European Art & Old Masters by Freeman's

auction highlights

european art & old masters january 23, 2018

european art & old masters

european art & old masters sale Tuesday, January 23 at 10:00am

department David Weiss Senior Vice President, Specialist dweiss@freemansauction.com 267.414.1214

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

RaphaĂŤl Chatroux Junior Cataloguer, Fine Art rchatroux@freemansauction.com 267.414.1253

exhibition Thursday, January 18 Friday, January 19 Saturday, January 20 Sunday, January 21 Monday, January 22

10am-5pm 10am-5pm 12pm-5pm 12pm-5pm 10am-5pm

By appointment only the morning of the sale.

For the full auction catalogue please go to:

www.freemansauction.com

european art & old masters

LOT 7 REMBRANDT VAN RIJN (dutch 1606-1669) “THE DEATH OF THE VIRGIN” 1639. Etching and drypoint on laid paper, with indecipherable crown watermark. A late 18th century impression. Plate size: 15.2 x 12.2 in. (38.7 x 31cm) Sheet size: 16 1/8 x 12 1/2 in. (41 x 31.8cm) [Bartsch 99; New Hollstein 173, fourth state of five, with additional fine lines added with a mezzotint rocker] provenance: Private Collection, Pennsylvania.

$4,000-6,000

LOT 6 REMBRANDT VAN RIJN (dutch 1606-1669) “THE ANGEL APPEARING TO THE SHEPHERDS”1634 Etching, engraving and drypoint. A lifetime impression. Plate size: 10 1/4 x 8 5/8 (26.1 x 21.9cm) Sheet size: 10 7/8 x 9 5/16 in. (27.6 x 23.7cm) [Bartsch 44; New Hollstein 125; third state of six, with additional shading before the reworking by the H.L. Basan worskop] provenance: Franklin Bowles Galleries. Acquired directly from the above. Private Collection, Pennsylvania.

$4,000-6,000

LOT 8 ALBRECHT DÜRER (german 1471–1528) “PHILIPP MELANCHTHON” Circa 1526. Engraving. Plate size: 6 7/8 x 5 1/4in. (17.6 x 13.2cm) Sheet size: 6 3/4 x 5 in. (17.1 x 12.7cm) [Bartsch 105; Meder 104e; Schoch, Mende, Scherbaum 101, e (without watermark)] provenance: Private Collection, Wisconsin.

$3,000-5,000

european art & old masters

LOT 21 ATTRIBUTED TO GERRIT VAN HONTHORST (dutch 1590-1656) PORTRAIT OF A SEATED GENTLEMAN, POSSIBLY A SELF-PORTRAIT Inscribed in old pencil script ‘Collection Delacre’ upper center verso; also partially inscribed in pencil with artist and artist’s dates ‘Gerrit Honthorst/1590-1656’ verso, pen and brown ink with traces of black chalk, brown and gray washes on laid paper, laid down Sheet size: 14 x 11 5/8 in. (35.6 x 29.5cm)

LOT 13 ATTRIBUTED TO MICHELE LUCCHESE (italian 1539-1590) THE CULT OF DIANA OF EPHESUS Red chalk on laid paper Executed circa 1554. Sheet size: 10 5/8 x 11 1/4 in. (27 x 28.6cm) provenance: Koller Auctions, Zurich, sale of March 31, 2017, lot 3406. Private Collection, New York, New York.

provenance: Collection of Maurice Delacre (Lugt 747a). His Sale, Gutekunst & Klipstein, Berne, Switzerland, sale of June 21-22, 1949, lot 262 (sold as by Gerrit van Honthorst). Galerie Bassenge Auktion, Berlin, Germany, sale of November 29, 2013, lot 6287 (sold as ‘Dutch, c. 1640’). Acquired directly from the above sale. Private Collection, Massachusetts.

$1,500-2,500

$2,000-3,000

LOT 11 CIRCLE OF GIULIO ROMANO (italian c. 1499–1546) RAPE OF THE SABINE WOMEN Inscribed ‘Guili da Romano’ bottom right, pen and brown ink with blue wash, heightened with white on blue paper Sheet size: 7 x 11 1/4 in. (17.8 x 28.6cm)

LOT 19 FOLLOWER OF GIOVANNI BATTISTA TIEPOLO (italian 1696-1770) “THE TRIUMPH OF VENUS” Pen and brown ink with brown wash over black chalk on paper laid down to board Executed circa 1760. Sheet size: 21 3/5 x 15 (54.3 x 38.2cm) provenance: Private Collection, Paris (per label from Wandenberg Frères, Paris verso). Private Collection, New York, New York.

$1,000-1,500

provenance: Private Collection, North Carolina. note: There is a Flemish tapestry of the same subject based on a cartoon by Giulio Romano. Although different in composition, it shares a central motif of a man standing in a shell.

$4,000-6,000

european art & old masters

LOT 41 GHIRLANDAIO WORKSHOP (italian 16th century) MADONNA AND CHILD Oil on panel 32 7/8 x 23 3/4 in. (83.5 x 60.3cm) provenance: (Possibly) Dr. George Hendrik Houghton (prior to 1897). (Possibly) Dr. George Clarke Houghton, nephew of the above. Mrs. Mary Gertrude Houghton Strombom, daughter of the above. Mr. Nicolai Hiller (acquired from the above in 1923). Dr. and Mrs. Albert Morgan (by descent in the family, 1963). The Estate of Mrs. Marcella Morgan (by descent in the family, 2016 to present). note: This present painting is believed to have been painted by the Ghirlandaio workshop, under the direction of Michele Tosini (Italian 1503-1577), the Renaissance painter who worked primarily in Florence.

The workshop was established by Domenico Ghirlandaio along with his two brothers, and welcomed many apprentices over the years, including, most notably, Michelangelo. Ghirlandaio passed his workshop to his son, Ridolfo Ghirlandaio, who in turn, having no male heirs, passed it to Tosini. This painting reflects the emphasis placed on drawing in the workshop as Tosini was one of the four founding members of the Accademia del Disegno, along with Giorgio Vasari, in 1563. It is thought that the painting may have been a gift to Dr. George Hendrik Houghton, Founder of the Church of the Transfiguration in 1847 ( known as “The Little Church Around the Corner”) on 29th Street in New York, from a Benefactor who was a member of his Congregation - possibly to mark a particular event. Among the most well known members of the Church was Laura Eugenia Astor ( Mrs. Franklin Delano), daughter of William B. Astor who had attended the Church since childhood and was known to have given to the Church the Lich-Gate, Stations of the Cross, and “Spanish, French and Italian Paintings from her own collection which gave the Transept the air of an art gallery”. Both her mother, Mrs. William B. Astor and her grandmother, Mrs. John Jacob Astor, were also communicants of the Church and generous Benefactors. In 1923 Mr. Nicolai Hiller bought the painting from Mrs. Strombom, the daughter of Dr. George Clarke Houghton the second Rector of the Church after his uncle, and had it built into the interior of the home he had commissioned where it has remained continuously through the ownership of the Morgan family until the present time. We wish to thank Dr. Heidi J. Hornik, Professor of Italian Renaissance and Baroque Art History at Baylor University, for her kind assistance in cataloguing the present lot based on photographs.

$15,000-25,000

european art & old masters

LOT 26 PIETER NASON (dutch 1612-1688) PORTRAIT OF A COMMANDING OFFICER Signed and dated ‘P. Nason. f/1667’ bottom left, oil on canvas 52 3/8 x 42 in. (133 x 106.7cm) provenance: Frederick Muller, Amsterdam, the Netherlands, sale of November 27, 1906, Lot 136. Frederik Muller, Amsterdam, The Netherlands, sale of May 14, 1912, Lot 150. Frederik Muller, Amsterdam, The Netherlands, sale of November 8-15, 1955, Lot 313. D. Katz, Dieren, The Netherlands. Acquired directly from the above on August 14, 1940. Alois Miedl, caretaker of Jacques Goudstikker, Amsterdam, The Netherlands. Gifted from the above on August 19, 1944. Collection of Dr. E. Plietzsch. Private Collection, Philadelphia, Pennsylvania.

note: Dutch painter Pieter Nason was born in Amsterdam in 1612. Much of his career as a portraitist was spent in the nearby city of The Hague, where, in 1639, he was accepted as a member by the St. Luke’s Guild of Painters. In 1656, Nason helped establish the Confrerie Pictura along with nearly fifty other artists, including Jacob van der Does and Willem Doudyns. While little is known about Nason’s life, it is believed he was a pupil of Jan van Ravesteyn, another founding member of the Confrerie Pictura and a portraitist for the Royal Court. The present piece, executed in 1667, is indicative of Nason’s style of portraiture, with firm roots in the Dutch Golden Age of painting. We wish to thank the Netherlands Institute for Art History, also known as the R.K.D., for confirming the authenticity of the present lot, and for their assistance in cataloguing the present lot.

$10,000-15,000 (detail)

european art & old masters

Moreelse,

LOT 27 AFTER PAULUS MOREELSE (dutch 1571-1638) THE HOLY FAMILY Oil on canvas 37 x 33 in. (94 x 83.8cm) provenance: Sotheby Parke Bernet, London, sale of July 11, 1979, lot 318 (sold as by Louis Testelin). Alan Jacobs Gallery, London, The United Kingdom, 1985 (sold as by Jan van Bijlert). Sothebyâ&#x20AC;&#x2122;s, New York, sale of June 5, 1986, lot 37 (sold as by Jan van Bijlert). By descent in the family of the present owner.

literature: Eric Domela Nieuwenhuis Nyegaard, Paulus Moreelse (1571-1658), Leiden, 2001, vol. 2, p. 618, no. SRH206-1. note: We wish to thank the Netherlands Institute for Art History, also known as the R.K.D., for their assistance in cataloguing the present lot.

$4,000-6,000 (detail)

european art & old masters LOT 50 MANNER OF CLAUDE MICHEL CLODION (french 1738-1814) “BACCHANT, BACCHANTE ET PETIT SATYRE” Signed and dated ‘Clodion 1765’ on barrel, Roman terracotta Height (including base): 16 1/4 in. (41.3cm) Width: 10 1/2 in. (26.7cm) provenance: Collection of M. Barbedienne, Paris. Paris, sale of June 1882, lot 504. Collection of M. Beurdeley The Elder, Paris. Paris, sale of April 22-25, 1883, lot 282 (illustrated). Sotheby’s, New York, sale of May 31, 1990, lot 158. Acquired directly from the above. Property from the Daniel W. Dietrich Foundation. literature: Henri Thirion, Les Adam et Clodion, A. Quantin, Paris, 1885, p. 196 (illustrated). Guilhem Scherf, “Autour de Clodion: Variations, Répétitions, Imitations,” Revue de l’Art. no. 1, vol. 91, 1991, p. 47-59, note 50. Anne Poulet and Guilhem Scherf, Clodion 1738-1814, Réunion des Musées Nationaux, Paris, 1992, p. 32-33, note 103. note: Throughout his career, Claude Michel, also known as ‘Clodion,” created small terracotta sculptures of bacchanalian subjects. His best works were completed in 1780-1790 sculptures that he is best known for today. The present lot can be compared to similar terracotta sculptures including: “The Satyr with two Bacchantes and a Baby Satyr,” now at the Frick Collection in New York, and “The Drunken Satyr with Two Bacchantes and a Baby Satyr” at the National Gallery in Washington D.C. All three works were undocumented until 1840, and share the same characteristics: they are very complex and revolve around a dense center, with the figures projecting toward the exterior of the sculpture. According to Anne L.Poulet, previous Curator of European Decorative Arts at the Museum of Fine Arts in Boston, and Guilhem Scherf, Curator of Sculptures at the Musée du Louvre in Paris, both writers of the Clodion Exhibition Catalogue in 1991, these sculptures may have been produced around 1840, most likely under the supervision of French metal worker Ferdinand Barbedienne, who produced bronze versions of the group until 1900, and executed by an artist who was very well aware of the Bacchanalian subjects Clodion executed in 1780-1790. Other versions of the present group are said to have appeared at auction in Paris; one terracotta belonging to Baron Roger was sold in Paris in December 1881 as Lot no. 201 (it incorporated a flute, which does not appear in the present lot). The present version belonged to M. Barbedienne and was sold in June 1882. It is now considered to be the same terracotta that belonged to M. Beurdeley Père, before it was sold in April 1883. It is illustrated p. 196 in Thirion’s aforementioned book.

$5,000-8,000

LOT 49 EUROPEAN SCHOOL probably 18th-19th century PORTRAIT BUST OF HOMER; WITH PEDESTAL Marble Height of bust: 20 1/2 in. (52.2cm) Height of pedestal: 43 in. (109.2cm) Width of bust: 14 in. (35.6cm) provenance: Private Collection, Philadelphia, Pennsylvania. note: The present bust depicts the prolific Greek author Homer, whose epic poems all but define ancient Greek literature and mythology. As Homer was widely believed to have been blind, the eyes of the bust are given a flattened, milky appearance, without distinctly carved pupils, fixing the writer’s haunting gaze at a vague distance. The bust shares similarities with a well-known Roman model executed after the lost Greek original from the 2nd-1st century BCE. It is also similar, though with some differences (including the vestment not found in the present lot) to Homer busts that Francis Harwood (British 1748-1783) executed, two of which are now in English public collections: the Victoria and Albert Museum, London, and Castle Ashby, Northamptonshire. Another version by Harwood, signed and dated 1757, was sold at Sotheby’s London, lot 105, December 3, 2014.

$6,000-8,000 (Pedestal not pictured) 8

european art & old masters

LOT 40 GIACINTO DIANO (italian 1730–1803) SCENE FROM THE LIFE OF SAINT BENEDICT Oil on canvas 30 1/8 x 47 1/4 in. (76.5 x 120cm) provenance: Private Collection, Virginia.

note: From the 1740s until his death in 1782, Francesco De Mura (1696-1782) was the most important artist in Naples. Giacinto Diano was educated in the 1750s in Francesco de Mura’s studio. Along with Pietro Bardellino and Francesco Narici, he ended the long and illustrious tradition of the ‘Grande Decorazione’ in Naples, which drew together the Baroque, the classical and the Rococo styles, and used the same colors, delicate pastel tones, and precious mother-of-pearl tones of the Italian masters. The works of Francesco de Mura and Giacinto Diano are often consufed since Diano was the closest student to De Mura in his studio. A stunning series of images by Francesco de Mura of the Life of Saint Benedict is on the ceiling of the church of Santi Severino e Sossio in Naples, Italy. The present painting may be a bozzetto (oil study) for a much larger work. It was executed circa 1765, possibly for a church, and probably as part of a larger series. A comparable composition by Giacinto Diano, dated 1759 is at The Museum of Fine Arts in Boston, Massachusetts. We can also compare this work to Diano’s oval bozetto of the Madonna and Child Appearing to Saint Dominic in Odessa, which may relate to the Boston bozetto, since both depict Saint Dominic. We wish to thank Mr. Arthur Blumenthal, Director Emeritus of the Cornell Fine Arts Museum at Rollins College and Curator of the 2016-17 exhibition on Francesco de Mura (the first ever on the artist), for his kind assistance in cataloguing the present lot.

$8,000-12,000

european art & old masters

LOT 56 JOHN BYAM SHAW (british 1872-1919) “WHEN ALONE SHE SITS WITH HER MUSIC AND BOOKS” Signed and dated ‘BYAM SHAW 99’ upper right; also with title in a predella and inscribed ‘MAUD’, with raised seal containing artist’s monogrammed signature on gilded frame with mother of pearl inlay, oil on canvas 13 x 10 in. (33 x 24.4cm)

There, he was heavily influenced by both Millais and Dante Gabriel Rossetti, a poet and an artist, whose wish for the Pre-Raphaelite Brotherhood, as it was known, was to develop a symbiotic link between poetry and painting. The subjects of many of Shaw’s paintings were inspired by Rossetti’s poems. The present painting’s title is taken from a verse of a poem by Alfred Lord Tennyson, “Maud,” which is found painted at the bottom of the frame: “When alone she sits with her music and books.” Elaborately framed, with a mother of pearl border and a copper painted seal with Shaw’s initials entwined in a cipher, the painting depicts Maud in a lavish cream gown adorned with flowers, her bell sleeves resembling gossamer wings; behind her, stacked precariously on sofa of deep olive and red, are several large books to which Tennyson refers. Her face, though caught in shadow, shows rosy cheeks and the classical, elegant features so representative of the Pre-Raphaelite style. Her left hand rests on the keys of the harpsichord as she flips through sheet music, while through the window creeping vines frame the rolling landscape beyond, where, Ten-

provenance: Private Collection, Iowa. note: John Byam Liston Shaw was an important Pre-Raphaelite artist, born in India in 1872 to British parents. At age 15, his work was shown to English painter John Everett Millais, a founder of the Pre-Raphaelite movement and the youngest student to enroll at the Royal Academy Schools, who encouraged Shaw to enter the St. John’s Wood Art School in London. Shaw later studied at the Royal Academy Schools, following in Millais’ footsteps.

nyson writes, “Maud has a garden of roses, and lilies fair on a lawn.”

$15,000-25,000 10

european art & old masters

LOT 29 NORTHERN NETHERLANDISH SCHOOL 18th century SADDLING THE HORSE Oil on canvas laid down to masonite 96 x 84 in. (243.8 x 213.3cm)

LOT 30 NORTHERN NETHERLANDISH SCHOOL 18th century EXTENSIVE MOUNTAINOUS RIVER LANDSCAPE Oil on canvas laid down to masonite 96 x 90 3/8 in. (243.8 x 229.6cm)

provenance: Collection of Henry Francis du Pont, Winterthur, Delaware. Christie’s, New York, sale of October 14, 1994, lot 219. Sothebys, New York, sale of May 19, 2006, lot 77. Private Collection, Canada.

provenance: Collection of Henry Francis du Pont, Winterthur, Delaware. Christie’s, New York, sale of October 14, 1994, lot 220. Sothebys, New York, sale of May 19, 2006, lot 78. Private Collection, Canada.

$8,000-12,000

LOT 28 NORTHERN NETHERLANDISH SCHOOL 18th century COURTSHIP BY THE RIVER Oil on canvas laid down to masonite 96 x 83 7/8 in. (243.8 x 213cm) provenance: Collection of Henry Francis du Pont, Winterthur, Delaware. Christie’s, New York, sale of October 14, 1994, lot 217. Sothebys, New York, sale of May 19, 2006, lot 76. Private Collection, Canada.

$8,000-12,000

european art & old masters

LOT 78 WILLIAM CLARK (scottish 1803-1883) “SHIPPING OFF THE CLOCH LIGHTHOUSE” Signed and dated ‘W. Clark 1837’ bottom left, oil on canvas 23 1/8 x 37 in. (58.7 x 94cm)

LOT 80 WILLIAM CLARK (scottish 1803-1883) “THE FINISHING GUN - A REGATTA OF THE ROYAL CLYDE YACHT CLUB” Signed and dated ‘William Clark 1865’ bottom left, oil on canvas, 11 x 15 in. (27.9 x 38.1cm)

provenance: Private Collection, United Kingdom.

provenance: Private Collection, United Kingdom. literature: A.S. Davidson, Marine Art & The Clyde, 100 Years of Sea, Sail & Steam, Wirral, 2001, ill. col. pl. 75.

$5,000-7,000

$3,000-5,000

LOT 77 WILLIAM GAY YORKE (british/canadian 1817-CIRCA 1888) THE AMERICAN BARQUE SEA FLOWER BOUND FOR LIVERPOOL, SIGNALING FOR A PILOT OFF THE SKERRIES Signed, located and dated ‘Wm York L.pool March 1860’ bottom right, oil on canvas 27 1/4 x 36 1/2 in. (69.2 x 92.7cm)

LOT 73 CHARLES MARTIN POWELL (british 1775-1824) “A CALM”; AND “A BREEZE” The first signed with monogram and dated ‘1891’ bottom right; both inscribed with title on partial label verso, pair oils on panel Each: 8 5/8 x 14 7/8 in. (21.9 x 37.8cm) (2)

provenance: Private Collection, United Kingdom.

$4,000-6,000

$4,000-6,000 (part lot) 12

european art & old masters

LOT 74 MONTAGUE DAWSON (british 1890-1973) “THE AMERICAN NAVY ASSISTS IN THE LAND FORCES DURING THE FIGHTING ON OKINAWA” Signed ‘Montague Dawson’ bottom left, oil en grisaille on board 9 1/2 x 17 3/4 (24.1 x 45.1cm) provenance: The Artist. Frost & Reed, London, The United Kingdom. Talford Galleries, Hubbard Woods, Illinois. Collection of Frank Wilbur Stuhlam, Esq., New York, New York.

Private Collection, New Jersey. note: The grandson of maritime painter Henry Dawson, British painter Montague Dawson was born in London in 1890 with the sea already in his blood. The younger Dawson served in the Royal Navy during World War I, and again in World War II as a war artist. His work from this time was published in both newspapers and magazines, most notably “The Sphere”, where his numerous depictions of the German surrender during WWI earned him notoriety. Dawson’s experience of the sea is visible in his finely rendered ship portraits. Unparalleled as an observer and recorder of all manner of ships, few 20th century painters were as skilled or highly regarded in the genre of marine art. The Battle of Okinawa was one of the defining Pacific battles of World War II. US troops invaded the Japanese island on April 1, 1945, launching an 82-day offensive that included coordinated efforts by land forces as well as the US and British Naval Fleets. By the battle’s end in late June 1945, more than 150,000 military and civilian casualties had been recorded, making it the bloodiest of the Pacific War battles. The present pieces depicts a US Naval destroyer anchored off the coast of Okinawa, surrounded by a haze of gun smoke and the sharp splashes of return shelling. Dawson’s intentional use of a muted, gray color palate conveys to the viewer the magnitude of the bleak, violent scene.

$8,000-12,000

OTE: european art & old masters We wish to thank Ms. Nicole Verdier for confirming the authenticity of the present lot. The painting will be include ertificate of Authenticity. LOT 156 ÉDOUARD LÉON CORTÈS (french 1882-1969) “RUE DE LA PAIX” Signed ‘Édouard Cortès’ bottom left; also inscribed with title on upper stretcher verso, oil on canvas 13 x 18 in. (33x 45.7cm)

provenance: The Artist. Given directly from the above. Galerie F. Clair, Paris, France. Acquired from the above on August 23, 1949. Herbert Arnot Inc., Arnot Gallery, New York, New York. Acquired directly from the above on September 9, 1949. Peikin Gallery, New York, New York. Private Collection, Pennsylvania. note: We wish to thank Ms. Vicki Arnot and Ms. Nicole Verdier for confirming the authenticity of the present lot. The painting will be included in the forthcoming new volume of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Certificate of Authenticity.

$15,000-25,000

LOT 159 ÉDOUARD LÉON CORTÈS (french 1882-1969) AVENUE DE L’OPÉRA, SOIR DE NEIGE Signed ‘Edouard Cortès’ bottom right, oil on canvas 13 1/4 x 18 (33.7 x 45.7cm) provenance:

International Galleries, Chicago, Illinois. Private Collection, Virginia. By descent in the family. note:

We wish to thank Ms. Nicole Verdier for confirming the authenticity of the present lot. The painting will be included in the forthcoming new volume of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Certificate of Authenticity. $20,000-30,000

ÉDOUARD LÉON CORTÈS (french 1882-1969) The son of Spanish court painter Antonio Cortès, Édouard Cortès was born in Lagny-sur-Marne, Normandy, in 1882. In 1900, he exhibited a painting of a dramatic Parisian street scene at dusk, which brought him immediate fame. At that time, the French capital was considered the center of the art world, and attracted many artists who would live and study there. City scenes were also in great demand, and Cortès decided to make this genre his niche. For more than sixty years, his views of Paris were among the most telling and poetic images of the period. Biographer David Klein writes: “Paris changed during the years that Cortès painted it, and the changes appear in his paintings. Horses and carriages disappear in favor of cars and trams; women’s hourglass silhouettes and picture hats give way to boyish figures in short skirts and little furs, gas streetlights turn into neon signs and glaring headlights. 14

european art & old masters ed in the forthcoming new volume of the Catalogue Raisonné of the artist’s work, and will be accompanied by a LOT 157 ÉDOUARD LÉON CORTÈS (french 1882-1969) “BOULEVARD DE LA MADELEINE” Signed ‘Edouard Cortes’ bottom right, oil on canvas 13 x 18 in. (33x 45.7cm) provenance: MacConnal-Mason Gallery, London, The United Kingdom. Christie’s, London, sale of November 29, 1991, lot 83. Acquired directly from the above sale. Private Collection, Pennsylvania. note: We wish to thank Ms. Nicole Verdier for confirming the authenticity of the present lot. The painting will be included in the forthcoming new volume of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Certificate of Authenticity.

$20,000-30,000

LOT 155 ÉDOUARD LÉON CORTÈS (french 1882-1969) “PORTE SAINT-DENIS AU CRÉPUSCULE” Signed ‘Édouard Cortès’ bottom right, oil on canvas Executed circa 1905. 12 7/8 x 18 1/8 in. (32.7 x 46.3cm) provenance: Galerie Rain, Paris, France. David David, Inc., Philadelphia, Pennsylvania. Acquired directly from the above in 2006. Private Collection, Massachusetts.

$12,000-18,000

But despite two world wars and the introduction of the machine age, the Paris of Cortès remains primarily the city of the Belle Époque. His paintings are often filled with nostalgia for the period”. Through his masterly application of bold brush strokes and colorful palette, Cortès was able to capture the slightest details of the “City of Lights,” including the dazzling rain on the pavements or the fashionable inhabitants depicted next to iconic and historic monuments. Far from being purely aesthetic, his works also display the profound knowledge he held of perspective and composition. Indeed, almost all of his canvases show traces of a pinprick hole, from which he would draw the main lines of the composition. After a lifelong dedication to capturing the magic of Paris during its transition from the Belle Époque to the modern era, Cortès ultimately retired to his native Normandy, where he painted more picturesque scenes until his death in 1969. We wish to thank Ms. Nicole Verdier for confirming the authenticity of the present lot. The painting will be included in the forthcoming new volume of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Certificate of Authenticity. 15

european art & old masters LOT 94 HUGO WILHELM KAUFFMANN (german 1844-1915) A PERFECT FIT Signed and dated ‘Hugo Hauffmann./10.’ bottom left, oil on panel 14 1/2 x 18 1/2 in. (36.8 x 47cm) provenance: Private Collection, United Kingdom.

$8,000-12,000

LOT 35 PIETER CASTEELS III (flemish 1684-1749 ROOSTER IN A LANDSCAPE Signed and dated ‘P. Casteels * 17**’ bottom right, oil on canvas 30 3/4 x 25 5/8 in. (78.1 x 65.1cm) provenance: Private Collection, North Carolina. NOTE: The son of Pieter Casteels II (referred to as Casteels the Younger) and the grandson of Pieter Casteels the Elder, Flemish painter Pieter Casteels III was born in Antwerp in 1684. While Casteels II was best known for his capriccio harbor scenes and landscapes of his native Antwerp, Casteels III worked primarily in England, where he immigrated in 1708 at the age of 24 and began his career copying Old Master paintings for a London dealer. Casteels III painted still lifes of flowers, and bird and game scenes, and in 1726 produced a volume of twelve plates of bird etchings. Following the success of the publication, he created similar volumes for both flowers and fruit. We wish to thank the Netherlands Institute for Art History, also known as the R.K.D., for confirming the authenticity of the present lot.

$5,000-7,000

LOT 31 ANTHONY JANSZ VAN DER CROOS (dutch 1606-1662) FISHING OFF THE COAST Signed and dated ‘AV. Croos. F 16**’ on the pier at bottom left, oil on panel 22 x 22 9/16 in. (55.9 x 57.3cm) provenance: Private Collection, Pennsylvania. note:: We wish to thank the Netherlands Institute for Art History, also known as the R.K.D., for confirming the authenticity of the present lot.

$6,000-8,000

european art & old masters

LOT 128 JEAN-LOUIS FORAIN (french 1852-1931) SCÈNE DE TRIBUNAL Signed ‘Forain’ upper right; also inscribed with artist on stretcher verso, oil on canvas 23 7/8 x 28 7/8 in. (60.6 x 73.3 cm) provenance: Collection of Mr. Adolph Lewisohn (per label verso). Collection of Mr. and Mrs. Lessing J. Rosenwald. By descent in the family. Private Collection, Vermont. exhibited: “Jean-Louis Forain, 1852-1931: Exhibition of Paintings,” Springfield Museum of Fine Arts, Springfield, Massachusetts, April 15-May 20, 1956 (illustrated in the exhibition catalogue). Carnegie Institute, Pittsburgh, Pennsylvania , no. 154.

note: Born in Reims in 1852, Jean-Louis Forain moved to Paris at an early age. There, he studied at the École des Beaux-Arts with Jean-Léon Gérôme. In the 1870s, Forain became associated with several painters of the Impressionist movement. The group had a great influence on Forain’s work, exposing him to new theories of color and light, and encouraging him to represent scenes of everyday life in Paris. Forain looked up to Édouard Manet (1832-1883), and appreciated his way of depicting French women. He also admired Édgar Degas (1834-1917), and together the two would paint and draw many Parisian subjects. By 1900, however, Forain’s style had changed, both in technique and subject matter. At that time, he began concentrating mostly on the depiction of French law courts. He turned away from the Impressionists’ colorful palette and naturalistic lighting. Instead, he explored somber colors (mainly black, gray, and brown) and displayed his talent in dramatic chiaroscuro effects. The present painting is a perfect example of Forain’s syle. Forain has placed the half-length figures close to the picture plane, bringing the viewer into the scene. The characters are all semi-monumental and lit very dramatically. Unlike Honoré Daumier’s (1808-1879) graphic work, to which Forain’s paintings are often compared, he does not distort figures or caricature them for heightened effect. We wish to thank Ms. Florence Valdès-Forain for confirming the authenticity of the work. The painting will be included in the forthcoming edition of the Catalogue Raisonné of the artist’s work.

$6,000-10,000 17

european art & old masters

LOT 130 HENRY MORET (french 1856-1913) “LORIENT” Signed, titled and dated ‘Henry Moret/Lorient/90’ bottom left, oil on canvas 14 3/4 x 17 3/4 in. (37.5 x 45.1cm) provenance: Private Collection, Pennsylvania. note: “Henry Moret is all about Brittany; Brittany is all about Moret”. This observation by author Henri Hugault in 1959 accurately describes French artist Henry Moret’s paintings, as many depict Brittany, a hilly peninsula in the northwest of France. Henry Moret discovered the rugged landscapes of Brittany when he was 19, while on military service. When his superior noticed his artistic talents, he decided to send him to art class. There, he studied under the direction of Ernest Corroler, who taught him the art of landscape painting and encouraged him to enroll at the École des Beaux-Arts in Paris, where he studied under Jean-Léon Gérome and history painter Jean-Paul Laurens. After spending several years in the French capital, Moret decided to return to Brittany. He briefly stayed in Le Pouldu in 1881, before moving to PontAven, where he met Émile Jourdan, Charles Lavant and Paul Gauguin, who strongly influenced his work. In 1895, he was introduced to the Durand-Ruel Gallery, who turned out to be his main client until his death.

note: The present painting depicts the city of Lorient, where the artist completed his military service at the age of 19, and where he returned to live in 1896. Moret’s oeuvre includes other scenes of Lorient. In the present painting, the artist invites us to a promenade along a street covered with autumn leaves during a beautiful, peaceful day. When Moret moved back to Lorient, he found new inspiring themes and immersed himself more in Impressionism, hence revealing his love of nature. The present painting seems to illustrate this transition of style, as the paint is applied in rich flecks rather than broad strokes, which were typical of the Pont-Aven Artist Colony at the same time. We wish to thank Mr. Jean-Yves Rolland for confirming the authenticity of the present lot. The 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.

$30,000-50,000

european art & old masters

LOT 131 BLANCHE HOSCHEDé-MONET (french 1865-1947) “LES OMBRES SUR LA PRAIRIE” (GIVERNY, LA PLAINE DES AJOUX) Signed ‘Blanche Hoschede’ bottom left, oil on canvas 18 1/8 x 25 3/4 in. (46 x 65.4cm)

movement itself. Unlike the other woman Impressionists, Blanche did not choose to paint domestic scenes in which women were depicted caring for children, sewing, or reading in fashionable gowns. She focused instead on depicting the surrounding landscape, where she would wander in search of the perfect subject. Painting en plein air proved liberating, as she did not need a studio or models, but could choose where and when she wished to work. Blanche was encouraged in her artistic journey by Monet himself, who reportedly told Alice that he wanted Blanche to “seriously involve herself in painting in a total way.” Blanche’s style is directly inspired by Claude Monet, and it is sometimes difficult to differentiate between their respective work. Her subjects often revolve around Monet’s house in Giverny, where she lived as a child until 1897 and where she returned to live after Jean’s death in 1914. The house, the botanical gardens and the surroundings appealed to her because of their grandiose and lofty appearance. The present painting depicts a field of poplar trees at Ajoux, between Giverny and the Seine river. Blanche returned to this particular meadow multiple times throughout her career, captivated by the majesty of the trees which once enchanted her stepfather. “Les Ombres Sur la Prairie “ shows Blanche’s confident yet delicate touch. The poplar trees slender forms are set against a pale blue afternoon sky. Their tortuous brown trunks shine in the dazzling light, forming a harmony with the deep greens and blues of the field and its trenches. The extraordinarily rich surface is marked by vigorous brushwork, which all exemplify the technique Blanche learned by Monet’s side.

provenance: Arthur Lenas, Paris, France. Private Collection, Pennsylvania. exhibited: “Blanche Hoschedé-Monet,” Galerie Zak, Paris, France, November 19-December 3, 1954, no. 11. note: Blanche Hoschedé-Monet became part of an important family at the core of the French Impressionist movement when her mother, Alice Hoschedé, became Claude Monet’s second wife. She subsequently married Monet’s eldest son, Jean, making her not only Monet’s step daughter, but also his daughter-in-law. Blanche discovered painting at the age of eleven. Motivated and encouraged by her stepfather, she would paint en plein air next to him, and soon became his assistant and pupil. Monet took pride in the fact that Blanche was his only pupil. Although she mainly painted for her own pleasure, Blanche submitted several works to the Salon in 1888, but was eventually refused. She tried again several years later and exhibited seven of her paintings at the Salon des Indépendants in 1905, where Paul Durand-Ruel purchased one of her works. Blanche’s career has often been viewed in terms of her connection to Claude Monet. However, her paintings unveil a unique personality which should be assessed, not only in relation to the women artists associated with the Impressionist movement, including Berthe Morisot, Mary Cassatt or Eva Gonzalés, but with the Impressionist

We wish to thank Mr. Philippe Piguet for confirming the authenticity of the present lot. The 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.

$40,000-60,000

european art & old masters

LOT 153 JEAN DUFY (french 1888-1964) “AUX COURSES” Signed ‘Jean Dufy’ bottom center left, oil on canvas 13 x 18 1/4 in. (33.02 x 46.4cm)

provenance: The Estate of Richard M. Scaife, Pennsylvania. note: A favorite subject of the artist, “Aux Courses” captures the intensity of a horse race, likely at the famous Longchamp Racecourse located in the Bois de Boulogne to the west of Paris. Dufy’s characteristic long, sharp lines are repeated in the sweeping trees and concourse of the covered stadium seating, as well as in the slanting figures of the horses and jockeys. The overall effect creates a sense of dramatic urgency in the scene, a dynamism that transports the viewer to the sidelines of the race. Dufy returned to this theme frequently over his career, fascinated by both the animal and the sport. We wish to thank Mr. Jacques Bailly for confirming the authenticity of the present lot. The 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.

$20,000-30,000

european art & old masters

LOT 154 JEAN DUFY (french 1888-1964) “PARIS - PLACE CLICHY” Signed ‘Jean Dufy’ bottom right, oil on canvas 15 1/4 x 18 1/2 in. (38.7 x 47cm) provenance: David B. Finlay Galleries, New York, New York. The Estate of Richard M. Scaife, Pennsylvania.

note: Jean Dufy was born in the port town of Le Havre in 1888 and moved to Paris in 1912. The younger brother of Raoul Dufy (18771953), who became his mentor throughout his artistic career, he is best known for his depictions of the sprawling new architectural landscape of the French capital, along with society life, orchestras, and horse racing. Though stylistically different, the two brothers both inherently understood Parisian life at the time. “Paris - Place Clichy” depicts the major intersection that joins the eighth, ninth, seventeenth, and eighteenth arrondissements in northwest Paris. At the center of the bustling place stands a statue of the sculptor and artist Amédée Doublemard, surrounded by a blur of horse drawn carriages and small vehicles. The angular rooftops of the grands bâtiments appear almost as ship masts, slicing across the rich blue sky. The newly constructed Basilique du Sacré-Coeur, completed in 1914, stands sentry in the distance, presiding over the neighborhood from the highest point in the city. Jean Dufy’s quick, strong brushstrokes and confident use of color are a hallmark of his modernist style. We wish to thank Mr. Jacques Bailly for confirming the authenticity of the present lot. The present 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.

$20,000-30,000

european art & old masters

LOT 129 PAUL SIGNAC (french 1863-1935) “BOURG-SAINT-ANDÉOL, LES QUAIS DU RHÔNE” Signed ‘P. Signac’ bottom right, watercolor on paper Executed circa 1925. Sheet size: 12 x 17 1/2 in. (30.5 x 44.5cm) provenance: Collection of Georg Wertheim (1857-1939). Collection of Lotte Wertheim (1904-1990). Private Collection, Virginia. note: Paul Signac was born in Paris in 1863. In 1880, while attending the fifth exhibition of the Impressionists, he became immediately transfixed upon seeing the work of Claude Monet. So inspired was Signac by the artist’s style and ability that he decided to abandon his architecture studies and commit himself to painting. He eventually became friends with Monet, whom he revered as a mentor, as well as Camille Pissarro and Vincent van Gogh. In 1885, he met Georges Seurat, with whom he would develop Pointillism. Many of Signac’s most famous works are executed in this style, with the small dots of color applied directly to the canvas rather than being blended on a palette. The majesty of the open water was an enduring source of fascination for the artist, who settled briefly in 1889 in the coastal town of Cassis-from where many of his letters to van Gogh were written-before eventually buying a home in St. Tropez. In 1892, he purchased a small sailboat, upon which he sailed to the major ports of France. In the years that followed, Signac’s work was infused with depictions of the sea and local waterways-usually scattered with masted sailboats likely not dissimilar to his own-including the port of Marseille, the Rhône, the Seine, and even the small

island of Groix, off the northern coast of the country. In the present piece, Signac has presented the viewer with an intimate view of the river, which snakes its way through France from Lyon to Arles. From his friendship with Van Gogh to his own interest in water, Signac traveled extensively along much of the Rhône throughout his career, including the small commune of Bourg-Saint-Andéol. The curving shapes of the surface of the water and the curling plumes of smoke at right create a gentle cohesion in the piece, and his lightened color palate of greens and blues sparkle despite their inherent transparency. Executed at the end of the first quarter of the 20th century, as Signac was moving away from the refined exactness of Pointillism, the present painting was typical of the artist’s oeuvre at that time, as he frequently created quick sketches and watercolors en plein air before returning to his studio to paint the final versions on canvas. In a letter to Monet in July 1920, after a long illness, Signac speaks of his doctor’s recommendation to convalesce at a health spa in in the thermal springs of Auvergne, to which he writes, “I decided I’d rather take a watercolor cure in this port [of La Rochelle] with its multicolored sails and hulls and its silvery light.” We wish to thank Ms. Marina Ferretti for confirming the authenticity of the present lot. The painting will be included in the forthcoming new edition of the Catalogue Raisonné of the artist’s work, and will be accompanied by a letter of authenticity.

$15,000-20,000

european art & old masters LOT 150 JEAN JANSEM (french 1920-2013) “LA PETITE SOEUR” Signed ‘Jansem’ bottom left, oil on canvas 46 x 32 in. (116.8 x 81.3cm) provenance: Wally Findlay Galleries, New York, New York. An Estate, Philadelphia, Pennsylvania.

$8,000-12,000

LOT 147 RENÉ RIMBERT (french 1896-1991) “HENRI IV - LE PONT NEUF - L’ILE DE LA CITÉ” Signed and dated ‘R Rimbert-1969-’ bottom right; also inscribed (twice) with title on stretcher verso 12 x 16 1/8 in. (30.5 x 41cm) provenance: An Estate, Philadelphia, Pennsylvania.

$5,000-8,000

european art & old masters

LOT 125 SOPHIE ANDERSON (french 1823-1903) “LITTLE BOY BLUE COME BLOW YOUR HORN” Signed ‘Sophie Anderson’ on upper stretcher verso; also inscribed with title on bottom stretcher verso, oil on canvas 12 x 10 in. (30.5 x 25.4cm)

LOT 127 CHARLES AMABLE LENOIR (french 1861-1940) GIRL IN PASTORAL SETTING Signed ‘C.A. Lenoir’ bottom right, oil on canvas 21 3/4 x 18 1/2 in. (55.2 x 47cm)

provenance: Mandell’s Gallery, Norwich, Norfolk. Private Collection, United Kingdom.

provenance: Collection of R. Graham Stewart (per label verso). Private Collection, United Kingdom. exhibited: Paris Salon, 1912 (per label verso).

$3,000-5,000

$4,000-6,000

LOT 116 ALBERT ANDRÉ (french 1869–1954) “LA CHASSE: L’AFFÛT” Oil on canvas Executed in 1901. 19 x 57 3/4 in. (48 x 146.5cm)

provenance: The Artist. Acquired directly from the above in 1901. Collection of Paul Durand-Ruel, Paris. Collection of Madame d’Alayer, née Marie-Louise Durand-Ruel. Sotheby’s, London, sale of June 23, 1993, Lot 191 (part of lot, which comprised seven paintings by Albert André). Acquired from the above sale. Private Collection, Philadelphia, Pennsylvania. note: Albert André executed this painting, along with six other canvases, for the dining room of Joseph Durand-Ruel’s apartment at 37, rue de Rome in Paris. The artist was also commissioned to decorate the Petit Salon of Paul Durand-Ruel’s apartment at 35, rue de Rome. 26

$6,000-8,000

european art & old masters

LOT 84 VINCENZO IROLLI (italian 1860-1949) “UN INTERNO GIAPONESE” Signed ‘V. Irolli’ bottom left, oil on canvas 29 1/8 x 20 in. (74 x 50.8cm) provenance: Private Collection, Puerto Rico.

$7,000-10,000

LOT 59 WILLIAM HENRY MARGETSON (british 1861-1940) BURNING AUTUMN LEAVES Signed and dated ‘W.H. Margestson/1902’ bottom right, oil on canvas 27 1/8 x 19 7/8 (68.9 x 50.5cm) provenance: Private Collection, New Jersey.

$10,000-15,000

european art & old masters

LOT 126 ÉTIENNE ADOLPHE PIOT (french 1850-1910) “SAPPHO” Signed ‘A. Piot’ bottom left, oil on canvas 18 1/4 x 15 in.(46.4 x 38.1cm) provenance: Private Collection, Virginia.

$5,000-7,000 (detail)

european art & old masters

LOT 180 CELSO LAGAR (spanish 1891-1966) “THE FAMILY GROUP” Signed ‘Lagar’ bottom right, oil on canvas 52 1/2 x 43 1/2 (133.4 x 110.5cm) provenance: Crane Kalman Gallery, London, The United Kingdom. An Estate, California. note: A pupil of Miguel Blay and friends with fellow artists Amedeo Modigliani, Fernand Leger and André Derain, Celso Lagar was a Spanish expressionist painter whose oeuvre featured circus themes - including harlequins, acrobats and clowns - along with still lifes, landscapes and portraits. He originally studied sculpture which he abandoned in favor of painting.

$25,000-40,000 (detail)

european art & old masters LOT 133 MANÉ-KATZ (french/ukrainian 1894-1962) “FLEURS” Signed ‘Mané-Katz’ bottom left, oil on canvas 29 1/8 x 24 1/8 in. (74 x 61.3cm) provenance:

The Artist. The Estate of the Artist. Maison Bernard, Galería de Arte S.R.L., Caracas, Venezuela. Acquired directly from the above in 1972. Private Collection, Venezuela. note:

We wish to thank Mr. Lucien Krief for confirming the authenticity of the present lot. $6,000-10,000

LOT 96 ALEXANDER MAX KOESTER (german 1864–1932) STILL LIFE OF FLOWERS Signed ‘A. Koester’ bottom left, oil on canvas 24 5/8 x 31 3/8 in. (62.5 x 79.7cm) provenance: Private Collection, Florida.

$8,000-12,000

european art & old masters

LOT 123 HUGUES MERLE (french 1823-1881) WOMAN WITH BLUE BOW Signed ‘Hugues Merle’ center left, oil on canvas 22 1/8 x 18 3/8 in. (56.2 x 46.7cm) provenance: (By repute) James Antiques, Chicago, Illinois. By descent on the family of the present owner. From the Collection of a Chicago Lady.

$7,000-10,000 (detail)

european art & old masters

LOT 177 GEORGY GABASHVILI (georgian 1862–1936) THE ROAD TO BUKHARA Signed in Cyrillic bottom left, oil on canvas 30 1/2 x 63 1/8 in. (77.5 x 160.3cm) provenance: Collection of Dr. Richard Lipsky. Property of a Foundation. note: Georgy Gabashvili was born in Tbilisi, Georgia, in 1862. He studied in Saint Petersburg at the Imperial Academy of the Arts, before moving to Germany to continue his education at the Munich Academy of the Fine Arts several years later.

european art & old masters

note: As one of the earliest Georgian painters to adopt Realism, Gabashvili was prolific in his depictions of his native country, often painting the townspeople and peasants that inhabited the villages surrounding the capital. For 20 years, he taught art at the Caucasus Society for Promotion of Fine Arts school. Along with other notable artists of the time, in 1922 he founded the Tbilisi State Academy of the Arts, which offered specialized tracks of study dedicated to painting, architecture, sculpture, and graphic arts. At the age of 74, Gabashavili was given the title of People’s Artist, an honor bestowed by the Georgian government for his “exceptional achievements” in the field of painting. The majority of his vast collection of artworks hangs at the National Museum of Fine Arts in Tbilisi. A certificate of authenticity from Kidobani Gallery, Tbilisi, Georgia, will accompany this painting.

$10,000-15,000 (top) 32

LOT 178 GEORGY GABASHVILI (georgian 1862–1936) CAMPFIRE Oil on canvas 28 1/2 x 60 3/8 in. (72.4 x 153.4cm) provenance: Property of a Foundation. exhibited: The National Arts Club, New York, New York, March 11-26, 2011.

$10,000-15,000 (bottom)

european art & old masters LOT 167 MARTIROS SERGEEVICH SARYAN (armenian 1880–1972) STILL LIFE OF MIXED FRUITS Signed in Cyrillic and dated ‘1952’ bottom left, oil on canvas 25 1/4 x 33 1/2 in. (64.1 x 85.1cm) provenance: Property of a Foundation.

$20,000-30,000

LOT 168 VASILI IVANOVICH SHUKHAEV (russian 1887-1972) STILL LIFE WITH FRUIT AND EWER Signed in Cyrillic and dated ‘1965’ bottom right, sanguine, gouache and pastel on paper laid down to board Sheet size: 27 13/16 x 19 5/8 in. (70.6 x 59.8cm) provenance: Property of a Foundation.

$15,000-25,000 note:

Born in Moscow in 1887, Russian painter Vasily Ivanovich Shukhaev was orphaned at an early age. He was sent by relatives at just ten years old to study at the Stroganov Central School of Technical Drawing in Moscow, thus beginning a nearly seventy year career that spanned multiple disciplines and countries. Not content to restrict himself to a single creative pursuit, Shukhaev was also a film and theater designer, decorator, and eventual educator, later becoming a professor of painting at the Academy of Arts in Leningrad and the Academy of Architecture in Moscow. In 1937, two years after his return from Europe to his native Russia, Shukhaev and his second wife were arrested for allegedly committing counter-revolutionary crimes. Shukhaev spent eight years in a labor camp, though by the end of his sentence he was working as a theater director, designing stage decorations for the Magadan Theatre of Music and Drama, a punishment that hardly seemed like one to an aesthete who thrived on creativity. Shukhaev would spend the remainder of his life after his release in the Soviet Union, specifically Tbilisi, where he continued to paint the landscapes surrounding his home in the Georgian capital and his country retreat in the mountains, in his characteristic, lushly colored palate. 33

european art & old masters

LOT 189 FIKRET MUALLA (turkish 1903-1967) “LE MARCHÉ” Signed and dated ‘Fikret Moualla 59’ bottom left, gouache on paper Sheet size: 19 3/4 x 25 3/4 in. (50.2 x 65.4cm) provenance: Galerie Reine, New York, New York. An Estate, Philadelphia, Pennsylvania.

$10,000-15,000

Fikret Mualla was born in Istanbul, Turkey, but spent much of his life in Western Europe, studying first in Germany and Switzerland before moving to Paris to paint. Mualla lived in France for close to 30 years, capturing the daily life there, in cafés and the carousing nightlife in the country’s capital in his bright, Fauvist paintings. More than two dozen of his paintings were included in the Turkish Pavilion of the International New York Fair in 1939. Though his work is generally cheerful and lively, inspired by the Bohemian circle to which he belonged, Mualla’s life was punctuated by bouts of depression and alcoholism, and the artist spent several turns in mental institutions. His forceful swings in mood are evidenced in his passionately produced works, full of a lightness and vibrancy that belie the personal complications that haunted him throughout his life. After suffering a stroke and becoming paralyzed in 1962, Mualla lived under the care of one of his patrons at her home in Nice. He died there five years later, though the Turkish President had Mualla’s remains moved to a cemetery in Üsküdar, Istanbul, in 1974, returning the artist to his native roots.

LOT 188 FIKRET MUALLA (turkish 1903-1967) CAFE SCENE Signed and dated ‘Fikret Moualla-61’ bottom center, gouache on paper Sheet size: 25 1/2 x 21 1/8 in. (64.8 x 53.7cm)

LOT 187 FIKRET MUALLA (turkish 1903-1967) STILL LIFE WITH FRUITS AND VEGETABLES Signed and dated ‘F. Moualla/52’ bottom left, oil on canvas 15 x 18 1/4 in. (38.1 x 46.4cm)

provenance: An Estate, Philadelphia, Pennsylvania.

provenance: Étude Morel, Paris, sale of April 27, 1990, lot 122. Private Collection, Pennsylvania.

$12,000-18,000

$10,000-15,000

european art & old masters

LOT 190 FIKRET MUALLA (turkish 1903-1967) “MOULIN ROUGE SUR CHÂSSIS” Signed ‘Fikret Moualla’ bottom left; also inscribed on stretcher label verso, gouache and oil on paper laid down to canvas 21 3/8 x 25 1/2 in. (54.3 x 64.8cm) provenance: An Estate, Philadelphia, Pennsylvania.

$15,000-25,000

european art & old masters LOT 102 JOHANNES ROSIERSE (dutch 1818-1901) THE NIGHT MARKET Signed ‘J. Rosierse’ bottom left, oil on board 32 1/4 x 34 7/8 in. (81.9 x 88.6cm)

note: Johannes Rosierse was born in 1818 in Dordrecht, a small town in a southern province of the Netherlands. As a young man, Rosierse apprenticed under artists Johannes Boshamer and Michiel Versteeg, through whom he was introduced to the work of Godfried Schalcken (Dutch 1643-1706). Rosierse would eventually adopt Schalcken’s style of genre painting, most notably his dramatically darkened interior scenes. Lit by a candle or by dim lamplight, the subjects are barely illuminated, and the overall effect is one of a hushed atmosphere, which draws the viewer in to the vignetted scene. The present piece, “The Night Market,” harkens back the Dutch Golden Age of painting, when depictions of local markets were intended to illustrate everyday life at the time. A produce vendor is caught in the faint glow of a tapered candle, which casts its light on the piles of fruits and vegetables and the faces of the women gathered. A hanging lamp in the background and a smaller candle to the right of the market stall are the only pinpricks of light in the otherwise inky blackness of the canvas. Rosierse returned to this style of painting almost exclusively over his career, fascinated by the restrictions of working with so little light and the dramatic effect it produced.

provenance: Private Collection, Philadelphia, Pennsylvania.

We wish to thank the Netherlands Institute for Art History, also known as the R.K.D., for confirming the authenticity of the present lot.

$10,000-15,000 (detail)

index Artist

Anderson, S. André, A. Casteels, III, P. Clark, W. Cloidion, C.M. Cortès, E.L. Dawson, M. Diano, G. Dufy, J. Dürer, A. European School Forain, JL. Gabashvili, G. Ghirlandaio Irolli, V. Jansem, J. Kauffmann, H.W. Koester, A.M. Lagar, C. Lenoir, C.A. Lucchese, M. Mané-Katz

Lot

Artist

125 116 35 78, 80 50 155-157, 159 74 40 153, 154 8 49 128 177,178 41 84 150 94 96 180 127 13 133

Margetson, W.H. Merle, H. Hoschedé-Monet, B. Moreelse, P. Moret, H. Mualla, F. Nason, P. Northern Netherlandish School Piot, É.A. Powell, C.M. Rimbert, R. Romano, G. Rosierse, J. Saryan, M.S. Shaw, J.B. Shukhaev, V. Signac, P. Tiepolo, G.B. Van der Croos, A.J. Van Honthorst, G. Van Rijn, R. Yorke, W.G. 36

Lot 59 123 131 27 130 187-190 26 28-30 126 73 147 11 102 167 56 168 129 19 31 21 6,7 77