURES THE FOUDROYANT, 28TH FEBRUARY 1758” Identified with artist name and title on original period frame, oil on canvas 29 x 45 7/8 in. (73.7 x 116.5cm) provenance: Private Collection, Providence, Rhode Island. $2,000-3,000

70 ROBERT DODD (british 1748-1816) SHIPS FORMING UP INTO A CONVOY OFF THE EDDYSTONE LIGHTHOUSE, CORNWALL, ENGLAND, PROBABLY AHEAD OF A NORTH-ATLANTIC CROSSING DURING THE AMERICAN WAR OF INDEPENDENCE Signed, inscribed and dated ‘Robt. Dodd/Delrn (?) 1780’ bottom right, oil on canvas 29 1/2 x 43 1/4 in. (74.9 x 109.9cm) provenance: Private Collection, Pennsylvania. note: We wish to thank Mr. Michael Naxton for his kind assistance in cataloguing this lot. $5,000-8,000

71 BRITISH SCHOOL (17th-18th century) PORTRAIT OF A SEATED GENTLEMAN, HALF-LENGTH, WITH BOUTONNIERE AND HOLDING A COPY OF PARADISE LOST Oil on canvas 30 1/8 x 25 1/8 in. (76.5 x 63.8cm) provenance: Private Collection, Tennessee. $1,000-2,000

72 BRITISH SCHOOL (18th century) PORTRAIT OF AN OFFICER, HALF-LENGTH Oil on canvas 30 x 24 3/8 in. (76.2 x 61.9cm) provenance: Private Collection, Washington D.C. $1,500-2,000

73 ISAAC WHOOD (british c. 1688-1752) PORTRAIT OF A YOUNG NOBLEMAN HOLDING SPEAR, FULL-LENGTH, IN A LANDSCAPE Signed and dated ‘Whood ft/1737’ center right, oil on canvas 72 3/8 x 43 3/4 in. (183.8 x 111cm) provenance: Private Collection, Virginia. $6,000-9,000

74 SIR JOHN HOPPNER (british 1758-1810) PORTRAIT OF A GENTLEMAN, THOUGHT TO BE HENRY WILSON, THREE-QUARTER LENGTH, IN A GREEN COAT, STOCK AND BREECHES, HOLDING HIS HAT AND WALKING CANE, IN A LANDSCAPE Oil on canvas 50 x 40 1/8 in. (127.6 x 101.9cm) provenance: The Sitter. Collection of Mrs. Edward Wise of Ryde, daughter of the Sitter. By descent in the family (until 1929). Leger Sale, sold by order of the Westhome Security Corporation, n.d. American Art Association, New York, sale of March 2, 1933, lot 82. Private Collection, Pennsylvania. $10,000-15,000

note: The presumed sitter is Henry Wilson - second son of John Wilson, a merchant in the city of London and himself a merchant with interests in Jamaica. He married Amelia, daughter of Brackley Kennett in 1786, and became Lord Mayor of London.

John Hoppner was one of the leading portrait painters of late 18th century Britain, along with Sir Joshua Reynolds - to whom his early portraits reveal an indebtedness and Thomas Gainsborough. He was also a contemporary of the young Sir Thomas Lawrence, with whom he came to develop a strong rivalry.

Hoppner entered the Royal Academy in 1775, winning a silver medal in 1778 for drawing from life, and then a gold medal - the Academyâ&#x20AC;&#x2122;s highest award, for historical painting in 1782. Hoppner first exhibited at the Royal Academy in 1780 with a preference for landscapes, but ultimately became a

portraitist because it was more financially lucrative. Amongst Hoppnerâ&#x20AC;&#x2122;s illustrious sitters were the Prince of Wales, Sir George Beaumont, the Duke of Wellington, and Sir Walter Scott.

75 GEORGE ROMNEY (british 1734-1802) “LADY MARGERY MACLEOD” Painted in 1788, oil on canvas 49 x 40 1/4 in. (124.5 x 102.2cm) provenance: Sir Hugh Lane, first husband of the Sitter. By descent in the family. Agnews Gallery, London, United Kingdom (acquired from the above in 1913). M. Knoedler & Co., New York, New York (acquired from the above in 1921). Sotheby’s, London, sale of July 13, 1966, lot 156. Private Collection, Ohio. Donated by the above in the 1990s, to benefit the not-for-profit organization Eliza Jennings. exhibited: “An Exhibition on Behalf of the Artist’s General Benevolent Institution,” Agnews Gallery, London, United Kingdom, 1913, no. 5. literature: William Fraser, The Earls of Cromartie: Their Kindred, Country, and Correspondence, Volume I, Edinburgh: 1976 (Burlington: 2004), p. cclviii. Alex Kidson, George Romney: A Complete Catalogue of His Paintings, Volume II, New Haven: 2015, no. 833, p. 379 (as untraced, illustrated). $15,000-25,000

note: The sitter (1761-1842) was the daughter of James, seventeenth Lord Forbes, married in June 1786 to John MacKenzie, Lord Macleod. The pendant portrait of John Macleod was sold at auction in 2014 (Christie’s, New York, sale of January 30, 2014, lot 282). Arguably the most fashionable portrait painter of his day, George Romney’s popularity as a painter of leading society figures was rivaled

only by Thomas Gainsborough and Sir Joshua Reynolds. His prodigious output - said to be about 1,500 portrait sittings dating from the third quarter of the 18th century - is perhaps all the more remarkable given that he had, unlike many of his contemporaries, no formal relationship with the wellestablished Royal Academy despite being invited to exhibit there. While this decision cost him important court and royal patronage, his

reputation as one of Britain’s most important 18th century painters and specifically one of the best portraitists of young women in his day - remains intact. Romney’s brushwork is characterized by its flowing rhythms and broad strokes, resulting in a fluidity of lines where the sensibilities or personality of the sitter is overshadowed by the artist’s interest in beautifying and flattering them. This is the case of the subject of the present work of Lady Margery

Macleod, and is also seen in the allure of Lady Sarah Young, the following lot. Romney was born in Dalton-in-Furness, Lancashire, the third of eleven children, and worked for eight years in his father’s cabinet making workshop before serving as an apprentice to the painter Christopher Steele. He began his painting career in Kendal, in North England, before settling in London in 1762 to seek his fortune.

76 GEORGE ROMNEY (british 1734-1802) “LADY SARAH YOUNG” Inscribed and dated ‘Sarah, Lady Young. 1788’ bottom left, oil on canvas 50 x 40 in. (127 x 101.6cm) provenance: Christie’s, London, sale of July 7, 1967, lot 36. Private Collection, Ohio. Donated by the above in the 1990’s, to benefit the not-for-profit organization Eliza Jennings. literature: Alex Kidson, George Romney: A Complete Catalogue of His Paintings, Volume II, New Haven: 2015, p. 657, no. 1476 (as untraced, illustrated). note: According to the book mentioned above, this work was painted in 1789-90. The sitter (1753-1791) was the daughter of Charles Lawrence of Red Lion Square, London, and his wife Mary, née Mihil; she married in 1777 to William Young with whom she had nine children. $30,000-50,000

77 WILLIAM HENRY WILLIAMSON (british 1820-1883) “FISHING VESSELS OFF VENTNOR, ISLE OF WIGHT” Signed and dated ‘W.H. Williamson/1880’ bottom left, oil on canvas 30 1/4 x 50 1/4 in. (76.8 x 127.6cm) provenance: Private Collection, Pennsylvania. $4,000-6,000

78 ARTHUR ALFRED DAVIS (british 1824-1893) POINTERS WORKING A FIELD Signed and dated ‘Arthur A. Davis 1887’ bottom left, oil on canvas 24 x 36 in. (61 x 91.4cm) provenance: Private Collection, Virginia. $5,000-7,000

79 SIR ALFRED MUNNINGS (british 1878-1959) THE HORSE STABLES Signed ‘A J Munnings’ bottom left, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, Virginia. note: An outspoken critic of modernism, Sir Alfred Munnings was one of England’s most important equine painters of the first half of the 20th century. He was associated with the Newlyn School of artists and was highly successful as a painter of commissioned horse portraits. A Knight Commander of the Royal Victorian Order and President of the Royal Academy, he was represented by agents Frost & Reed during his lifetime. $10,000-15,000

80 RICHARD ANSDELL (british 1815-1885) YOUNG GIRL AND HER TERRIER IN A LANDSCAPE Signed with artist’s monogram bottom right, oil on canvas 31 x 24 7/8 in. (78.7 x 63.2cm) provenance: Private Collection, Virginia. $5,000-7,000

81 JOHN ATKINSON (british 1863-1924) “NORTHERN MEET - CARLISLE” Signed ‘J. Atkinson’ bottom left, oil on panel 14 x 19 in. (35.6 x 48.3cm) provenance: Freeman’s, sale of December 9, 2001, lot 26. Private Collection, Virginia. $2,000-3,000

82 JOHN E. FERNELEY (british 1782-1860) THE QUORN HOUNDS WITH SIR HARRY GOODRICH AND GEORGE MOUNTFORD Signed ‘J. Ferneley’ bottom center right; also inscribed ‘The Melton Hunt/with Portraits of Sir Harry Goodrich/sketch for a large picture by Mr. Ferneley R.A.’ on stretcher verso, oil on canvas 18 x 23 1/2 in. (45.7 x 59.6cm) provenance: Private Collection, Pennsylvania. $5,000-7,000

83 BRITISH SCHOOL (19th century) “MR. HEWISON’S PRIZE COW” Inscribed on stretcher label, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: John Mullaney, Antiques and Appraisals (per label verso). Private Collection, Virginia. $3,000-5,000

84 ERNEST WALBOURN (british 1871-1927) GATHERING HYACINTHS Signed ‘Ernest Walbourn’ bottom right, oil on canvas 24 x 36 in. (61 x 91.4cm) provenance: Property of an Estate, Arkansas. $2,000-3,000

85 ELEANOR FORTESCUEBRICKDALE (british 1871-1945) VICTORIAN LADY STANDING BEFORE A LARGE RHODODENDRON Signed with artist’s monogram bottom right, watercolor on paper Sheet size: 20 1/2 x 11 1/8 in. (52.1 x 28.3cm) provenance: Sandorval & Co., Inc., New York, New York (per label verso). Collection of William E. Fischelis. Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

86 CHARLES HUNT (british 1803-1877) THE CULPRIT Signed and dated ‘C. Hunt/1874’ bottom left, oil on canvas 35 x 53 1/8 in. (88.9 x 134.9cm) provenance: Private Collection, Philadelphia, Pennsylvania. $5,000-7,000

87 ALLAN RAMSAY (scottish 1852-1912) “THE COTTARS SATURDAY NIGHT” Signed and dated ‘Allan Ramsay 1893-94’ bottom left; also titled, signed and dated verso, oil on canvas 12 3/8 x 18 1/4 in. (31.4 x 46.4cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

88 EDWARD SEAGO (british 1910-1974) LUDGATE HILL AND ST. PAUL’S CATHEDRAL Pencil signed ‘Edward Seago’ bottom left, watercolor on paper Sheet size: 11 1/16 x 13 3/8 in. (28.1 x 34cm) provenance: Kennedy Galleries, New York, New York. Private Collection, Caspar, Wyoming (acquired from the above). $3,000-5,000

89 HENRY WOODS (british 1846-1921) “LA TOMBOLA” Signed and located ‘Henry Woods Venice’ bottom left, oil on panel 35 1/4 x 27 3/8 in. (89.5 x 69.5cm) provenance: Private Collection, Illinois. exhibited: Royal Academy of the Arts, London, United Kingdom, 1904. literature: J. Greig, Henry Woods, Royal Academician, London: 1915, p. 30, illustrated facing p. 22. note: Born into a middle-class English family in Warrington, Henry Woods is best known for his paintings documenting everyday people and their lives in Venice, having first visited the city of canals in 1876. He also painted in nearby Serra Valle and Cenada. Prior to establishing his permanent residency in Venice, Woods began to establish his career as a full-time painter with studies at the South Kensington Art School in London, where he went on to befriend fellow artist Luke Fildes. After a stint as an illustrator at The Graphic in London, Woods began exhibiting paintings at the Royal Academy. Once established in Venice, Woods turned away from the subject matter of canals, palaces, and gondoliers, and instead focused on genre scenes. The present work, like other paintings completed during and after this period, was exhibited at the Royal Academy as Woods maintained contacts in England and exhibited at the R.A. nearly every year between 1873 and 1915. By 1893, he was elected a full member of the Royal Academy. The present work depicts a group of women enjoying themselves whilst gambling in a tiny passageway beside the Giudecca canal. In providing some background on the painting, Woods biographer James Greig writes: “A bevy of girls mildly excited in a gambling game played mainly on fête days in the littlefrequented paths along the Guidecca canal. Each Signorina has a card plotted and numbered, and from a bag which is passed round each player takes a tiny block of wood. The winner is she who first fills up the numbered spaces of her card” (Greig, ibid, p. 26). $30,000-50,000

90 ELISABETH FRINK (british 1930-1993) “BIRD MAN IV” 1959. Edition of 6. Signed ‘Frink’ on base, bronze with brown patina Height: 28 1/4 in. (71.6cm) [CR1984] provenance: Bertha Schaefer, Art Center of Burlington, Iowa. Private Collection, California. exhibited: Baltimore Museum of Art, n.d. literature: Annette Ratuszniak Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, London: Beaux Arts, 2013, p. 68, no. FCR70 (another cast illustrated). note: Elisabeth Frink is widely considered one of Britain’s most significant post-war sculptors. She is the recipient of numerous awards including a CBE, multiple honorary doctorates, the election as a member of the Royal Academy, and being named a Dame of the British Empire. Her bronzes are characterized by a rough treatment of the surface which projects the vitality of her subject, and those subjects include men, religious motifs, dogs, horses, and other animals - in particular birds, along with a series of ‘birdmen,’ like the present bronze. Frink’s bronzes convey a certain tension and aggression, said to stem in part from her experiences as an adolescent growing up in Suffolk amidst the backdrop of World War II. Her enviable skill as a sculptor aside, part of the appeal of Frink’s bronzes lies in her working method: she modeled wet plaster onto an armature of metal rods and chicken wire, which, unassisted, she would shape, chisel, and often add more plaster and further distress in an effort to create a pitted surface to be cast in bronze. This manner of creating sculpture gives Frink’s work an immediacy and spontaneity that are hallmarks of her sculpture. As a testament to her legacy, a school bearing her name was created after her death: The Frink School of Figurative Sculpture in 1996. $40,000-60,000

91 CHARLES PAUL GRUPPE (canadian 1860-1940) DUTCH LANDSCAPE WITH WINDMILL Signed ‘Chas. P. Gruppe’ bottom right, oil on canvas 25 x 35 in. (63.5 x 88.9cm) provenance: Private Collection, Ohio. $2,000-3,000

92 FRANK MILTON ARMINGTON (canadian 1876-1941) “MARTINSTOWN, DORSET” Signed and dated ‘Frank M. Armington 1927’ bottom left; also inscribed with title and ‘par Frank M. Armington’ verso, oil on canvas 28 5/8 x 36 in. (72.7 x 91.4cm) provenance: Private Collection, Minnesota. $5,000-8,000

93 FERDINAND JACQUES HUMBERT (french 1842-1934) “THE RAPE OF DEJANIRA” c. 1878. Oil on canvas 18 3/8 x 11 5/8 in. (46.7 x 29.5cm) provenance: Shepherd Gallery, New York, New York. Private Collection, New Jersey (acquired from the above in 1981). exhibited: “French 19th Century Paintings,” Shepherd Gallery Associates and Jan G. Milner, London, United Kingdom, March 23-April 6, 1977, p. 53. $3,000-5,000

94 EUGÈNE BOUDIN (french 1824-1898) “RIVAGE AUX ENVIRONS DE TROUVILLE” Signed and dated ‘E. Boudin. 54’ bottom left, oil on canvas 13 1/16 x 21 7/8 in. (33.2 x 55.6cm) provenance: Collection of William Cuthbert. Private Collection, New York. exhibited: “Eugène Boudin, 1824-1898: Retrospective Exhibition,” Hirschl & Adler Galleries, New York, New York, 1966, no. 60. literature: Schmit, Robert. Eugène Boudin: 18241898, Paris: Galerie Schmit, 1973, #3323 (illustrated). $30,000-50,000

note: Born in Honfleur on the estuary of the Seine, Eugène Boudin’s oils have traditionally been associated with water and sea, and his landscapes are characterized by a fine, delicate touch coupled with a fluid, spontaneous application of paint. Trouville, along with Toques, Caudebec-en-Caux, Dunkirk, Anvers and Deauville, were locations that Boudin visited and painted throughout his lengthy and successful tenure as one of France’s most important 19th century painters of sea, shore, harbors, ports, and skies. Nearly his complete oeuvre is comprised of scenes painted along the Normandy coast, between Honfleur and Deauville. The French 19th century painter Camille Corot is said to have lauded Boudin as the “king of the skies.” Throughout his life, Boudin

remained fascinated and in awe of nature, describing his feelings as “tortured by her splendor” and “struggling to reproduce [Nature] within the narrow limits of painting.” The son of a sailor, Boudin dedicated himself to painting at the age of 22, at which time he was already familiar with fellow French artists Constant Tryon, Thomas Couture, and Jean-François Millet. Under the tutelage of Dutch painter Johan Jongkind, Boudin learned to paint en plein air. By 1859 he was exhibiting at the Paris Salon, becoming a regular exhibitor there, and later to be bestowed with the honor of Knight of the Legion of Honor. Selftaught, Boudin would become Claude Monet’s mentor and teacher, the latter crediting the former with his becoming a painter. Boudin’s manner of painting and his depictions of sea and sky, however,

were never as detached and broken as typified by the style of the Impressionists. Still, Boudin exhibited his work alongside the canvases of Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Alfred Sisley, and Edgar Degas in the first exhibition of Impressionist painting in 1874. We would like to thank Mr. Manuel Schmit who has confirmed the authenticity of the present lot. This painting will be included in the forthcoming new edition of the Catalogue Raisonné of the artist’s work, and will be accompanied by a certificate of authenticity.

95 * BESSIÈRES (continental 19th century) CAVALRY CHARGE Signed ‘Bessières’ bottom right, oil on canvas 19 3/8 x 25 5/8 in. (49.2 x 65.1cm) provenance: Private Collection, Illinois. $1,500-2,000

96 ALFRED SISLEY (french 1839-1899) “SUR LE LOING À SAINT-MAMMÈS” Inscribed with title upper center and numbered ‘37’ upper right, pencil on paper Sheet size: 5 9/16 x 8 3/4 in. (14.1 x 22.2cm) provenance: Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

97 THÉODORE ROUSSEAU (french 1812-1867) FOREST SCENE Signed with initials ‘Th. R’ bottom right

together with: LANDSCAPE WITH STREAM Signed with initials ‘Th. R’ bottom right Pair oils on canvas en brunaille Each: 10 3/4 x 18 1/4 in. (27.3 x 46.4cm) (2) provenance: Private Collection, Washington, D.C. $4,000-6,000

98 THÉO VAN RYSSELBERGHE (belgian 1862-1926) “LA DAME À L’ÉVENTAIL” Painted in 1881, signed ‘Théo van Rysselberghe’ upper right, oil on canvas 23 1/2 x 20 i Fn. (59.7 x 50.8cm) provenance: Sotheby's, New York, sale of June 12, 1980, lot 102.

Sotheby's, New York, sale of October 24, 1989, lot 292. Ader, Paris, sale of April 8, 1994, lot 9. Christie's, New York, sale of November 4, 2004, lot 264. Christie's, New York, sale of May 10, 2007, lot 286. Private Collection (acquired from the above). Shapiro Auctions, New York, sale of February 28, 2015, lot 39. Private Collection, New York.

exhibited: "L'Essor. VI Exposition Annuelle," Palais des Beaux-Arts, Brussels, Belgium, January-February 1882, no. 207. "Cercle Artistique et Littéraire," Gand, Belgium, February 19-27, 1882. literature: Ronald Feltkamp, Théo van Rysselberghe: Catalogue Raisonné, Brussels: 2003, p. 251, no. 1881-021 (illustrated). $20,000-30,000

99 JEAN JACQUES HENNER (french 1829-1905) WOMAN IN PROFILE Signed ‘Henner’ bottom left, oil on panel 10 9/16 x 8 7/16 in. (26.8 x 21.4cm) provenance: Collection of G. Blair Lang, Toronto, Canada. Estate of Doris Dushoff, Moorestown, New Jersey. $1,000-2,000

100 CHARLES ALEXANDRE COESSIN DE LA FOSSE (french 1829-1910) MENDING THE GARMENT Signed ‘Coessin’ bottom right, oil on canvas 16 x 12 3/4 in. (40.6 x 32.4cm) provenance: Alderfer, sale of June 7, 2001, lot 1042. Private Collection, Philadelphia, Pennsylvania. $2,000-3,000 101 JACQUES ÉMILE BLANCHE (french 1861-1942) SEATED LADY IN PURPLE Signed ‘J.E. Blanche’ upper left, watercolor on paper Sheet size: 37 5/8 x 25 1/2 in. (96.6 x 64.8cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

102 CHARLES JOSHUA CHAPLIN (french 1825-1891) MAIDEN WITH CHERUBS Signed ‘Ch. Chaplin’ bottom left, oil on canvas 18 1/4 x 13 7/8 in. (46.4 x 35.2cm) provenance: Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

103 GEORGES D’ESPAGNAT (french 1870-1950) “FILLETTE AU CANAPÉ” Signed with artist’s initials ‘G d’E’ upper right, oil on canvas 22 x 18 1/8 in. (55.9 x 46cm) provenance: Hôtel Drouot, Paris, sale of November 11, 1987. Private Collection, Philadelphia, Pennsylvania. note: We would like to thank Mr. Jean-Dominique Jacquemond who has confirmed the authenticity of the present lot. This painting is included in the Catalogue Raisonné of the artist’s work and dated to circa 1903, and will be accompanied by a photo certificate of authenticity. $4,000-6,000

104 MARIE AUGUSTIN ZWILLER (french 1850-1939) GIRL READING Signed ‘A. Zwiller’ bottom center left, oil on canvas, painted in the oval 21 3/4 x 18 1/4 in. (55.2 x 46.4cm) provenance: Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

105 CHARLES ZACHARIE LANDELLE (french 1812-1908) YOUNG SHEPHERD Signed, dated and located ‘Ch. Landelle/1878/Luchon’ bottom right (on the rock), oil on panel Sight size: 20 1/4 x 14 in. (51.4 x 35.6cm) provenance: Private Collection, Minnesota. $2,000-3,000

106 NICOLAS LOUIS FRANÇOIS GOSSE (french 1787-1878) CATHEDRAL INTERIOR Signed and indistinctly dated ‘N.L. Gosse/18**’ bottom left, oil on canvas 32 1/8 x 25 5/8 in. (81.6 x 65.1cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

107 WILLIAM MALHERBE (french 1884-1952) BOUQUET OF CHRYSANTHEMUMS IN A VASE, TWO APPLES AND A TEA CUP Signed and dated ‘William Malherbe 1913’ bottom right, oil on canvas 28 3/4 x 21 1/4 in. (73 x 54cm) provenance: Morelle & Marchandet, Paris, sale of December 11, 1999, lot 112. Private Collection, Europe. $2,500-4,000

108 D.R. FAY (french 19th century) STILL LIFE OF MIXED FLOWERS Signed ‘D.R. Fay’ bottom right, oil on canvas laid to board 23 3/4 x 18 1/8 in. (60.3 x 46cm) provenance: Private Collection, New Jersey. $3,000-5,000

109 EMMANUEL VICTOR AUGUSTE MARIE DE LA VILLÉON (french 1858-1944) A STROLL THROUGH THE WOODS Signed and dated ‘E. de la Villéon. 191*’ bottom left, oil on canvas 23 3/4 x 28 3/4 in. (60.3 x 73cm) provenance: Private Collection, Massachusetts. $3,000-5,000

110 ANDRÉ LHOTE (french 1885-1962) GORDES Signed ‘A. Lhote’ bottom left, oil on panel 10 3/8 x 13 3/4 in. (26.4 x 34.9cm) provenance: Sotheby’s, New York, sale of December 15, 2014, lot 59. Private Collection, New York. note: We would like to thank Mr. Dominique Bermann Martin from the Association André Lhote for confirming the authenticity of the present painting, which will be included in the forthcoming Catalogue Raisonné of the artist’s work. $20,000-30,000

111 SUZANNE EISENDIECK (french 1908-1998) ‘PLAGE À CROS DE CAGNES’ Signed ‘Suzanne Eisendieck’ bottom left, also with title verso, oil on canvas 25 5/8 x 36 in. (65.1 x 91.4cm) provenance: Wally Findlay Galleries, New York, New York. Private Collection, Washington, D.C. $4,000-6,000

112 MAURICE DE VLAMINCK (french 1876-1958) VILLAGE NORMAND, L’ÉGLISE Signed ‘Vlaminck’ bottom right, pen and ink on paper 11 x 9 1/8 in. (27.9 x 23.2cm) provenance: Hôtel Drouot, Paris, sale of March 9, 1990. Artcurial, Paris, sale of March 23, 2011, lot 265. Private Collection, California. $3,000-5,000

113 JEAN-FRANÇOIS MILLET (french 1814-1875) “LA BOUILLIE” 1861. Etching on laid paper Plate size: 7 5/16 x 6 1/4 in. (18.6 x 15.9cm) Sheet size: 10 15/16 x 7 3/8 in. (27.8 x 18.7cm) [Delteil 17; Melot 17]

together with: BERTHE MORISOT (french 1841-1895) “JEUNE FEMME AU REPOS” 1889. Drypoint and etching (cancelled plate) Plate size: 3 3/16 x 4 3/4 in. (8.1 x 12.1cm) Sheet size: 8 3/8 x 10 1/2 in. (21.3 x 26.7cm) [Bailly-Herzberg VII]

together with: MAURICE DENIS (french 1879-1943) “LA VISITATION” 1894. Inscribed verso; also with “DEACCESSIONED/MFA” stamp verso, color lithograph on paper Image size: 7 5/16 x 6 in. (18.6 x 15.2cm) Sheet size: 10 9/16 x 9 5/8 in. (26.8 x 21.9cm) (3) provenance: Private Collection, New Jersey. $1,000-2,000

The Horst Rechelbacher Collection of Orientalist Art lots 114-140

ORST RECHELBACHER (1914-2014) was, in addition to being an avid collector of fine art, a true pioneer in the field of natural cosmetics in the U.S. Born to an herbalist and shoemaker, his family apartment was nearby a salon in his hometown of Klagenfurt, Austria. Rechelbacher was drawn to the salon industry, and developed a keen interest in plant-based personal care and aromatherapy. He was also an organic farmer, author, speaker, artist, and a great collector, including collecting paintings, including the Orientalist-themed works in the present auction.

on creating skin, hair, body, aroma and lifestyle products using only 100% food based, safe, non-toxic and certified organically grown ingredients. Throughout his career, Horst remained true to his vision of bringing truth and transparency to the beauty and cosmetics industry, even in the face of increasing environmental degradation and a changing cosmetic industry that relies on false 'green' marketing claims. Freeman's is very pleased to offer a selection of artworks from the Horst Rechelbacher Collection in this auction. The same passion that fueled Horst's interest in personal care is evident in the fine, eclectic group of artworks he carefully collected over a decade and a half. The following lots 114 through 140 are oils, watercolors and pastels associated with ‘Orientalism’ – a genre of painting affiliated with scenes, styles, motifs and culture drawn from the Middle East and North Africa, and frequently included odalisques, merchants and harems.

As a young man, Horst won numerous European Junior Hairdressing Championships and international hairdressing awards, ultimately creating his own apprentice program, which became the Horst Education Center, later known as the Aveda Institute. Aveda was founded in 1978 and the company expanded to create various product lines for hair, body care, makeup, aromatherapy and lifestyle products, all created with his commitment to maintaining a sustainable, natural approach. Almost two decades after Rechelbacher incorporated, he sold Aveda to Estée Lauder. Not long thereafter, he went on to create Intelligent Nutrients - a health and beauty company that is centered

114 ADOLF ECHTLER (german 1843-1914) PEERING THROUGH THE BRUSH Signed, located and dated ‘Ad. Echtler/Venezia/’69’ bottom right, oil on canvas, painted in the oval 42 3/4 x 32 in. (108.6 x 81.3cm) provenance: Tajan, Paris, sale of May 31, 2001, lot 223. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $6,000-10,000

THE HORST RECHELBACHER COLLECTION 115 MARCEL BLAIRAT (french b. 1849) ODALISQUE ON THE TERRACE Signed ‘M. Blairat’ bottom left, watercolor on paper Sheet size: 19 x 12 1/2 in. (48.3 x 31.8cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

116 CIRCLE OF FÉLIX AUGUSTE CLÉMENT (french 1826-1888) ODALISQUE Oil on tin 15 1/4 x 12 1/2 in. (38.7 x 31.8cm) provenance: Dorotheum, Vienna, sale of May 28, 2001, lot 69. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,500-2,500 117 ANGELO ASTI (french 1847-1903) PROFILE PORTRAIT OF AN AUBURN HAIRED WOMAN Signed ‘A. Asti’ bottom right, oil on canvas 18 1/4 x 12 5/8 in. (46.4 x 32.1cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,500-2,500

118 JEAN JOSEPH BENJAMIN CONSTANT (french 1845-1902) JUDITH Signed ‘Benjamin Constant’ bottom right, oil on canvas 18 3/8 x 10 3/4 in. (46.7 x 27.3cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 94. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $6,000-10,000

119 LUCIEN MOUILLARD (french 1842-1912) TURKISH BATH Signed and dated ‘Lucien Mouillard 1901’ bottom left, oil on canvas 25 3/8 x 21 5/8 in. (64.4 x 54.9cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $4,000-6,000

THE HORST RECHELBACHER COLLECTION 120 NICOLAS EDWARD GABÉ (french 1814-1865) HAREM WOMAN WITH GROUP OF ARABS Signed ‘E. Gabé’ bottom left, oil on canvas 9 3/8 x 13 in. (23.8 x 33cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 136. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

121 * MORJOUIS (french 19th century) PORTRAIT OF AN EXOTIC WOMAN WITH NECKLACE Signed and dated ‘Morjouis 1843’ bottom right, pastel on board 21 5/8 x 17 3/8 in. (54.9 x 44.1cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,000-1,500

122 JEAN BOUCHAUD (french 1891-1977) WOMAN WITH BLUE HEADDRESS Signed ‘J. Bouchaud’ bottom right, oil on panel 21 5/8 x 14 3/4 in. (54.9 x 37.5cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,500-2,500

123 MARCEL ANDRÉE RONDENAY (french b. 1880) MATERNITY Signed ‘M. Rondenay’ bottom left, oil on canvas 31 3/8 x 45 7/8 in. (79.7 x 116.5cm) provenance: Gros & Delettrez, Paris, sale of December 18, 2001, lot 614. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $3,000-5,000

124 RENÉ FRANCOIS XAVIER PRINET (french 1861-1946) WOMEN IN INTERIOR HAVING COFFEE Signed ‘R.X. PRINTET’ bottom left, oil on canvas 13 x 16in. (33 x 40.6cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 172. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

125 FERNAND CORMON (french 1845-1924) THE CAPTIVE Signed ‘F. Corman’ bottom left, oil on canvas 16 x 13 in. (40.6 x 33cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 106. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $3,000-5,000

THE HORST RECHELBACHER COLLECTION 126 SUSANNE DELBAYS (continental 19th century) VILLAGE NEAR A PALM GROVE Signed ‘Suzanne Delbays’ bottom right, oil on panel 21 5/8 x 18 in. (54.9 x 45.7cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,000-1,500

127 DANIEL CORTES (spanish 1873-1919) PORTRAIT OF AN EXOTIC WOMAN Signed ‘D. Cortes’ bottom right, oil on canvas 28 3/4 x 19 1/4 in. (73 x 48.9cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 112. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

128 FRANCISCO GRAS (spanish b. 1878) VEILED WOMAN Signed and dated ‘F. Gras XXVI’ bottom right, watercolor on paper 14 3/8 x 12 3/8 in. (36.5 x 31.4cm) provenance: Collection of E. Valadier, Algiers. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,000-1,500

129 MARIO RIDOLA (italian b. 1890) BEDOUIN WITH PEONIES Signed ‘M. Ridola’ bottom right, oil on canvas 25 x 19 in. (63.5 x 48.3cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 177. Blanchet & Joron-Derom, Paris, sale of July 4, 2000, lot 47. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

130 JOHN (GIOVANNI) CALIFANO (italian/american 1864-1946) ODALISQUE MUSICIAN Signed ‘J. Califano’ bottom left, oil on canvas 40 7/8 x 31 5/8 in. (103.8 x 80.3cm) provenance: Sotheby’s, New York, sale of January 29, 2005, lot 241. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $5,000-8,000

131 UMBERTO CACCIARELLI (italian 1880-1910) HAREM INTERIOR Signed and located ‘U. Cacciarelli/Roma’ bottom right, oil on canvas 19 1/2 x 13 7/8 in. (49.5 x 35.2cm) provenance: Collection of Gianni Versace. Sotheby’s, sale of Gianni Versace, n.d., lot 432 (per sticker verso). The Estate of Horst Rechelbacher, Osceola, Wisconsin. $5,000-8,000

THE HORST RECHELBACHER COLLECTION

132 CAMILLO MIOLA (italian 1840-1919) YOUNG BEAUTY WEARING JEWELRY Signed ‘C. Miola’ upper left, oil on panel 11 1/4 x 9 5/8 in. (28.6 x 24.4cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,000-1,500

134 ORIENTALIST SCHOOL (19th century) PALACE INTERIOR WITH MUSICIANS AND DANCER Oil on canvas 23 5/8 x 31 1/2 in. (60 x 80cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

133 PAOLO SIMONI (italian 1882-1960) SEATED WOMAN WITH ATTENDANT BY A DOORWAY Signed ‘P.A. Simoni’ bottom left, watercolor and gouache 21 x 10 3/4 in. (53.3 x 27.3cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 62. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

135 ORIENTALIST SCHOOL (19th century) HAREM BEAUTIES Signed illegibly upper right, oil on canvas 30 1/2 x 28 3/4 in. (77.5 x 73cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $2,000-3,000

136 G.A. FAY (continental 19th century) WOMAN WITH TAMBOURINE Signed ‘G.A. Fay’ bottom left, oil on canvas 33 1/4 x 13 1/2 in. (84.5 x 34.3cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,500-2,500

137 ORIENTALIST SCHOOL (19th-20th century) ODALISQUE IN A LANDSCAPE Pastel on paper laid to board 27 x 19 3/4 in. (68.6 x 50.2cm) provenance: The Estate of Horst Rechelbacher, Osceola, Wisconsin. $1,500-2,500

138 OSKAR SPIELMANN (swiss 1901-1974) RECUMBENT MOROCCAN WOMAN Signed ‘Oscar Spielmann’ center right, oil on board 25 5/8 x 39 1/2 in. (65.1 x 100.3cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 181. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $5,000-8,000

THE HORST RECHELBACHER COLLECTION

139 CASPAR RITTER (german 1861-1923) AN ARABIAN BEAUTY Signed and dated ‘Casp. Ritter 1905’ bottom right, oil on panel, oval 40 x 29 in. (101.6 x 73.7cm) provenance: Tajan, Paris, sale of May 15, 2001, lot 182. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $6,000-10,000

140 GUSTAV KARL LUDWIG RICHTER (german 1823-1884) REVERIE Signed, located and dated ‘Gustav Richter/Berlin/1874’ upper right, oil on canvas 25 5/8 x 20 5/8 in. (65.1 x 52.4cm) provenance: Dorotheum, Vienna, sale of May 28, 2001, lot 61. The Estate of Horst Rechelbacher, Osceola, Wisconsin. $5,000-8,000 END OF COLLECTION

141 CONTINENTAL SCHOOL (19th century) PORTRAIT OF A LADY Oil on canvas, oval 32 x 26 1/2 in. (81.3 x 67.3cm) provenance: Private Collection, Villanova, Pennsylvania. $1,000-2,000

142 FRANCISCO MIRALLES Y GALUP (spanish 1848-1901) FISHERFOLK ON THE SHORE Signed ‘F. Miralles’ bottom right, oil on canvas 14 x 20 1/4 in. (35.6 x 51.4cm) provenance: Private Collection, Maryland. $6,000-9,000

143 ATTILIO PRATELLA (italian 1856-1949) NAPOLI Signed ‘A. Pratella’ bottom right, oil on panel 8 3/4 x 14 1/2 in. (22.2 x 36.8cm) provenance: Private Collection, Philadelphia, Pennsylvania. $5,000-7,000

144 ALBERTO PASINI (italian 1826-1899) AT THE WELL Signed ‘A. Pasini’ bottom right, oil on canvas 10 5/8 x 8 3/4 in. (27 x 22.2cm) provenance: Private Collection, New Jersey. $30,000-50,000

note: Alberto Pasini was an important 19th century Italian painter whose depictions of bazaars, market places, mosques, caravans, cavaliers, merchants, horsemen, carpet sellers, gateways and courtyards in Persia, Cairo, Alhambra, Armenia, Arabia, the Red Sea, Istanbul, Constantinople,

Damascus, and Giza, firmly place him in the tradition of Orientalist painters who documented and romanticized the peoples and lands associated with the Middle East in the 19th century. Early on, Pasini studied under the artists Paolo Toschi, Antonio Pasini, Charles and Eugène Cicéri, and Théodore Chassériau. Following his admission

to the Paris Salon, he received commissions from the Sultan Abdul Aziz. The art critic Virgilio Colombo said of Pasini: “[He] faithfully reproduces the architectural accessories, which sparkle in the sun and bathe in the blue shadows: in this, he is unrivaled and shows extraordinary ingenuity to create huge painting in small canvases.

What skill in painting... thoughtful knights, with sumptuous trappings, damask-decorated weapons, kiosks, market and military camps, the intimate recesses of the harem, the profiles of city with jagged spires and minarets...The oriental scenes are exquisitely treated.”

145 EDWARD SCOGNAMIGLIO (italian 19th century) SHORELINE, BAY OF NAPLES Signed ‘Scognamiglio’ bottom right, oil on canvas 18 x 31 in. (45.7 x 78.7cm) provenance: Private Collection, Ohio. $2,000-3,000

146 SANTI CORSI (italian b. 1871) PALAZZO PITTI, FIRENZE: LA SALA DI APOLLO Signed ‘S. Corsi’ bottom left, oil on canvas 51 x 42 7/8 in. (129.5 x 108.9cm) provenance: Private Collection, Pennsylvania. note: A nearly identical composition by Santi Corsi is in the Royal Collection Trust, London. $4,000-6,000

147 ADRIANO BONIFAZI (italian 1858-1914) FEEDING TIME Signed, located and dated ‘ABonifazi (conjoined letters) Roma 76’ bottom left; also with ‘Louis Pisani’s Picture Galleries, Rome’ stencil verso, oil on canvas 41 3/4 x 23 1/4 in. (106.1 x 59.1cm) provenance: Private Collection, New York, New York. $4,000-6,000

148 CARLO BIONDI (italian 19th century) PIEVE SANTO STEFANO Signed with initials ‘CB (conjoined)’ and dated ‘1855’ bottom left; also inscribed in Italian “Inondazione della Pieve S. Stefano Toscana/accaduta nell’ anno 1855/Quadro dipinto dal vero dal Sig. Carlo Biondi/L. Pisani and F*ldi/Picture Gallery/Borgognissanti 183* *econd ****’ verso, oil on canvas, unframed 34 1/4 x 57 in. (87 x 144.8cm) provenance: Private Collection, Philadelphia, Pennsylvania. $6,000-8,000

149 HANS DAHL (norwegian 1849-1937) A DAY’S OUTING Signed ‘Hans-Dahl’ bottom right, oil on canvas 26 3/8 x 39 1/4 in. (67 x 99.7cm) provenance: Private Collection, Virginia. $8,000-12,000

150 CARL FREDERIK SØRENSEN (danish 1818-1879) FISHERFOLK ALONG THE SHORE AT DAWN Signed and dated ‘C. Frederik Sorensen 1854’ bottom left, oil on canvas 15 7/8 x 22 3/8 in. (40.3 x 56.8cm) provenance: Private Collection, New York, New York. $2,000-3,000

151 C. VOLKMANN (german 19th century) AN ELEGANT LADY WITH FLOWERS Signed ‘C. Volkmann’ upper left, oil on canvas 50 7/8 x 28 7/8 in. (129.2 x 73.3cm) provenance: Private Collection, Providence, Rhode Island. $2,000-3,000

152 CHRISTIAN SCHUESSELE (german/american 1824-1879) FAMILY IN INTERIOR Signed, located and dated ‘G. Schuessele/Philada. 1857’ bottom left, oil on canvas 29 1/4 x 36 1/8 in. (74.3 x 91.8cm) provenance: Private Collection, Pennsylvania. $1,000-2,000

153 KARL WILLIAM HAHN (german 1829-1887) ADMIRING THE HORSES Signed ‘W. Hahn’ and inscribed and dated indistinctly bottom right, oil on canvas 36 1/2 x 56 in. (92.7 x 142.2cm) provenance: Private Collection, Pennsylvania. $5,000-7,000

154 JULIUS KÖCKERT (german 1827-1918) INFANT AND TERRIER Signed and located ‘Köckert/München’ bottom right, oil on canvas 23 1/2 x 32 in. (59.7 x 81.3cm) provenance: Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

155 ANTHONY D. BLAKE (new zealand b. 1951) “ANCHORS AWEIGH” Signed ‘A.D. Blake’ bottom right; also signed and inscribed ‘’Anchors Aweigh’/Two British fifth rates getting underway off the Fort at what is now White’s Bay, Jost Van Dyke, British Virgin Islands, 1690’s.../ Varnish with artists quality varnish after July 1988/ AD Blake’ verso, oil on canvas 30 x 40 in. (76.2 x 101.6cm) provenance: Private Collection, Florida. $15,000-20,000

156 HENRY SCHOUTEN (belgian 1864-1927) COWS IN A FIELD Signed ‘Henry Schouten’ bottom right, oil on canvas 43 3/8 x 59 3/8 in. (110.2 x 150.8cm) provenance: Private Collection, New Jersey. $1,000-2,000

157 MAX BECKMANN (german 1884-1950) “DOSTOJEWSKI II” 1921. Pencil signed in the margin, etching and drypoint Plate size: 6 5/8 x 4 5/8 in. (16 5/8 x 11.8cm) Sheet size: 30 5/8 x 10 1/2 in. (77.78 x 26.7cm) [Hofmaier 187]

together with: JAMES JACQUES JOSEPH TISSOT (french 1836-1902) “PORTRAIT OF MME. B” 1876. Etching Plate size: 10 15/16 x 7 1/2 in. (27.8 x 19.1cm) Sheet size: 14 1/16 x 10 5/8 in. (35.7 x 27cm). [Wentworth 21]

158 MARI TEN KATE (dutch 1831-1910) MISCHIEF AT MEAL TIME Signed ‘M. Ten Kate’ bottom right, oil on canvas 34 1/2 x 48 1/2 in. (87.6 x 123.2cm) provenance: Property from a Merion, Pennsylvania Estate. $5,000-7,000

together with: FÉLIX HILAIRE BUHOT (french 1847-1898) “SPLEEN ET IDÉAL OU LE FIACRE AUX AMOURS” c. 1878. Etching and drypoint. Plate size: 6 5/ 16 x 3 76/16 in. (16 x 8.7cm) Sheet size: 10 1/16 x 6 1/8 in. (25.6 x 15.6cm) [Bourcard/Goodfriend 73] (3) provenance: Private Collection, New Jersey. $2,000-3,000

159 EMIL NOLDE (german 1867-1956) “EVENING LANDSCAPE IN NORTH FRIESLAND” Signed ‘Nolde’ bottom right, watercolor on paper Sheet size: 8 3/16 x 9 1/8 in. (20.8 x 23.2cm) provenance: Private Collection, New York, New York. M. Knoedler & Co., New York, New York. Serge Sabarsky Gallery, New York, New York. Private Collection, Ohio (acquired from the above in 1969). By descent in the family. Private Collection, Maryland. exhibited: “Friends Collect,” Philadelphia Museum of Art, Philadelphia, Pennsylvania, 1966. note: Born Emil Hansen in the village of Nolde - an area in Northern Germany by the Southern Danish border, in the Prussian Duchy of Schleswig - Emil Nolde was one of the most important German Expressionist painters and printmakers of the 20th century. In 1906, he became a member of the Expressionist group ‘Die Brucke,’ a bohemian collective of artists opposed to the established bourgeois social order in Germany and who sought to express authentic emotion by practicing an expressive, avant-garde style of art characterized by a direct approach to form and heightened color. Twelve years later, Nolde exhibited with the Munich based group ‘Der Blaue Reiter,’ a stylistically abstract counterpart to Die Brucke’s figurative style. Der Blaue Reiter artists, of which Nolde was not formally a member but rather a kindred spirit, sought to convey spirituality in their art.

Nolde was also a member of the ‘Berlin Secession,’ a group of over sixty artists who rejected the then prevalent view of academic art in Berlin in the 1890s, and who thus seceded from the very well-established Association of Berlin Artists. It should be noted, however, that Nolde’s association with these art movements was short-lived; throughout his career he remained a very solitary artist, who very much refrained from committing himself to any one organization or movement. In addition to his powerful and primitive woodcuts, Nolde is arguably best known for his watercolors which, like the present work, are rendered in a loose, spontaneous and expressive style. These are often executed without contours and on either non-absorbent or even wet paper, and in rich, vivid colors. Nolde is known to have assigned a symbolic quality to the colors he chose. He said: “Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones... and that is all.” While Nolde was awarded the prestigious Order of Merit following World War II, during the war he was declared by the Nazis to be a “degenerate” modern artist, and over one thousand of his works were removed from museums at that time. In 1941, the Nazi party banned him from painting. Nonetheless, during this period Nolde executed more than one thousand small watercolors, known as his ‘ungemalte bilder‘ or “unfinished paintings,” small works done in watercolor applied directly on wet paper. $50,000-80,000

160 HENDRIK FRANS DE CORT (dutch 1742-1810) LANDSCAPE WITH ABBEY Signed and dated ‘Henri F DeCort/1797’ bottom right, oil on panel, unframed 22 x 31 1/4 in. (55.9 x 79.4cm) provenance: Private Collection, New York. $1,000-2,000

161 JOHANNES VAN RHIJNNEN (dutch 1859-1927) BLOEMSINGEL WITH THE KRIJTBERG CHURCH IN THE BACKGROUND Signed ‘J van Rhijnnen’ bottom right, oil on canvas 25 3/4 x 31 3/4 in. (65.4 x 80.7cm) provenance: Private Collection, Pennsylvania. $1,500-2,000

162 KEES VAN DONGEN (dutch/french 1877-1968) BOATS IN EVENING, TWILIGHT ON THE SEINE Signed and located ‘van Dongen/Seine’ bottom right, watercolor over pencil on paper Sheet size: 9 5/8 x 7 3/4 in. (24.5 x 19.5cm) provenance: Christie’s, Amsterdam, December 13, 1989, lot 20. Private Collection, Sweden. $5,000-7,000

163 ABRAHAM MANIEVICH (american/russian 1883-1942) PORTRAIT OF THE ARTIST’S WIFE Painted c. 1928-29, with stamped signature verso, oil on board 32 x 20 in. (81.3 x 50.8cm) provenance: The Artist. To the wife of the Artist. To the granddaughter of the Artist. By descent in the family. North Carolina Museum of Art, Raleigh, North Carolina. Christie’s, New York, sale of June 19, 2012, lot 39. Shapiro Auctions, sale of February 16, 2013, lot 145. exhibited: (per hand written label attached verso) French Art Galleries, New York, New York, 1943. Art Center, New York, New York, 1957. Miami Museum of Modern Art, 1960. Western-Eastern Museum, Kiev, USSR, 1972. Zhitomir Museum, USSR, 1973. Vinitza Museum of Art, USSR, 1974. Chernigov Museum, USSR, 1975. $8,000-10,000

164 LADO (VLADIMIR DAVIDOVICH) GUDIASHVILI (georgian 1896-1980) EXOTIC WOMAN WITH PEACOCK Signed in Cyrillic and dated ‘43’ bottom right; also inscribed in Cyrillic verso, mixed media 30 1/2 x 19 3/4 in. (77.5 x 50.2cm) provenance: Private Collection, New Jersey. note: The present lot will be accompanied by a copy of a certificate of authenticity in Cyrillic and French by Irina Dzutsova, Doctor in History of Fine Art. $15,000-20,000

165 DAVID DAVIDOVICH BURLIUK (american/ukrainian 1882-1967) TEA TIME Signed and dated ‘BURLIUK 1949’ bottom right, oil on canvas laid on board 10 7/8 x 13 7/8 in. (27.6 x 35.2cm) provenance: Private Collection, Massachusetts. $3,000-5,000

166 KALMAN (KOLOMAN) DERI (hungarian 1859-1940) FIRST STEPS Signed, located and dated ‘Dery K./ Munchen 1881’ bottom right, oil on canvas 29 5/8 x 24 in. (75.2 x 61cm) provenance: Private Collection, Ohio. $4,000-6,000

167 ISAAC DOBRINSKIJ (ukrainian 1891-1973) ARTIST’S STUDIO Signed ‘Dobrinskij’ bottom left, oil on canvas 26 3/8 x 33 1/4 in. (67 x 84.5cm) provenance: Private Collection, New York, New York. $2,000-3,000

168 RICHARD KARLOVICH ZOMMER (russian 1866-1939) VILLAGE SCENE Signed in Cyrillic bottom right, oil on canvas 18 3/8 x 23 7/8 in. (46.7 x 60.6cm) provenance: Private Collection, New Jersey. $10,000-15,000

169 ALEXANDER BASHBEUK-MELIKIAN (russian 1891-1966) RECUMBENT NUDE Signed with initials in Armenian bottom right, oil on canvas 19 5/8 x 27 7/8 in. (49.8 x 70.8cm) provenance: Private Collection, New Jersey. $5,000-8,000

170 ARBIT BLATAS (lithuanian 1908-1999) “STEPHEN” Signed and dated ‘A. Blatas 43’ bottom right, oil on canvas 39 x 14 1/2 in. (99.1 x 36.8cm) provenance: Associated American Arts, Inc., New York, New York. Private Collection (acquired from the above in 1951). Christie’s, New York, sale of April 1, 2015, lot 110. New Art Center Gallery, New York, New York. Private Collection, New York, New York. exhibited: “60th Annual Exhibition,” Art Institute of Chicago, Chicago, Illinois, October 25-December 16, 1951. $4,000-6,000

171 LÁSZLÓ PATAKY (hungarian 1957-1912) “THE POTATO HARVEST” Signed ‘Pataky L.’ bottom left, oil on canvas 23 3/4 x 45 in. (60.3 x 114.3cm) provenance: Galerie Barbizon, Inc., Houston, Texas. Private Collection, California. note: The present painting will be accompanied by a certificate of authenticity from Galerie Barbizon, Inc. dated to September 5, 1974. $1,500-2,000

172 ISAAC PAILES (ukrainian 1895-1978) CLOWN Signed ‘I. Pailes’ bottom center, oil on paper laid to board 19 3/4 x 13 in. (50.2 x 33cm) provenance: Doyle, sale of February 10, 2010, lot 58. Trinity Auctions, sale of May 19, 2012, lot 12. Private Collection, New York, New York. $2,500-3,500

173 IL’IA NIKOLAEVICH ZANKOVSKII (russian 1832-1919) MOUNTAIN LANDSCAPE WITH RUSHING RIVER Signed in Cyrillic bottom right, oil on canvas 23 5/8 x 42 3/4 in. (60 x 108.6cm) provenance: Private Collection, New Jersey. $15,000-20,000

174 CONSTANTIN ALEKSANDROVICH WESTCHILOFF (russian 1877-1945) WINTER LANDSCAPE Signed ‘C. Westchiloff’ bottom right, oil on canvas 28 x 40 in. (71.1 x 101.6cm) provenance: Private Collection, New York, New York. $5,000-7,000

175 IGNAC UJVARY (hungarian 1880-1927) SNOWY LANDSCAPE WITH FOX Signed and dated ‘Ujvary I. 1906’ bottom left; also signed, dated and inscribed indistinctly verso, oil on canvas 34 3/8 x 43 in. (87.3 x 109.2cm) provenance: Property from a Merion, Pennsylvania Estate. $1,000-2,000

176 LUDOFF LIBERTS (american/latvian 1895-1959) TUGBOAT ON THE SEINE Signed ‘L. Liberts’ bottom right, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

177 LUDOFF LIBERTS (american/latvian 1895-1959) MONTMARTRE Signed ‘L. Liberts’ bottom right, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

178 MIKHAIL RUNDALTSOV (russian 1871-1935) FOREST INTERIOR, AUTUMN Signed and dated ‘Rundaltsov 1924’ bottom left, oil on canvas 20 1/8 x 24 1/8 in. (51.1 x 61.3cm) provenance: Private Collection, Connecticut. $3,000-5,000

179 GEVORG BASHINDZHAGYAN (armenian 1857-1925) LAKE SEVAN Signed in Armenian and dated ‘1911’ bottom left, oil on canvas 29 x 39 3/4 in. (73.7 x 101cm) provenance: Private Collection, New Jersey. $12,000-18,000

180 SIMKHA SIMKHOVITCH (american/russian 1893-1949) FLOWERS IN A VASE Signed and dated ‘Simka Simkhovitch/ 1932’ bottom center left, oil on canvas 20 1/16 x 16 1/16 in. (51 x 40.8cm) provenance: Private Collection, New York, New York. $1,500-2,000

181 ARBIT BLATAS (lithuanian 1908-199) TABLETOP STILL LIFE WITH FRUITS, FLOWERS AND WINE Signed and dated ‘A. Blatas 44’ bottom right, oil on paperboard laid on canvas 28 3/4 x 36 in. (73 x 91.4cm) provenance: Private Collection, New York, New York. $3,000-5,000

182 NICOLAS ALEKSANDROVICH TARKHOV (russian 1871-1930) “FLEURS SUR UNE TABLE” Signed ‘N. Tarkhoff’ bottom left; also inscribed with artist, title and date ‘1907/08’ on label verso, oil on canvas 16 1/4 x 13 1/8 in. (41.3 x 33.3cm) provenance: Mun Galeria de Arte, Bilbao, Spain (per label verso). Private Collection, Florida. $6,000-10,000

183 BORIS VASILIEVICH BESSONOV (russian 1862-1934) WINTER LANDSCAPE Signed ‘Bessonof’ lower left, oil on canvas laid on board 25 1/4 x 31 1/2 in. (64.1 x 80cm) provenance: Cooling Galleries, London, United Kingdom. Marshall Field & Co. Gallery, Chicago, Illinois. Shapiro Auctions, sale of May 16, 2015, lot 62. Private Collection, New York, New York. $10,000-15,000

184 JOSEF VON BRANDT (polish 1841-1915) SOLDIER OFFERING A LADY A FLOWER Signed ‘Josef Brandt’ bottom right, oil on panel 8 7/8 x 15 3/8 in. (22.5 x 39.1cm) provenance: Private Collection, Florida. $15,000-20,000

note: Josef von Brandt studied in Warsaw in the school of J.N. Leszczynski at the the Nobleman's Institute. In 1858, he travelled to Paris to study at the École Centrale Paris, but was persuaded by his countryman Juliusz Kossak to devote himself to

painting. Painters Kossak and Henryk Rodakowski were Brandt's first art teachers in Paris, along with Léon Coignet. Josef von Brandt moved to Munich in 1862, opening his own studio and practicing under the tutelage of artists Karl Piloty and Franz Adam. During this period,

Munich became somewhat of a mecca for Polish artists, and von Brandt began to gain notoriety and financial success, establishing a school for young, mostly Polish, painters. In his lifetime he was elected to the Berlin Academy, Munich Academy, and Prague

Academy. While known for his depictions of Cossak wars and battle scenes, von Brandt was also highly skilled at depicting Polish peasant life, with horses being central to most of his compositions, as in the present work.

185 JAN CZESLAW MONIUSZKO (polish 1853-1908) POLISH WEDDING Signed and dated ‘J. Moniuszko A.D. 1897’ bottom right, oil on canvas 14 1/4 x 20 1/8 in. (36.2 x 51.1cm) provenance: Private Collection, Florida. $1,500-2,500

186 JERZY POTRZEBOWSKI (polish 1921-1974) POLISH WEDDING Signed ‘Jerzy Potrzebowski’ bottom right, oil on canvas 27 1/2 x 39 3/8 in. (69.9 x 100cm) provenance: Private Collection, Florida. $2,000-3,000

187 KONSTANTY MACKIEWICZ (polish 1894-1985) SALON INTERIOR Signed ‘K. Mackiewicz’ bottom left, oil on masonite 32 3/8 x 25 3/8 in. (82.2 x 64.5cm) provenance: Private Collection, Florida. $2,000-3,000

188 STEFAN GIEROWSKI (polish b.1925) UNTITLED Signed, inscribed and dated ‘Stefan Gierowski/Obraz XLVI/1958’ verso, oil on canvas 21 x 28 1/4 in. (53.3 x 71.8cm) provenance: Private Collection, Maryland. $5,000-7,000

189 STANISLAW IGNACY WITKIEWICZ (polish 1885-1939) INTERNAL THOUGHT Signed, dated twice and inscribed ‘Witkacy 1920/1918 Aquarius N2’ bottom right, pastel and charcoal on brown paper Sheet size: 17 1/4 x 23 1/4 in. (43.8 x 59.1cm) provenance: Private Collection, Florida. $5,000-7,000

191 SAWASDI TANTISUK (thai b. 1925) “FLOWERS” Inscribed ‘Flowers by Tantisuk Bangkok 1968’ verso, oil on canvas 27 5/8 x 21 1/2 in. (70.2 x 54.6cm) provenance: Private Collection, New York, New York. $1,000-2,000

190 WOICIECH (ALDABERT) RITTER VON KOSSAK (polish 1856-1942) POLISH OFFICER ON HORSEBACK Signed ‘W. Kossak’, oil on board 15 5/8 x 12 3/4 in. (39.7 x 32.4cm) provenance: Private Collection, Florida. $3,000-5,000

192 GUSTAVO NOVOA (chilean b. 1941) “WINTER GARDEN” Signed and dated ‘G. Novoa/1972’ bottom right; also inscribed with title verso, oil on masonite 31 3/4 x 51 1/4 in. (80.6 x 130.2cm) together with: “RENDEZ-VOUS” Signed and dated ‘G. Novoa/1978’ bottom center left; also inscribed with title verso, oil on masonite 10 3/4 x 8 3/4 in. (27.3 x 22.2cm) (2) provenance: Wally Findlay Galleries, Palm Beach, Florida. Private Collection, New York, New York. $3,000-5,000 (part lot)

193 PEDRO ÁNGEL GONZÁLEZ (venezuelan 1901–1981) “COMENZANDO LAS LLUVIAS (GAMBOA)” Signed and dated ‘Pedro Angel Gonzalez - 1946’ bottom right; also signed and inscribed with title, date and ‘VII’ verso, oil on canvas 28 5/8 x 41 7/16 in. (72.7 x 105.3cm) provenance: Private Collection, Venezuela. Private Collection, Maryland (acquired directly from the above). $25,000-40,000 END OF SALE

Glossary any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. freeman’s reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. names

Forename(s) and surname of painter is in our opinion a work by that artist; e.g. Charles Willson Peale. When an artist’s forename(s) is not known, a series of asterisks followed by the surname of the artist, wether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

attributed to

Refers to probably a work by the artist; e.g. Attributed to Charles Willson Peale.

studio of

Refers to a work from the studio of the artist which may or may not have been executed under his direction; e.g. Studio of Charles Willson Peale.

circle of

Circle of..... refers to a work of the period of the artist executed under his immediate influence; e.g. Circle of Charles Willson Peale.

follower of

Follower of..... refers to a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil; e.g. Follower of Charles Willson Peale.

manner of

Manner of..... refers to a work in a style related to that of the artist, but of a later date; e.g. Manner of Charles Willson Peale.

School, of

School, accompanied by the name of a place or country and a date means that we believe the picture was executed at that time and in that location; e.g. Italian School, 18th Century.

after an artist signatures & dates

After an artist is in our opinion a copy of any date after a work by that artist; e.g. After Charles Willson Peale. Signed and/or dated and/or inscribed means that we believe the signature and/or date and/or inscription are from the hand of the artist. Bears a signature and/or a date and/or an inscription means that we believe the artist’s name and/or date and/or inscription have been added by another hand. All references to signature, inscriptions and dates refer to the present state of the work.

measurements

Dimensions are given height before width.

Index Ansdell, R., 80 Armington, F.M., 92 Asti, A., 117 Atkinson, J., 81 Bambini, N., 62 Bashbeuk-Melikian, A., 169 Bashindzhagyan, G., 179 Beckmann, M., 157 Bessières, *, 95 Bessonov, B.V., 183 Bidault, J.J., 41 Biondi, C., 148 Blairat, M., 115 Blake, A.D., 155 Blanche, J.E., 101 Blatas, A., 170, 181 Bolognese School, 15 Bonifazi, A., 147 Bouchaud, J., 122 Boudin, E., 94 Brakenburg, R., 52 Breughel The Elder, J., 28, 29 Brickdale, E.F., 85 British School, 23, 30, 71, 72, 83 Buhot, F.H.,, 157 Burliuk, D.D., 165 Cacciarelli, U., 131 Califano, G., 130 Callot, J., 4 Cambiaso, L., 15 Carracci, A., 12 Casteels, P., 36 Chaplin, C.J., 102 Clément, F.A., 116 Coessin de la Fosse, C.A., 100 Constant, J.J.B., 118 Continental School, 26, 53, 141 Cormon, F., 125 Corsi, S., 146 Cortés, D., 127 Coypel, N.N., 25 Dahl, H., 149 Davis, A.A., 78 de Cort, H.F., 160 de Grient, C., 31 de La Villéon, E.V.A.M., 109 de Vlaminck, M., 112 Delbays, S., 126

Della Rovere, G.B., 10 Denis, M., 113 Deri, K., 166 D'Espagnat, G., 103 d'Hondecoeter, M., 47 Dobrinskij, I., 167 Dodd, R., 70 Dujardin, K., 35 Dürer, A., 3 Dutch School, 19, 31, 34, 43

Lafage, R., 10, 24 Landelle, C.Z., 105 Lhote, A., 110 Liberts, L., 176, 177 Mackiewicz, K., 187 Malagoli, F., 55 Malherbe, W., 107 Manievich, A., 163 Maratta, C., 5 Millet, J.F., 113 Miola, C., 132 Miralles Y Galup, F., 142 Moniuszko, J.C., 185 Morisot, B., 113 Morjouis, *, 121 Mouillard, L., 119 Munnings, A., 79

Echtler, A., 114 Eisendieck, S., 111 Elliger The Younger, O., 49 Fay, D.R., 108 Fay, G.A., 136 Ferneley, J.E., 82 Fracanzano, F., 57 Fratta, D.M., 16 French School, 20, 22, 23, 24, 25, 26, 27, 30 Frink, E., 90

Nolde, E., 159 Noletti, F., 56 Nooms, R., 38 Northern European School, 30 Novoa, G., 192

Gabé, N.E., 120 Gandolfi, G., 17 Genoese School, 18 German School, 26 Gierowski, S., 188 Gillot, C., 22 Gonzáles, P., 193 Gosse, N.L.F., 106 Gras, F., 128 Gros, A.J., 66 Gruppe, C.P., 91 Guardi, F., 7, 8, 63 Gudiashvili, L. 164 Guiflot, *, 26

Orientalist School, 134, 135, 137 Pailes, I., 172 Pasini, A., 144 Pataky, L., 171 Paton, R., 69 Perin, A.H., 67 Portail, J.A., 21 Potrzebowski, J., 186 Pratella, A., 143 Prinet, R.F.X., 124

Italian School, 7, 11, 12, 13, 14, 18, 40, 42, 59

Raineri, C.A., 54 Ramsay, A., 87 Richter, G.K.L., 140 Ridola, M., 129 Ritter, C., 139 Robert, H., 68 Romney, G., 75, 76 Rondenay, M.A., 123 Rousseau, T., 97 Roux, A.J.A., 39 Rundaltsov, M., 178

Köckert, J., 154 Kossak, W.R., 190

Sauvage, P.J., 50 Savery IV, J., 32

Hahn, K.W., 152 Henner, J.J., 99 Hispano-Flemish School, 51 Hoppner, J., 74 Humbert, F.J., 93 Hunt, C., 86

Schouten, H., 156 Schuessele, C., 153 Scognamiglio, E., 145 Seago, E., 88 Simkhovitch, S., 180 Simoni, P., 133 Sisley, A., 96 Solimena, F., 64 Sørensen, C.F., 150 Southern Netherlandish School, 37, 48 Spielmann, O., 138 Strozzi, B., 58 Sustermans, J., 60 Tantisuk, S., 191 Tarkhov, N.A., 182 ten Kate, M., 158 Testa, P., 9 Tiepolo, L.D., 6 Tissot, J.J., 157 Titian, 61 Ujvary, I., 175 van der Helst, B., 65 van Dongen, K., 162 van Goyen, J.J., 46 van Rhijnnen, J., 161 van Rijn, R., 1, 2 van Rysselberghe, T., 98 van Swanevelt, H., 33 Volkmann, C., 151 von Brandt, J., 184 Voorhout The Elder, J., 44 Walbourn, E., 84 Westchiloff, C.A., 174 Whood, I., 73 Williamson, W.H., 77 Witkiewicz, S.I., 189 Woods, H., 89 Woodward, G.M., 23 Wyck, J., 45 Zankovskii, I.N., 173 Zommer, R.K., 168 Zwiller, M.A., 104

PURCHASE REMOVAL, SHIPPING AND OFFSITE STORAGE INFORMATION To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email Darren Joyner at djoyner@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property. Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property. Annie Hauls Jules Smith Doylestown, PA 18901 215.230.8123 email@anniehauls.com Art In Transit Nick Clarke 314 North 12th Street Philadelphia, PA 19107 540.550.7080 nclarke@artintransit.net Atelier Art Services ‡ Lynn Smith 1330 North 30th Street Philadelphia, PA 19144 215.235.0402 | Fax: 215.235.0421 info@atelierartservices.com Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com

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v4.2016

TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor. 2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale. 3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “ASIS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or ﬁtness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property. 4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer. 5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots. 6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the 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 sale, the Freeman’s sale record shall be conclusive in all respects. 7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require. 9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency

in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code. 10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest. 11 No “buy” bids shall be accepted at any time for any purpose. 12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the ﬁrst $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. 14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state. 15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer. 16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 17 No claimed modiﬁcation or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion. 18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

v2.2016

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1808 Chestnut Street, Philadelphia PA 19103 Tel-215.563.9275 Fax-215.599.2240 e-mail: bids@freemansauction.com www.freemansauction.com

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A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the ﬁrst $200,000 of hammer price of each lot, 20% on the hammer from $200,001 through $3,000,000, and 12% thereafter. All lots must be paid for and removed within 10 days.

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please adhere to the bidding increments $10 until $200 is reached $25 until $500 is reached $50 until $1,000 is reached $100 until $3,000 is reached $250 until $5,000 is reached $500 until $10,000 is reached $1,000 until $30,000 is reached $2,500 until $50,000 is reached $5,000 until $100,000 is reached over $100,000 auctioneer’s discretion

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I hereby conﬁrm thet I have read and am bound by the “Terms of Sale” presented by the auction house and which govern all auction purchases made by me. Although every attempt is made to execute your bid(s), the auctioneer is not responsible for errors and omissions.

signed

T id conﬁrmed

(signature required to execute your bids) v2.2016

DIRECTORY OfďŹ cers

Specialist Departments

Representatives

Samuel M. Freeman II Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

Alasdair Nichol Vice Chairman Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating OfďŹ cer

Departments Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Micah Dornfeld mdornfeld@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Stephanie Parker sparker@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Benjamin Truesdale btruesdale@freemansauction.com British & European Furniture & Decorative Arts Nicholas B. A. Nicholson nnicholson@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Frederick Oster foster@freemansauction.com Oriental Rugs & Carpets Andrew Taggart ataggart@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Thomas McCabe tmccabe@freemansauction.com

www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103