Grogan & Company | The Fall Auction | Sunday, November 7, 2021 by Grogan & Company

THE

FALL AUCT I ON SUNDAY, NOVEMBER 7, 2021

Lot 144 Cover: Lot 36

MICHAEL B. GROGAN President & Chief Auctioneer michael@groganco.com

LUCY GROGAN EDWARDS Vice President & Jewelry Director lucy@groganco.com

GEORGINA C. WINTHROP Fine Art Director georgina@groganco.com

TAYLOR P. SEE Jewelry Specialist taylor@groganco.com

ELIZA G. HODGSON Auction Coordinator eliza@groganco.com

CLAUDIA E. DEELEY Auction Administrator claudia@groganco.com

SA L E 1 7 5

THE

FALL AUCT I ON SUNDAY, NOVEMBER 7, 2021 ∙ 11 AM

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G R O G A N C O. C O M

THE

FALL AUCT I ON SUNDAY, NOVEMBER 7, 2021 ∙ 11 AM

JEWELRY Lots 1—117

FINE ART Lots 118—226

Lot 53 Left: Lot 160

Lot 59

JEWELRY

1 TIFFANY & CO., ANGELA CUMMINGS 18K Gold and Enamel Bracelet comprising seven polished links with black enamel inlay; signed Tiffany & Co.; 26.36 dwts.; lg. 7 3/4 in. $2,000–3,000 Provenance: Property of a Lincoln, Massachusetts Estate.

2 TIFFANY & CO., ANGELA CUMMINGS 18K Gold, Lapis, and Malachite Earrings the oval-form earrings with lapis and malachite inlay; signed Tiffany & Co. Hong Kong; 10.63 dwts.; lg. 7/8 in. $1,000–1,500 Provenance: Property of a Lincoln, Massachusetts Estate.

3 TIFFANY & CO. 14K Gold Bracelet comprising oval links; signed Tiffany & Co.; 40.39 dwts.; lg. 8 in. $1,500–2,000 Provenance: Property of an Orleans, Massachusetts Estate.

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Angela Cummings became a fixture at Tiffany & Co. in the 1960s. In contrast to Tiffany’s other named designers, who drew inspiration from nature, Cumming’s linear and abstract designs communicate a modernized and feminine appeal. Inlaid jewelry became her specialty, and this deceptively simple gold and enamel bracelet exemplify Cumming’s signature style, with the serenity of line between the black and gold materials accentuating the curvaceous geometries of the bracelet’s links.

4 TIFFANY & CO. 18K Gold and Diamond 'Anemone' Earrings the anemone-form earrings each centering five fullcut diamonds within polished and twisted rope gold mounts; 0.60 tcw.; signed Tiffany & Co.; 12.90 dwts.; dia. 1 in. $1,000–1,500 Provenance: Property of a Lincoln, Massachusetts Estate.

5 TIFFANY & CO. 18K Gold and Diamond Flower Brooch featuring a four-petal articulated flower head which opens to reveal 16 full-cut diamonds weighing approx. 1.60 tcw.; further set with two full-cut diamond buds weighing approx. 0.20 tcw. within a textured gold mount; signed Tiffany & Co.; 20.52 dwts.; lg. 2 1/4 in. $1,000–2,000 Provenance: Property of a Lincoln, Massachusetts Estate.

6 18K Gold and Diamond Earclips the sea urchin-form earclips each centering a cluster of seven round brilliant-cut diamonds; approx. 0.95 tcw.; 13.70 dwts.; dia. 7/8 in. $2,000–3,000 Provenance: Property of a Pennsylvania Industrialist.

JEWELRY

7 BOUCHERON Platinum, Onyx, Coral, and Diamond Jabot the Art Deco jabot featuring polished onyx panels framed by coral beads and millegrain-set old European- and old-mine cut diamonds; signed Boucheron Paris; French assay mark; 9.03 dwts.; 7/8 x 4 3/4 in. $4,000–6,000 Provenance: Property of a distinguished American Family.

8 VAN CLEEF & ARPELS 18K Gold, Tiger's Eye, and Carnelian 'Magic Alhambra' Earrings the two quatrefoil motif earrings featuring tiger's eye further suspending carnelian; signed and numbered VCA JB00407; 8.69 dwts.; lg. 2 1/8 in. $5,000–7,000 Provenance: Property of a Massachusetts Family.

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9 BOUCHERON Platinum, Wood, and Diamond Brooch the bow brooch featuring carved wood and old European-cut diamonds; signed Boucheron Paris; French assay marks; 3.80 dwts.; 3/4 x 1 1/2 in. $1,500–2,500 Provenance: Property of a distinguished American Family.

10 18K Gold, Platinum, Carnelian, Onyx, and Diamond Pendant/Brooch the fan-formed pendant/brooch featuring carved and polished carnelian, geometric-cut onyx, and full-cut diamonds suspending a gold half-hoop inset with onyx further suspending a carved and polished carnelian pendant with onyx and full- and single-cut diamonds; 13.52 dwts.; 2 1/2 x 1 1/2 in. $1,500–2,500

JEWELRY

11 14K Gold and Diamond Pendant the pear-shape diamond measuring 12.42 x 9.01 x 4.95 mm. and weighing 3.52 cts.; lg. 1 in. $30,000–50,000 Accompanied by GIA report no. 2215940966 dated August 6, 2021 stating the diamond is G, VVS2, with very strong blue fluor. Provenance: Property of a Lincoln, Massachusetts Estate.

12 14K Gold and Diamond Earclips the spiral-form earclips each centering a bezel-set round brilliant-cut diamond weighing approx. 0.40 ct. framed by channel-set round brilliant-cut diamonds; approx. 5.00 tcw.; 8.50 dwts.; dia. 7/8 in. $2,000–4,000 Provenance: Collection of a Southern Maine Family.

13 Pair of 18K Gold and Diamond Bangle Bracelets the hinged bangle bracelets each featuring a row of 29 bead-set round brilliant-cut diamonds; approx. 5.00 tcw.; 47.13 dwts.; int. cir. 6 7/8 in.

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$4,000–6,000 Provenance: Collection of a Southern Maine Family.

14 18K Gold and Diamond Pendant Necklace centering a basket-set emerald-cut diamond weighing 4.01 cts. suspending from a fine oval- and circle-link yellow gold necklace; 6.09 dwts.; lg. 18 1/2 in. $8,000–12,000 Accompanied by GIA report no. 5221001359 dated September 1, 2021 stating that the diamond is M, VS1. Provenance: Property of a Massachusetts Family.

15 LOUIS FÉRON 18K Gold, Emerald, and Diamond Ring ca. 1980; centering an emerald-cut emerald weighing approx. 1.80 cts. flanked by transitional-cut diamonds weighing approx. 0.80 tcw. within a finely engraved floral and basket-weave mount; 6.87 dwts.; size 6 1/2; boxed $10,000–15,000 Accompanied by AGL report no. 1113104 dated March 8, 2021 stating that the emerald is of Colombian origin and has minor traditional indication of enhancement. Provenance: A Private Massachusetts Collection. Literature: For similar examples, reference: Stoehrer, Emily Banis and Frederic A. Sharf. Louis Féron, 1901-1998, Master Jeweler: Paris, Costa Rica, New York. Middlebury, CT: Frederic A. Sharf, 2012. This ring's stylized flora design featuring a vivid arrangement of chrysanthemums and leaves in gold highlights the extraordinary work of master chaser and goldsmith Louis Féron (1909–1998). Working in Paris, Costa Rica, and New York, Féron made a remarkable impact on twentieth-century high-style jewelry. Pierce MacGuire, formerly of Schlumberger at Tiffany & Company, once regarded Féron as an "extraordinary genius and a master of goldsmithing." Notably, Féron created his own tools, using them to carefully hammer and sculpt his impressive, artful jewelry designs.

JEWELRY

16 TIFFANY & CO. Diamond Bow Brooch the open-work platinum-topped-gold brooch centering a bezel-set old European-cut diamond weighing approx. 0.25 ct. framed by a row of bezel-set old European-cut diamonds; further set throughout with single- and old European-cut diamonds; approx. 2.00 tcw.; signed Tiffany & Co.; 6.20 dwts.; 1 x 1 5/8 in. $2,000–4,000

17 14K Gold and Diamond "Toi et Moi" Ring centering two old mine-cut diamonds weighing approx. 1.38 cts. and 1.50 cts.; 2.45 dwts.; size 7 3/4 $4,000–6,000

18 Platinum and Diamond Bow Brooch ca. 1900; centering a bezel-set old European-cut diamond weighing approx. 0.85 ct.; further set throughout with old European-cut diamonds weighing approx. 4.00 tcw.; 4.85 tcw.; 12.85 dwts.; 1 1/2 x 3 in. $1,500–2,500 Provenance: Property of a Scarborough, Maine Lady.

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19 Edwardian Platinum and Diamond Lavallière Necklace the necklace featuring 18 bezel-set old Europeancut diamonds suspending an open-work millegrain pendant set throughout with old European-cut diamonds further suspending a single drop centering an old European-cut diamond weighing approx. 2.00 cts.; approx. 6.30 tcw.; 10.24 dwts.; lg. 21 1/2 in. $6,000–8,000

20 Platinum, Pearl, and Diamond Pendant Earclips the pendant earclips each featuring eight old European-cut diamonds and a pearl drop measuring approx. 8.60 mm.; 4.21 dwts.; lg. 1 in. $1,500–2,500 Provenance: Property of a distinguished American Family.

21 Platinum, Natural Pearl, and Diamond Pendant the pendant featuring a natural pearl measuring approx. 15.00 x 9.52 mm.; framed by old Europeancut diamonds within foliate-form millegrain mounts; 6.87 dwts.; wd. 7/8 in.; lg. 2 3/8 in. $4,000–6,000 Accompanied by GIA report no. 2215928138 dated August 5, 2021 stating that the pearl is a natural saltwater pearl with no indications of treatment. Provenance: Property of a distinguished American Family.

JEWELRY

22 BUCCELLATI Triple Strand Pearl Necklace the triple-strand necklace comprising graduated pearls measuring approx. 7.50 to 10.55 mm.; completed by an 18k yellow gold foliate-form clasp centering an oval cabochon star sapphire measuring approx. 7.60 x 5.55 x 4.60 mm. framed by 36 circle-cut emeralds; signed M. Buccellati; 102.49 dwts.; lg. 18 3/4 in. $7,000–10,000 Provenance: Property of a distinguished American Family.

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23 BUCCELLATI 18K Gold, Chrysoprase, and Diamond Bangle Bracelet Italy; the hinged bangle bracelet featuring 10 bezel-set cabochon chrysoprase each framed by six full-cut diamonds; signed M. Buccellati; 38.63 dwts.; wd. 7/8 in.; int. cir. 7 in. $8,000–12,000

24 BUCCELLATI 18K Gold Brooch Italy; the floral-form brooch featuring two bloomed flowers with a brushed gold stem and leaves; signed Buccellati; 35.24 dwts.; lg. 4 1/4 in. $2,000–3,000 Provenance: Property of a distinguished American Family. The thistle flower is a signature design of the Italian goldsmith Mario Buccellati. Buccellati is renowned for his mixed-metal, delicate textural creations inspired by Italian vegetation, patterns, and culture.

JEWELRY

25 18K Gold, Platinum, Fancy Intense Yellow Diamond, and Diamond Ring centering a cut-cornered rectangular brilliant-cut diamond weighing 10.04 cts. flanked by radiant rectangular-cut diamonds weighing approx. 3.25 tcw.; 5.90 dwts.; size 4 3/4 (with sizing beads) $200,000–250,000 Accompanied by GIA report no. 10715975 dated August 27, 2021 stating that the diamond is Fancy Intense Yellow, Natural Even, VS2. Provenance: Property of a Massachusetts Family.

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26 18K Gold, Platinum, and Diamond Ring centering a round brilliant-cut diamond weighing 3.37 cts. flanked by step-cut trapezoid- and baguettecut diamonds; 3.43 dwts.; size 5 1/2 $50,000–60,000 Accompanied by GIA report no. 2215777936 dated June 11, 2021 stating that the diamond is D, VS2, faint blue fluor. Provenance: Property of a Massachusetts Family.

27 Platinum and Diamond Ring centering an old mine-cut diamond weighing 3.10 cts. flanked by tapered baguette-cut diamonds; 3.19 dwts.; size 6 3/4 $15,000–20,000 Accompanied by GIA report no. 2225049583 dated September 24, 2021 stating that the diamond is J, I1, no flour. Provenance: Property of a Newbury, Massachusetts Lady.

JEWELRY

28 Platinum, Emerald, and Diamond Brooch centering a modified emerald-cut emerald measuring approx. 14.27 x 11.66 x 5.45 mm. and set throughout with calibré-cut emeralds, old European-, and old mine-cut diamonds; diamonds weighing approx. 7.00 tcw.; 19.82 dwts.; 1 1/2 x 3 in. $10,000–15,000

29 Pair of VAN CLEEF & ARPELS 'Flame' Dress Clips one set with a curved row of 19 circle-cut emeralds, the other with a curved row of 19 full-cut diamonds; within 18k gold stylized mounts; each signed Van Cleef & Arpels U.S.A. Made in France; one numbered N.Y. 2 0182, the other numbered N.Y. 2 0185; French assay marks; 15.31 dwts.; wd. 3/8 in.; lg. 2 1/2 in. $5,000–7,000

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30 VAN CLEEF & ARPELS Platinum, Cabochon Emerald, and Diamond Pendant centering a cabochon emerald weighing approx. 5.50 cts. framed by 13 round brilliant-cut diamonds weighing approx. 2.55 tcw.; signed and numbered VCA NY1425; 3.32 dwts.; lg. 1 in. $8,000–12,000 Accompanied by AGL report no. 1116635 dated August 11, 2021 stating that the emerald is of Colombian origin with minor traditional clarity enhancement.

31 18K Gold, Diamond, and Emerald Evening Bag the woven gold evening bag centering a square-cut emerald framed by eight round brilliant-cut diamonds and a swag border with full-cut diamond details; bag opens to reveal a mirror; 4.50 tcw.; 297.00 dwts.; 3 5/8 x 7 3/8 x 1 1/4 in. $15,000–20,000

JEWELRY

32 14K Gold and Diamond Pendant Earrings the white gold pendant earrings each featuring a square step-cut diamond weighing approx. 0.75 ct. further suspending an Asscher-cut diamond weighing approx. 3.02 cts. framed by pave-set diamonds; 7.54 tcw.; 5.54 dwts.; lg. 1 1/4 in. $8,000–12,000

33 Platinum and Diamond Eternity Band comprising 16 Asscher-cut diamonds weighing approx. 5.50 tcw.; 5.32 dwts.; size 6 1/4 $4,000–6,000 Provenance: By descent within a Middleton, Massachusetts Family.

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34 Platinum and Diamond Ring the three stone ring centering an oval-cut diamond weighing approx. 5.11 cts. flanked by half moon-cut diamonds weighing approx. 1.20 tcw.; approx. 6.00 tcw.; 5.84 dwts.; size 4 1/4 (with sizing beads) $30,000–50,000

35 Platinum and Diamond Rivière Necklace the rivière necklace featuring prong- and bezel-set round brilliant-cut diamonds and two rows of baguettecut diamonds; completed by a round brilliant- and marquise-cut diamond clasp; diamonds weighing approx. 30.00 tcw.; 25.40 dwts.; lg. 16 3/8 in. $10,000–20,000

JEWELRY

36 VAN CLEEF & ARPELS 18K Gold, Platinum, 'Mystery-Set' Ruby, and Diamond Leaf Brooch France; ca. 1935; the platinum leaf mystery-set with baguette-cut diamonds; surmounted by five overlapping leaves mystery-set with square-, rectangular-, and fancy-shaped rubies; signed and numbered Van Cleef & Arpels 46258; French assay marks; 22.57 dwts.; lg. 3 3/8 in.; wd. 1 3/4 in. $70,000–100,000 Provenance: Property of a distinguished American Family. Van Cleef & Arpels invented the mystery setting in 1935. The design demands perfectly matched stones, hand-cut with four additional facets, to obscure the metal settings with dazzling reflections. The secret behind the alluring invisible setting is the net framework on the underside of each piece, enabling Van Cleef & Arpels to spectacularly model any form or movement. The technique lends itself brilliantly to depicting natural forms, exemplified by this striking ruby and diamond brooch.

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37 CARTIER Pair of Platinum and Diamond Dress Clips/Jabot ca. 1930; the open-work paisley-form dress clips each centering a bezel-set old European-cut diamond and four step-cut diamonds surmounted by full-cut diamonds and framed by full- and single-cut diamonds set within graduated paisley-form bezels; completed by a barrel-form terminal set with full-cut diamonds framed by step-cut diamonds; approx. 8.50 tcw.; each signed CARTIER; 25.26 dwts.; 1 1/2 x 1 in. $20,000–30,000 Provenance: By descent within the Wanamaker family, Philadelphia, Pennsylvania and New York, New York.

JEWELRY

38 CARTIER Platinum & Diamond Dress Clips/Brooch ca. 1935; each shield-form clip pierced and set throughout with full-, baguette-, half moon-, and shieldcut diamonds; diamonds weighing approx. 4.50 tcw.; each clip signed and numbered Cartier 9954; with a 14k white gold brooch mount; overall: 1 1/8 x 2 3/8 in.; clips: 1 3/16 x 1 in. $10,000–15,000 Provenance: Property of an Orleans, Massachusetts Estate.

39 14K Gold and Diamond Line Necklace prong-set with 80 round brilliant-cut diamonds weighing approx. 16.00 tcw.; 18.18 dwts.; lg. 15 in. $8,000–12,000 Provenance: Property of a Massachusetts Family.

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40 CARTIER Platinum and Diamond Wristwatch France, ca. 1930; the ivory-toned dial with Arabic numeral indicators flanked by a bezel set with baguette- and bullet-shape diamonds; enclosing a manual-wind movement; completed by a bracelet set with single-cut diamonds; signed on dial; back case numbered 05390; French assay mark; 18.77 dwts.; lg. 6 1/4 in. $3,000–5,000 Provenance: By descent within the Wanamaker family, Philadelphia, Pennsylvania and New York, New York.

41 14K Gold and Diamond Ring centering a round brilliant-cut diamond weighing approx. 2.50 cts. flanked by two round brilliant-cut diamonds weighing approx. 1.15 cts. and 1.05 cts.; 4.70 tcw.; 6.52 dwts.; size 9 $10,000–15,000 Provenance: Collection of a Southern Maine Family.

JEWELRY

42 TIFFANY & CO. Platinum and Diamond Suite the reverse ribbon-form necklace and earrings each set with 34 full-cut diamonds weighing approx. 5.00 tcw.; signed; 12.86 dwts.; pendant lg. 7/8 in.; necklace lg. 17 in.; earrings lg. 7/8 in. $3,000–4,000 Provenance: Property of a Lincoln, Massachusetts Estate.

43 TACORI Platinum, Diamond, and Sapphire Ring and Eternity Band centering a modified cushion-cut diamond weighing 2.06 cts. framed by calibre-cut sapphires; the decorative shank set with 26 full-cut diamonds; the band bead-set with full-cut diamonds; the underside with millegrain reverse-crescent motifs and full-cut diamonds; both signed; 7.21 dwts.; size 6 1/4 $8,000–12,000 Accompanied by GIA report no. 5161041527 dated April 17, 2014 stating that the diamond is G, VS2, faint blue flour.

44 Platinum and Diamond Bracelet centering a marquise-cut diamond weighing approx. 0.50 ct. further set throughout with full- and baguettecut diamonds weighing approx. 4.35 tcw.; 14.23 dwts.; lg. 6 1/4 in.

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$8,000–10,000 Provenance: By decent within a New York, New York Family.

45 18K Gold and Diamond Necklace the ballerina style pendant centering a heart-shape diamond measuring approx. 8.95 x 7.25 mm. framed by 14 round brilliant-cut diamonds further framed by tapered baguette-cut diamonds; suspending from links set with tapered baguette- and clusters of round brilliant-cut diamonds; 27.00 tcw.; 43.48 dwts.; lg. 17 3/4 in. $10,000–15,000

46 14K Gold and Diamond Necklace comprising two rows of round brilliantcut diamonds featuring an oval drop centering two bezel-set round brilliantcut diamonds; the largest central diamond weighing approx. 1.00 ct.; approx. 12.00 tcw.; 33.58 dwts.; lg. 17 in. $6,000–8,000 Provenance: Collection of a Southern Maine Family.

JEWELRY

47 CARTIER Platinum, Ruby, and Diamond Dress Clip featuring round cabochon ruby beads each centering a bezel-set single-cut diamond; completed by a barrel-form terminal set with single- and baguette-cut diamonds; signed and numbered Cartier 5859; 12.90 dwts.; 1 1/4 x 3/4 in. $1,500–2,500 Provenance: By descent within the Wanamaker family, Philadelphia, Pennsylvania and New York, New York.

48 CARTIER 18K Gold & Platinum 'Tutti Frutti' Brooch the shield-form brooch set with seven carved cabochon rubies, six cabochon emeralds each topped with a bezel-set full-cut diamond, and further set throughout with full- and step-cut diamonds; diamonds approx. 3.75 tcw.; signed Cartier; 16.35 dwts; 1 1/2 x 1 3/4 in. $15,000–30,000 Provenance: Property of an Orleans, Massachusetts Estate. Pierre Cartier designed the first Tutti Frutti piece in 1901 for Queen Alexandra, who commissioned a necklace to be worn with three Indian gowns she had received as a gift. Accordingly, the Tutti Frutti collection is celebrated for its ideal balance of ‘East meets West.’ The jewels in this motif are inspired by Mughal carvings and the intricate craftsmanship of India’s decorative arts.

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49 DAVID WEBB Platinum, Pearl, and Diamond Earclips the bicolor pearl and bombe-form earclips with one centering a South Sea pearl measuring approx. 12.85 mm. the other centering a Tahitian pearl measuring approx. 12.90 mm.; further set throughout with round brilliant-cut diamonds; approx. 22.00 tcw.; signed WEBB; 29.50 dwts.; 1 1/8 x 1 1/8 in. $12,000–18,000 Provenance: Property of a Pennsylvania Industrialist. 50 CARTIER Platinum, Burmese Ruby, and Diamond Earclips France; the shield-form clips each centering a pearshaped Burmese ruby weighing approx. 1.50 cts. framed by round brilliant-cut diamonds; diamonds approx. 9.00 tcw.; French assay mark; signed and numbered Cartier Paris M 913 2; 15.37 dwts.; lg. 1 1/8 in. $15,000–25,000 Accompanied by AGL Report no. 1116608 A and B dated August 12, 2021 stating that the rubies are Burmese with no evidence of heat. Provenance: Property of a distinguished American Family.

51 DAVID WEBB 18K Gold and Mabe Pearl Earclips each centering a mabe pearl measuring approx. 17.45 mm. within a hammered and fluted gold frame; signed WEBB; 18.86 dwts.; dia. 1 in. $3,000–5,000 Provenance: Property of a Pennsylvania Industrialist.

JEWELRY

52 Double Strand Pearl Necklace with Platinum, Emerald, and Diamond Clasp the double strand necklace comprising cultured pearls measuring approx. 7.90 to 8.30 mm.; completed by an oval clasp of foliate design set with two emerald-cut emeralds each weighing approx. 1.50 cts. framed by marquis-, pear-, baguette-, and round brilliant-cut diamonds weighing approx. 4.65 tcw. within a platinum mount; 53.32 dwts.; lg. 16 3/8 in. $8,000–10,000 Provenance: Sotheby's New York, Magnificent Jewels, April 23, 2001, Sale 7637, Lot 52; The Collection of a Falmouth, Maine Couple.

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53 CARTIER Platinum, Enamel, and Diamond Pendant Watch France; the silvered dial with Roman numeral indicators; enclosing a manual-wind movement; signed on dial; within a black enamel, platinum, and rose-cut diamond pendant; suspending from a silk rope necklace with two old European-cut diamonds; French assay and workshop marks; with signed and fitted box; lg. 21 1/2 in.; pendant dia. 1 1/2 in. $8,000–10,000 Provenance: Property of a Massachusetts Family.

JEWELRY

54 ELIZABETH LOCKE 18K Gold, Moonstone, Motherof-Pearl, Tourmaline, and Pearl Brooch centering a mother-of-pearl backed carved moonstone depicting a moon face framed by eight cabochon pink tourmalines and four pearls; maker's mark; 18.08 dwts.; 2 3/4 x 2 3/4 in. $1,500–2,000

55 14K Gold and Gemset Chessman Brooch, attributed to SEAMAN SCHEPPS the chessman adorned with a cape framed by a row of alternating circle-cut sapphires and rubies; further set throughout with cabochon rubies and sapphires, faceted blue and yellow sapphires, turquoise, and seed pearls; 17.59 dwts.; wd. 1 1/4 in.; lg. 2 3/8 in. $4,000–6,000 Provenance: Collection of a Manchester-by-the-Sea, Massachusetts Lady.

56 CARTIER 18K Gold and Citrine Brooch the textured gold half-moon brooch suspending an east-west-set emerald-cut citrine weighing approx. 50.00 cts.; signed Cartier; 21.09 dwts.; 2 x 2 1/2 in. $3,000–5,000 Provenance: Property of a distinguished American Family.

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57 18K Gold and Enamel Animal Necklace Italy; comprising 14 gold and multi-colored enamel animals, including: hippo, elephant, ostrich, monkey, bear, zebra, lion, tiger, bull, camel, kangaroo, rhino, giraffe, and a yak; suspended from an 18k gold fancy-link necklace; 125.04 dwts.; lg. 43 in. $6,000–8,000 Provenance: Property of a Lincoln, Massachusetts Estate.

JEWELRY

58 18K Gold, Platinum, Diamond, Demantoid Garnet, Pearl, and Ruby Butterfly Pendant/Brooch 19th century; the body comprised of two pearls measuring approx. 8.00 x 6.00 mm. and 7.00 x 7.00 mm. with a circle-cut ruby framed by full-cut diamonds, full-cut diamond eyes, and antennas terminated by round cabochon rubies; the wings bead-set with full-cut diamonds and circle-cut demantoid garnets; numbered indistinctly; 22.08 dwts.; 1 3/4 x 2 1/4 in. $6,000–8,000 Provenance: By descent within the Wanamaker family, Philadelphia, Pennsylvania and New York, New York.

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59 RENÉ BOIVIN 18K Gold, Amethyst, and Pink Tourmaline 'Cedar Tree' Brooch the trunk pave-set with circle-cut amethyst and pink tourmaline; the tree roots formed by kite-cut amethyst; leaves of oval-cut amethyst and cabochon pink tourmaline, enhanced by circle-cut demantoid garnets; French assay mark and workshop marks; 22.97 dwts.; 2 1/4 x 2 5/8 in. $25,000–35,000 Provenance: Christies, New York, Magnificent Jewels, October 25, 2000, Lot 739; Property of a Massachusetts Family. Literature: An illustration of this brooch is depicted in Francoise Cailles, René Boivin Jeweller, Quartet Books, Ltd., London, 1994, p. 256.

This tree brooch’s magnificent color combination and bold design are unmistakably Boivin, a Parisian maison established in the 19th century celebrated for favoring the eclectic. René Boivin (1864-1917) was drawn to naturalism and keenly interested in botany, as expressed in his articulated floral designs. Following his death in 1917, Rene’s wife Jeanne Boivin maintained his imaginative compositions of colorful gemstones. The eldest Boivin daughter, Germaine, inherited her parents' sense of design and play of color as seen with the combination of pink tourmalines, amethysts, and green demantoid garnets. This brooch was designed by Germaine, for her mother, on her 80th birthday. It is completed by an accordion plaque bearing the designers, bench jewelers, and those who worked closely with Maison Boivin. JEWELRY

60 Platinum, Sapphire, and Diamond Ring centering a modified step-cut cushion-shape sapphire weighing approx. 11.40 cts. framed by 14 full-cut diamonds weighing approx. 0.55 tcw.; 4.34 dwts.; size 5 1/2 $50,000–100,000 Provenance: Property of a Richmond, Virginia Lady. Accompanied by Gübelin report no. 18072039 dated July 7, 2018 stating that the sapphire is from Sri Lanka (Ceylon) with no gemological evidence of heat. Accompanied by AGL report no. 1117471 dated September 15, 2021 stating that the sapphire is from Ceylon (Sri Lanka) with no gemological evidence of heat.

61 JULIUS COHEN 14K Gold, Diamond, and Sapphire Ring centering an east-west-set oval-cut diamond weighing approx. 2.60 cts. flanked by two bezel-set pear-shape sapphires; 3.35 dwts.; size 7 $8,000–12,000

62 Platinum, Sapphire, and Diamond Ring centering an oval-cut sapphire weighing approx. 5.50 cts. framed by 14 round brilliant-cut diamonds weighing approx. 0.75 tcw.; 6.63 dwts.; size 8 1/2 $5,000–7,000 Provenance: Collection of a Falmouth, Maine Couple.

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63 TIFFANY & CO. Gold, Sapphire, and Diamond Brooch Italy; the rope-form brooch featuring four tassels each featuring a row of six circle-cut sapphires; signed Tiffany & Co.; 18.82 dwts.; 2 1/8 x 1 7/8 in. $1,500–2,500 Provenance: Property of a Newbury, Massachusetts Lady.

64 TIFFANY & CO., SCHLUMBERGER 18K Gold, Sapphire, and Diamond 'V-Rope' Earrings each featuring five circle-cut sapphires and five full-cut diamonds; diamonds weighing approx. 0.50 tcw.; signed Tiffany & Co. Schlumberger Studio; 13.21 dwts.; 1 3/8 x 7/8 in. $2,000–4,000 Provenance: Property of a Lincoln, Massachusetts Estate.

65 TIFFANY & CO. 18K Gold and Sapphire Flower Brooch featuring a four-petal articulated flower head which opens to reveal 14 circle-cut sapphires and 1 full-cut diamond; further set with two circle-cut sapphire buds within a textured gold mount; signed Tiffany & Co.; 18.02 dwts.; lg. 2 1/4 in. $1,500–2,500 Provenance: Property of a Newbury, Massachusetts Lady.

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66 TIFFANY & CO. 18K Gold and Diamond "Atlas" Necklace and Pair of 18K Gold and Diamond Hoop Earrings ca. 1995; Italy; featuring nine rectangular links inset with polished gold Roman numerals; three of the links each framed by 28 full-cut diamonds; diamonds weighing approx. 2.50 tcw.; signed Tiffany & Co. 1995; the 18k gold earrings in the style of Tiffany & Co. 'Atlas' design each set with 24 full-cut diamonds, 1.40 tcw.; gross 103.19 dwts.; necklace lg. 16 in.; earring lg. 1 1/8 in. $5,000–7,000

67 ZWIKKER & ZACHER, LTD. 14K Gold, Emerald, and Diamond Ring centering a bezel-set emerald-cut emerald weighing approx. 1.10 cts. flanked by eight baguette-cut diamonds; diamonds approx. 1.25 tcw.; maker's mark; 3.14 dwts.; size 5 3/4 $7,000–9,000

68 14/18K Gold and Diamond Suite Italy; comprised of flattened polished gold links; the 14k gold bracelet with three paveset panels weighing approx. 4.50 tcw.; 38.61 dwts.; the triple strand 18k gold necklace with a pave-set buckle-form clasp weighing approx. 4.50 tcw.; 48.64 dwts.; necklace lg. 14 1/2 in.; bracelet lg. 7 in. $7,000–10,000

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69 14K Gold and Amethyst Suite comprising a brooch and bracelet; the retro bow brooch centering an emerald-cut amethyst weighing approx. 15.50 cts.; the bracelet featuring six emeraldcut amethysts each weighing approx. 13.00 cts. within a polished gold scalloped frame and curved links; 47.25 dwts.; brooch: 1 1/4 x 2 in.; bracelet wd. 1 1/8 in.; bracelet lg. 7 in. $2,000–4,000 Provenance: Property of a Richmond, Virginia Lady.

70 18K Gold Necklace comprising polished circular links; signed LALLA; 53.10 dwts.; lg. 21 in. $3,500–4,000 Provenance: By descent within a Middleton, Massachusetts Family.

71 18K Gold Suite Italy; comprising a bracelet and earrings in the tubogas style; gross weight: 75.00 dwts.; int. circ. 5 in.; earring lg. 1 in. $4,000–5,000 Provenance: By descent within a Middleton, Massachusetts Family.

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72 PIAGET 18K Gold 'Possession' Bangle Bracelet ca. 1990; the bangle bracelet surmounted with a central spinning hoop set with 15 round brilliant-cut diamonds weighing approx. 0.45 tcw.; signed and numbered PIAGET F00155; 31.55 dwts.; cir. 7 1/2 in. $7,000–10,000

73 CARTIER 18K Gold Necklace Italy; the flattened fancy-link necklace featuring a central 'knot'; signed and numbered on clasp Cartier 52996; 31.50 dwts.; lg. 17 in. $2,000–3,000 Provenance: Property of a Newbury, Massachusetts Lady.

74 CARTIER 18K Tricolor Gold Seven Bangle 'Trinity' Bracelet featuring three yellow gold, two rose gold, and two white gold intertwined bangles; signed and numbered Cartier B35853; 46.75 dwts.; int. cir. 7 in. $4,000–6,000

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75 14K Gold Bracelet the ID bracelet featuring curb-links and a central identification polished gold panel; 25.01 dwts.; lg. 8 in. $1,000–1,500 Provenance: Property of a distinguished American Family.

76 18K Gold Necklace comprising brick-links suspending polished gold cylindrical fringes; 56.07 dwts.; lg. 16 1/2 in. $2,500–3,500

77 18K Tricolor Gold Bracelet comprising yellow gold oval links alternating with rose gold circular links; 28.16 dwts.; lg. 7 1/2 in. $1,500–2,000 Provenance: Property of a distinguished American Family.

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78 18K Gold, Plique-à-Jour, and Diamond Bracelet set throughout with old European- and single-cut diamonds on a blue plique-à-jour ground; signed with maker's mark with letter E; 36.45 dwts. $1,500–2,500 Provenance: Property of a Massachusetts Family.

79 J.G. KING 14K Gold and Carved Shell Cameo Brooch ca. 1843; the finely carved shell cameo depicting the profile of Abbott Lawrence within a carved gold frame; inscribed verso Abbott Lawrence to A.B.L. Jan. 1, 1843; cameo signed King; completed by a later 14k gold brick-link bracelet; 19.98 dwts.; cameo: 1 5/8 x 1 3/8 in.; bracelet lg. 7 in. $400–600 Abbott Lawrence (1792–1855) was born in Groton, Massachusetts and came to be a prominent businessman, philanthropist, and politician. He was the founder of Lawrence, Massachusetts and was a member of the U.S. House of Representatives from Massachusetts's 1st district from 1835 – 1837.

80 14K Gold and Gemset Bracelet ca. 1841; featuring oval links with colored stones including topaz, tourmaline, opal, amethyst, citrine, and emerald, completed with a carved coral clasp; engraved verso; 29.86 dwts; lg. 6 3/4 in. $1,500–2,500

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81 TIFFANY & CO. 18K Gold, Diamond, and Ruby Brooch centering a cluster of 13 circle-cut rubies and six fullcut diamonds further set with 14 full-cut diamonds; diamonds weighing approx. 1.80 tcw.; signed; 29.05 dwts.; 2 x 2 in. $2,000–4,000 Provenance: Collection of a Portland, Maine couple.

82 LEO DE VROOMEN 18K Gold, Enamel, and Amethyst Brooch London, ca. 1993; the lozenge-form brooch centering a bezel-set cabochon amethyst within a purple and green guilloché enamel ground; maker's mark and British hallmarks for London; 20.28 dwts.; 1 1/2 x 2 1/2 in. $2,000–3,000

83 14K Gold and Ruby Bangle Bracelet the polished gold hinged bangle bracelet featuring two lion heads each with a cabochon ruby eye; 9.79 dwts.; signed indistinctly; int. cir. 5 1/2 in.; in a fitted case marked S. Hogan, Cleveland, OH $2,000–3,000 Provenance: Property of a distinguished American Family.

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84 DAVID WEBB 18K Gold Hoop Earclips of polished hammered gold; signed WEBB; 25.30 dwts.; lg. 1 1/4 in. $2,500–3,500 Provenance: Property of a Pennsylvania Industrialist.

85 TIFFANY & CO. 18K Gold and Enamel Bracelet the hinged bangle bracelet with bright green and blue scalloped enameling; signed Tiffany & Co.; 48.97 dwts.; int. cir. 7 in. $4,000–6,000

86 DAVID WEBB 18K Gold Earclips the polished gold earclips featuring fluted crescents; signed WEBB; 27.36 dwts.; 1 1/2 x 1/4 in. $2,500–3,500

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87 DAVID WEBB 18K Gold, Carnelian, and Diamond Earclips each centering a bezel-set fluted cabochon carnelian framed by two full-cut diamonds; inset within a polished carnelian frame and 16 full-cut diamonds; signed WEBB; 18.61 dwts.; 1 1/4 x 1 in. $3,000–5,000

88 18K Gold and Emerald Bracelet centering an oval cabochon emerald measuring approx. 15.65 x 14.03 x 9.05 flanked by koi fish with circle-cut emerald eyes; completed by a braided bracelet and finely engraved clasp; 42.6 dwts.; dia. 7 1/2 in. $3,000–5,000 Provenance: Property of a Pennsylvania Industrialist.

89 DAVID WEBB 18K Gold Earclips the peened gold earclips of swirl design; signed WEBB; 25.58 dwts.; 1 1/4 x 1 1/4 in. $3,000–4,000 Provenance: Property of a Pennsylvania Industrialist.

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90 CARTIER 18K Bicolor Gold Necklace and Bracelet each comprising yellow gold oval-links alternating with white gold interlocking-links; each signed; necklace numbered 88089; gross weight: 146.51 dwts.; necklace lg. 30 in.; bracelet lg. 7 7/8 in. $8,000–12,000 Provenance: Property of an Orleans, Massachusetts Estate.

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91 Pair of 14K Gold and Diamond Bangle Bracelets each featuring a decorative rope design set with five full-cut diamonds; approx. 2.00 tcw.; 17.40 dwts.; int. cir. 6 1/4 in. $2,000–4,000

92 J.E. CALDWELL & CO. 18K Gold, Platinum, and Diamond Bar Brooch in the form of a riding crop set with full-cut diamonds; signed and numbered J.E.C. & Co. F.8560; 2.54 dwts.; lg. 2 1/8 in. $500–1,000 Provenance: By descent within the Wanamaker family, Philadelphia, Pennsylvania and New York, New York.

93 Pair of 18K Gold Bracelets each of brushed rope design with polished gold bulbous terminals; 60.06 dwts.; int. cir. 7 in. $3,000–5,000

94 18K Gold and Diamond Earrings the fluted gold earrings each set with a round brilliantcut diamond weighing approx. 0.50 ct.; approx. 1.00 tcw.; 11.90 dwts.; lg. 1 in. $2,000–3,000

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95 GÜBELIN 18K Gold, Sapphire, Pearl, and Diamond Covered Wristwatch the wristwatch covered by a cluster of pearls and full-cut diamonds framed by a row of channel-set step-cut sapphires lifting to reveal a squared ivorytone dial with abstract numeral indicators; enclosing an automatic movement; completed by a rope-link bracelet with step-cut sapphires, pearls, and a row of full-cut diamonds; signed on dial; maker's mark on clasp; 39.76 dwts.; wd. 1 in.; lg. 6 1/4 in. $4,000–6,000

96 PIAGET 18K Gold, Diamond, and Turquoise Wristwatch the round turquoise dial with no numeral indicators; framed by a bezel of full-cut diamonds and four cabochon turquoise; diamonds weighing approx. 0.65 tcw.; enclosing a manual wind movement; signed on dial and inside clasp; back case numbered 9706 A6 130598; completed by a mesh-link 18k white gold bracelet; 39.76 dwts.; case dia. 24 mm.; lg. 6 1/2 in. $2,000–3,000

97 ROLEX 18K Gold, Sapphire, and Diamond Covered Wristwatch the squared gold-toned dial with applied round and baton indicators; enclosing a manual-wind movement numbered 358314; the cover set with 15 circle-cut sapphires; bezel set with full-cut diamonds continuing onto the stylized curled lugs; signed on dial, movement, and case back; clasp marked CB; completed by a double snake-link bracelet; 41.50 dwts.; case 14 mm.; lg. 7 in. $4,000–6,000

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98 PATEK PHILIPPE 18K Gold and Diamond Wristwatch the ivory-toned dial with applied single-cut diamond numeral indicators; the bezel set with full- and singlecut diamonds enclosing an automatic movement; completed by a fancy braided-link bracelet with singlecut diamond details; signed on dial and clasp; 46.72 dwts.; case wd. 22.00 mm.; bracelet lg. 7 in. $6,000–8,000

99 CHOPARD 18K Gold and Diamond 'Happy Diamonds' Wristwatch the gold-toned circular dial within a polished gold frame; enclosing a quartz movement; outer rim containing five free-floating bezel-set diamonds; completed by cabochon ruby terminals and a 14k yellow gold fancy-link bracelet; signed on dial; case back numbered 227361 4082 20/4780/21; 18.80 dwts.; case 20 mm.; lg. 7 in. $3,000–5,000

100 PIAGET 18K Gold and Diamond 'Tanagra' Wristwatch Ref. 16033, M 401D; featuring a round diamond-set dial bordered by black enamel and applied Roman numeral indicators; within a diamond-set bezel; enclosing a quartz movement; signed on dial, case back, and clasp; case back numbered 573023; completed by a tapered bar-link bracelet and a deployant clasp; 54.85 dwts.; case: 25 mm.; int. cir. 6 in. $5,000–7,000

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101 BAUME & MERCIER 18K Gold and Diamond Wristwatch Israel; the round dial pave-set with single-cut diamonds; the bezel prong-set with a row of full-cut diamonds weighing approx. 1.00 tcw.; enclosing an automatic movement; signed and numbered on back case 484942 36635T; completed by a fancy-link gold bracelet; 37.74 dwts.; case 34 mm.; bracelet lg. 6 1/2 in. $4,000–6,000

102 PATEK PHILIPPE 18K 'Calatrava' Wristwatch Ref. 3420; the cream dial with applied baton indicators; subsidiary seconds dial; enclosing a manual wind movement; signed on dial, movement, and inside case; movement no. 732924; inside case numbered 430342 REF:3420; completed by an 18k yellow gold flattened-link bracelet; 47.09 dwts.; case 34 mm.; lg. 7 in. $5,000–7,000 The flagship Patek Philippe Calatrava wristwatch design takes its name from the medieval Spanish military order of Calatrava. The Order’s cross inspired the cruciform symbol registered as the trademark of Patek Philippe & Cie in 1887 and began appearing on the dials and watches from the 1970s. Patek released the original Calatrava Ref. 96 dress watch in 1932, which stood out against their peers’ octagonal and cushion-shaped faces. The subsequent Calatrava models, including Ref. 3420 maintained the clean, Bauhaus-inspired form. The clarity of the Calatrava’s circular movement, cream face, and round case complements the slim profile made possible by the extremely thin antimagnetic caliber manual winding movement that powers the clock.

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103 BULGARI 18K Gold 'Ergon' Wristwatch the round white dial with applied Arabic and baton numeral indicators with date aperture; enclosing a quartz movement; signed on dial, bracelet, case back, and clasp; case back numbered EG 30 G D0376; completed by a brushed gold bracelet with a deployant clasp; 91.16 dwts.; case 30 mm.; int. cir. 6 1/4 in. $7,000–9,000

104 ROLEX 18K Gold and Stainless Steel 'Oyster Perpetual Datejust' Wristwatch the black mother-of-pearl dial with diamond indicators and date aperture; enclosing an automatic movement; signed on dial and clasp; completed by an 18k gold and stainless steel Jubilee bracelet; 80.45 dwts.; case 36 mm.; int. cir. 6 1/4 in. $4,000–6,000

105 ROLEX 14K Gold 'Oyster Perpetual Date' Wristwatch Ref. 15037; the gold toned dial with baton indicators and date aperture; enclosing an automatic movement; signed on dial and clasp; completed by a 14k gold Oyster bracelet; 55.98 dwts.; case 34 mm.; int. cir. 6 1/2 in. $5,000–7,000

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106 CARTIER Stainless Steel and 18K Gold 'Roadster' Wristwatch Ref. 2675; the silvered dial with Roman numeral indicators and date aperture; enclosing an automatic movement; signed on dial, case back, and clasp; case back numbered 634649CE 2675; completed by a stainless steel and 18k gold bracelet with a deployant clasp; 58.92 dwts.; case 37.50 x 44 mm.; int. cir. 6 in. $2,500–4,000

107 ULYSSE NARDIN 18K Gold 'Marine Chronometer' Wristwatch Ref. 261-77, No. 0005; the round silvered dial with Arabic numeral indicators, subsidiary dial, and date aperture; enclosing an automatic movement; signed on dial and case back; completed by a polished bricklink bracelet; 102.36 dwts.; case 38 mm.; int. cir. 7 in. $6,000–8,000

108 ROLEX 18K Gold and Stainless Steel 'Wimbledon Dial' Datejust Wristwatch Ref. 126331; the silvered Wimbledon dial with green Roman numeral indicators and date aperture; enclosing a cal. 3235 automatic movement; signed on dial and clasp; completed by a stainless steel and 18k rose gold Oyster bracelet; 92.82 dwts.; case. 41 mm.; int. cir. 5 1/4 in. $5,000–7,000

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109 DAVID WEBB 18K Cufflinks of bolt-and-screw design; signed WEBB; 32.26 dwts.; dia. 1/2 in.; lg. 3/4 in. $2,000–4,000 Provenance: Property of a Pennsylvania Industrialist.

110 ALFRED DUNHILL 18K Gold Cufflinks the polished gold oval cufflinks signed Alfred Dunhill; maker's mark; cased; 19.27 dwts.; 7/8 x 5/8 in. $800–1,200

111 HERMÈS Shiny Burgundy Crocodile Sac Mallette Bag ca. 1950s; the Mallette bag featuring one top handle, gold hardware, and a double-slide lock and keylock closure; the smooth leather burgundy interior featuring one slip pocket and one opposing snap pocket; the base opens via two flip clasps and a central pinch-lock closure to reveal a red velvet interior; height: 10 in.; width: 12 1/2 in.; depth: 6 in. $8,000–12,000

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112 VAN CLEEF & ARPELS Styptor, Gold, and Sapphire Minaudière ca. 1940s; the engine-turned case highlighted with a band of calibré-cut sapphires; opening to reveal a mirror, cigarette compartment, powder compact, tortoiseshell comb, lipstick compartment, and cigarette lighter; signed and numbered La Minaudiere de Van Cleef & Arpels 2184; with a black silk fitted case; 433.1 dwts.; 4 3/4 x 6 x 1 in. $3,000–5,000

113 BOUCHERON Silver, 18K Gold, and Sapphire Compact ca. 1940s; the rectangular compact decorated with a pierced design of birds amongst flowering vines accented with five bezel-set faceted sapphires; opening to reveal a mirror and a powder compartment; signed Boucheron Paris and numbered 815012; French assay mark; 110.75 dwts.; 3 x 2 1/4 x 5/8 in. $1,500–2,500

114 MELLERIO DITS MELLER Silver and Gold Compact the compact featuring a compass and sundial; engraved SICUT UMBRA DIES NOSTRI; 123.10 dwts. signed Mellerio; 123.10 dwts.; 3 3/8 x 2 11/16 x 9/16 in. $1,000–1,500 Provenance: Property of a distinguished American Family.

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115 BUCCELLATI 18K Gold Lighter Holder Italy; comprised of brushed gold and hinged opening; signed M. Buccellati; 27.01 dwts.; 2 1/4 x 1 1/4 x 3/8 in. $1,000–1,500

116 14K Gold and Sapphire Cigarette Case the exterior with chevron pattern decoration and five circle-cut sapphires; 67.45 dwts.; 2 3/8 x 3 1/2 x 3/4 in. $2,000–3,000 Provenance: Property of a Pennsylvania Industrialist.

117 BUCCELLATI 18K Gold Cigarette Case Italy; the brushed gold box with a hinged top opening to reveal an engraved cigarette holder; signed M. Buccellati; 73.74 dwts.; 3 1/8 x 2 5/8 x 3/4 in. $3,000–5,000

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Lot 161

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118 ADELAIDE COLE CHASE (American, 1868–1944) The Two Alices oil on canvas signed Adelaide Chase upper right 50 x 36 in., frame: 59 x 45 in. $5,000–10,000 Provenance: The Museum of Fine Arts, Boston; Skinner Inc., Boston, November 17, 2006, American & European Paintings, Lot 406; The Collection of a Beacon Hill, Boston Gentleman. Exhibitions: Previously in the collection of The Museum of Fine Arts, Boston (label verso). Boston artist Adelaide Cole Chase was best known for her portraits and still lifes. She was born into a family of artists (her father was the noted painter J. Foxcroft Cole), and she studied at the School of the Museum of Fine Arts under Edmund Tarbell and Frank W. Benson. She had a talent for painting women and children, as the fluent brushstrokes, soft colors, and composition of graceful postures in The Two Alices demonstrates. When describing her technique and mastery of color, a fellow artist described Chase’s approach, “much as a woman of taste trims a hat, instinctively.”

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119 MARION BOYD ALLEN (American, 1862–1941) Moraine Lake, Banff 1927, oil on canvas signed and dated Marion Boyd Allen 1927 lower right titled Moraine Lake on stretcher 26 1/4 x 22 in. frame: 31 1/2 x 27 1/2 in. $1,000–2,000

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Marion Boyd Allen enrolled at the School of the Museum of Fine Arts at the age of 36, after displaying artistic talent sketching the Alps on family holidays as a child. Upon receipt of her diploma in 1909-10, Allen focused on portraiture, exhibiting her work widely and garnering critical acclaim for many of her portraits of her female contemporaries. It was not until she traveled West in 1925 (at the age of 63!) that she returned to her longstanding interest in landscape painting. For the next ten years she traveled extensively, from the Grand Canyon to the Canadian Rockies, hiking and camping alone as she painted these remote, awe-inspiring vistas. It was on one of these hiking trips in 1927 that Allen painted this striking view of Moraine Lake in Banff, Alberta, Canada.

120 LAURA COOMBS HILLS (American, 1859–1952) Larkspur pastel on paper signed Laura Hills upper right sight: 23 1/8 x 13 1/2 in., frame: 29 1/8 x 19 1/2 in. $4,000–6,000

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121 ROSAMOND SMITH BOUVE (American, 1876–1949) The Window Box oil on canvas signed Rosamond S. Bouve lower right 28 x 32 1/4 in. frame: 32 1/8 x 35 3/4 in. $3,000–5,000

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Rosamond Smith Bouve enrolled at the School of the Museum of Fine Arts at the age of 17, winning several awards as a student. She stayed on at the Museum School as a teaching assistant to Philip Leslie Hale, one of only a few women invited to be instructors. After a tour of Europe with several other female students at the Museum School, Bouve moved into studios at Boston's noted Harcourt Building. Following the 1904 Harcourt fire, Bouve moved to the Fenway Studios, where she kept a studio space for the next twenty years. Over this time, her work was included in museum and juried exhibitions around the country.

122 FREDERICK ANDREW BOSLEY (American, 1881–1942) Girl in Blue 1923, oil on canvas signed and dated Frederick Bosley 1923 lower left 24 x 20 in. frame: 28 5/8 x 33 5/8 in. $5,000–10,000

Provenance: Grogan & Company, June 12, 2005, Lot 80; Private Massachusetts Collection. Other Notes: Vose Galleries (Boston) label verso. Frederick Bosley entered the School of the Museum of Fine Arts in 1900. He won numerous prizes as a student, including a 1907 fellowship providing for two years of study in Europe. Upon his return to Boston, Bosley began to paint out of a space in the noted Fenway Studios, and soon became known for his impressionistic portraits of women, often with striking interior backdrops such as the one seen in Girl in Blue.

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123 GERTRUDE HORSFORD FISKE (American, 1879–1961) Wells Beach oil on canvas signed Gertrude Fiske lower left 20 x 27 in. frame: 24 x 31 in. $5,000–8,000 Provenance: By descent within the family of a Boston artist.

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Gertrude Fiske was an accomplished golfer before she transitioned to painting portraits and landscapes. In 1904, she began her artistic studies at the School of the Museum of Fine Arts, ultimately becoming one of only a few artists to complete the entire seven year Museum School course. Throughout these years, Fiske spent her summers studying with Charles Woodbury in Ogunquit, Maine. Woodbury inspired Fiske to “paint in verbs not in nouns,” as can be seen in her bold, painterly approach to this landscape painting of Wells Beach. Fiske’s works are celebrated for their variety in subject matter, originality, and inclusion of modern technology, for instance, the telephone poles in Wells Beach. Fiske won many major prizes for her works, exhibited widely, and was the first woman appointed to the Massachusetts State Art Commission in 1930.

124 ELIZABETH WENTWORTH ROBERTS (American, 1871–1927) Seascape oil on canvas monogrammed EWR lower left 23 x 14 in. frame: 26 x 16 1/2 in. $3,000–5,000 Provenance: By descent within the family of a Boston artist. Elizabeth Roberts was a close friend of landscape artist Gertrude Fiske: together, they co–founded the Concord Art Association. Their careers reflect not only the increasing number of women landscape painters in the early twentieth century, but also the changing attitudes at this time concerning women’s physical fitness and independence that enabled them to capture the outdoor scenes. Roberts summered in the Cape Ann village of Annisquam, Massachusetts, where she produced most of her serene beach scenes such as Seascape, which harmoniously blends the beach, sea, and sky.

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125 MABEL MAY WOODWARD (American, 1877–1945) Sailboats oil on canvas signed M. Woodward lower right 10 3/16 x 13 1/16 in., frame: 16 5/8 x 19 1/4 in. $5,000–7,000 Provenance: Property of a Massachusetts Collector.

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126 WILLIAM MERRITT CHASE (American, 1849–1916) Port of Antwerp ca. 1883–4, oil on canvas signed Wm. M. Chase lower left 15 x 21 in., frame: 22 x 28 in. $30,000–50,000 Provenance: The Estate of a Manchester–by–the–Sea, Massachusetts Lady.

Literature: Pisano, Ronald G., completed by Carolyn K. Lane and D. Frederick Baker. William Merritt Chase: Landscapes in Oil (Vol. 3). New Haven and London: 2009, cat. no. L.41, pp. 25–26. Grogan & Company thanks D. Frederick Baker for confirming that this work is entry L.41 in the William Merritt Chase catalogue raisonné. Exhibitions: Essex County Art Association Exhibition, Newark, New Jersey, Spring 1884, no. 76 (as Antwerp); American Art Association Inaugural Exhibition, New York, Nov–Dec. 1884, no. 198 (as Port of Antwerp); Carnegie Institute, Pittsburgh, 1902, lent by Mr. John Caldwell, a trustee of the Institute. Other Notes: Bears Milch Galleries (New York, New York) label; bears Carnegie Institute (Pittsburgh, Pennsylvania) label verso [both as In the Harbor]. The newly rediscovered William Merritt Chase painting Port of Antwerp showcases both the artist’s signature technique and palette. The harbor scene, depicted with unfettered brushwork and subtle inflections of blue and grey tones, also speaks to the artist’s ongoing experimentation with plein–air painting throughout his career. F I N E A RT

127 DOROTHY ELSIE PEREHUDOFF KNOWLES (Canadian, b. 1927) Waves 1979, acrylic on canvas signed and dated D. Knowles 79 lower right; titled and signed verso 24 x 29 1/2 in., frame: 25 x 31 in. $4,000–6,000 Provenance: The Collection of Guido Goldman, Concord, Massachusetts. Dorothy Knowles, one of Canada’s most respected landscape artists, discovered her skill for subject after attending the famed Emma Lake workshops in the 1950s. It was there where Knowles met her husband and fellow artist, William Perehudoff, as well as the art critic Clement Greenberg, who encouraged Knowles to focus on landscapes and nature. Though largely representational, her paintings have elements of abstraction in the skies and water that complement the areas of intimate detail, such as the grasslands in the foreground of Waves.

128 MARGUERITE ROBICHAUX (American, b. 1950) Carrabassett 2014, oil on linen signed M. Robichaux lower right signed, titled, and dated verso 38 x 52 in., frame: 40 x 54 in. $2,000–4,000 Provenance: The Collection of Guido Goldman, Concord, Massachusetts. Louisiana–born artist Marguerite Robichaux first visited the state of Maine as a student in the 1970s and has since made the woods of Maine her home in the shadow of the Bigelow Mountain Range. This large-scale view of the Carrabassett River exemplifies her mature style. In her own words, “because my work is based upon observed landscape, an obvious influence of ‘the Maine experience’ is beauty and the accessibility of the landscape itself. The terrain of gentle hills, forests and mountains, long vistas, the sky, the quality of light and the abundance of water are gifts to a painter. No less an influence is the grand tradition of Maine landscape painting, which encourages me to find my own voice, to speak of things both sensual and spiritual. To paint.” Her works are included in collections of the Portland Museum of Art, the Farnsworth Museum, and the Ogunquit Museum of American Art among other private and institutional collections. 72

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129 WILLIAM ZORACH (American, 1887–1966) Drying Sails — Robinhood Cove watercolor on paper signed Zorach lower right sight: 14 1/2 x 21 in., frame: 26 x 32 in.

Provenance: Christie's New York, March 2, 2006, Sale 1632, Lot 129; The Collection of a Connecticut Gentleman. Other Notes: The Downtown Gallery (New York) label verso.

$2,500–3,500

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130 STEPHEN MORGAN ETNIER (American, 1903–1984) Autumn Sun 1959, oil on canvas signed and dated Stephen Etnier 59 lower left 23 x 38 1/4 in., frame: 27 3/4 x 42 3/4 in.

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$4,000–6,000 Provenance: The Collection of a Maine Gentleman. Other Notes: Milch Galleries (New York) label verso.

131 THOMAS FRANSIOLI (American, 1906–1997) Cape Rosier from Castine oil on canvas signed Fransioli lower right 18 x 28 in., frame: 25 1/2 x 35 1/2 in.

$1,500–2,500 Provenance: Purchased from Milch Galleries (New York), February 10, 1965 by a Florida couple. Other Notes: Milch Galleries (New York) label verso.

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132 YUTAKA OHASHI (Japanese/American, 1923–1989) Chofu No. 2 1960, oil and paper collage on canvas signed Y. Ohashi, titled, and dated verso 36 x 24 in. frame: 36 1/2 x 24 1/2 in. $2,000–4,000

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Born in Japan in 1923, Yutaka Ohashi began his studies at Tokyo University of the Arts, before joining the School of the Museum of Fine Arts, Boston from 1950–55. He moved to New York in 1959 after receiving a Guggenheim fellowship, and it was in New York that he began a fruitful exchange of ideas with some of the leading Abstract Expressionists. He returned to Japan in 1960 after receiving a second Guggenheim fellowship, and in the same year he produced Chofu No. 2, a work that speaks to his incorporation of Japanese painting traditions with American Abstract Expressionist aesthetics.

133 YUTAKA OHASHI (Japanese/American, 1923–1989) Lisle No. 5 1957–9, oil and paper collage on canvas signed Y. Ohashi, titled, and dated verso 36 x 28 in. frame: 36 1/2 x 28 1/2 in. $2,000–4,000

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134 GRAHAM VIVIAN SUTHERLAND (British, 1903–1980) Untitled 1957, gouache, watercolor, and crayon on paper signed and dated G.S. X.III \ 57 along lower edge sight: 37 x 27 1/2 in., frame: 47 1/2 x 38 in. $25,000–35,000 Provenance: From the artist to Jean Simpson–Baikie, London; to the current owners,1967. After the Second World War, British artist Graham Sutherland incorporated new tonalities and brighter colors into his work. Reflecting on this shift, the artist noted that by 1945, "color became important to me and I found I could use it emotively and arbitrarily." The two works included in this sale exemplify this injection of bright color, particularly in contrast to the sparse instances of color in his earlier pieces. In the decades following the war, Sutherland received several public commissions,

including a Crucifixion for the parish church of St Matthew’s in Northampton (1944) and his celebrated design for the tapestry of Christ in Glory at the new Coventry Cathedral (1962). The ‘duality’ of the Crucifixion fascinated Sutherland, who described it as 'the most tragic of all themes, yet inherent in it is the promise of salvation. It is the symbol of the precarious balanced moment, the hair’s–breadth between black and white.' As an Official War Artist employed to capture the bomb damage in Great Britain, Sutherland’s vision for the Crucifixion was undoubtedly impacted by his wartime experiences and reaction to its aftermath. His realized, life–size Crucifixion was inspired by Matthias Grunewald’s famous Issenhiem altarpiece, rendering an anguished and blistered Christ, as well as contemporary photographs of the dead and starving victims of the Nazi concentration camps. As he worked on these large–scale commissions, Sutherland produced many related works, mediating on religious themes and ‘standing forms,’ including trees and fragments of roots. The dramatic perspective lines, bright palette, and almost cruciform figure of Untiled are reminiscent of the Crucifixion at St Matthew's.

135 GRAHAM VIVIAN SUTHERLAND (British, 1903–1980) Untitled gouache, watercolor, and crayon with paper collage on paper laid down on card initialed GS lower right 8 5/8 x 11 1/4 in., frame: 13 3/4 x 16 1/2 in. $5,000–7,000 Provenance: From the artist to Jean Simpson-Baikie London; to the current owners,1967.

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136 ROBERT STERLING NEUMAN (American, 1926–2015) Por Avion #2 1961, oil on canvas signed and dated RSN 1961–64 lower right signed, dated, and titled verso 38 x 40 in., frame: 39 x 41 in. $3,000–5,000 Provenance: The Collection of a Cambridge Gentleman.

137 EUGENE GUSTAVOVITCH BERMAN (Russian/American, 1899–1972) Hill Town gouache on canvasboard monogrammed EB lower center sight: 12 x 8 3/4 in. frame: 20 1/4 x 17 1/8 in. $3,000–5,000 Provenance: Property of a Private Collector.

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138 MILLARD SHEETS (American, 1907–1989) Net Fishing — Moorea 1979, watercolor signed and dated Millard Sheets 1979 lower left sheet: 22 x 30 in., frame: 31 1/2 x 39 1/2 in. $7,000–10,000

Provenance: The Collection of a California Lady; by descent within her family. Millard Sheets was an American Scene painter, and a leading force behind the California Style watercolor movement. During World War II, Sheets was an artist– correspondent for Life Magazine. This experience deeply impacted his artistic style, as he favored heavy subject matters and dark tonal values in the years following the war. In contrast, his later watercolors, including the present work, relied on vibrant colors, loose flowing forms, and dynamic light distribution to bring to life scenes from the far–flung places he visited.

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139 CHARLES EPHRAIM BURCHFIELD (American, 1893–1967) Night Landscape 1916, watercolor on joined paper signed and dated Chas Burchfield 1916 lower right 8 x 26 3/4 in., frame: 16 1/2 x 35 in. $5,000–8,000 Provenance: Charles E. Burchfield Foundation, New York; Kennedy Galleries, Inc., New York, 1977; acquired from the above, 2001; Christie's New York, Sale 2485, Important American Paintings, Drawings, and Sculptures, November 29, 2011, Lot 10; Private New England Collection. Exhibitions: Kennedy Galleries, Inc., New York, Charles E. Burchfield at Kennedy Galleries: The Early Years 1915–1929, October 13– November 12, 1977, no. 3 (label verso). The inventive output of 20th–century American artist Charles Burchfield cannot be bound within the confines of one artistic movement. Early in his career, he drew inspiration from the landscapes in northeast Ohio to experiment and cultivate his unique painting style. This watercolor of the Ohio countryside at nightfall dates from a period described by Burchfield as his “golden year,” following his graduation from the Cleveland Art Institute in 1916. 82

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140 CHARLES EPHRAIM BURCHFIELD (American, 1893–1967) Hills and Valleys at Sunset 1915, pencil on paper dated 5–31–15 upper right sight: 10 x 7 1/2 in., frame: 17 1/2 x 15 in.

141 CHARLES EPHRAIM BURCHFIELD (American, 1893–1967) Marshy Meadows 1915, pencil on paper dated 5–31–15 lower right sight: 7 1/2 x 10 in., frame: 15 x 17 1/2 in.

$1,500–2,500

$1,000–2,000

Provenance: Meibohm Fine Arts, Inc. (Aurora, New York); A Massachusetts Collection.

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142 FREDERIC REMINGTON (American, 1861–1909) Daring Arrest of Bull Elk — Attempted Rescue by a Mob of Blackfeet ca. 1893, watercolor on paper signed Frederic Remington lower right and lower left (obscured by mat) sheet: 21 3/4 x 30 1/4 in., frame: 32 1/4 x 43 in. $40,000–60,000

Provenance: By descent within a Woodstock, Vermont family. Literature: – Hassrick, Peter H. and Melissa J. Webster. Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors, and Drawings, Vol. II. Cody, Wyoming: 1996. Cat. no. 1686, pp. 477 (illus). – Scribner's Magazine (October 1893), p. 412 (accompanied by a copy of the magazine).

Remington’s monochromatic watercolors Daring Arrest of Bull Elk - Attempted Rescue by a Mob of Blackfeet and Watering the Horses in a ‘Dobe Hole imply an authentic narrative of an immediate past in their content and their titles. The intensely detailed scenes, heightened by the artist’s fervid inflections of light and shadow, depict the drama of America’s rapidly disappearing western frontier. Reflecting on his first trip West in 1881, Remington wrote, “I was in the grand silent country following my own inclinations, but there was a heavy feel in the atmosphere. I did not immediately see what it portended, but it gradually obtruded itself. The times had changed.” Today, Remington’s chronicles of the Old West evoke an almost retrospective melancholy.

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143 FREDERIC REMINGTON (American, 1861–1909) Watering the Horses in a 'Dobe Hole 1894–95, watercolor on paper signed Frederic Remington lower right, twice (one obscured by mat) sheet: 22 x 30 1/4 in. frame: 32 1/4 x 43 in. $30,000–50,000

Provenance: By descent within a Woodstock, Vermont family. Literature: – Hassrick, Peter H. and Melissa J. Webster. Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors, and Drawings, Vol. II. Cody, Wyoming: 1996. Cat. no. 1940, pp. 553 (illus). – Harper's Monthly (July 1895), p. 243 (accompanied by a copy of the magazine).

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144 WOLF KAHN (American, 1927–2020) Barn on the Auger Hole, South Newfane, Vermont 1985, oil on canvas signed W. Kahn lower center 16 x 20 in., frame: 19 x 23 in. $5,000–10,000 Provenance: Thomas Segal Gallery, Boston, Massachusetts (label verso); The Collection of a Rochester, New York Gentleman.

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145 WOLF KAHN (American, 1927–2020) Deer Isle, Maine 1962, oil on canvas signed W Kahn lower right signed, dated, and titled verso 16 x 20 in., frame: 20 1/4 x 24 1/2 in. $5,000–10,000 Provenance: The Collection of a Rochester, New York Gentleman.

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146 NEIL WELLIVER (American, 1929–2005) Landscape Study 1979, oil on linen signed Welliver lower right; signed and dated Welliver 1979 verso 14 x 11 7/8 in., frame: 16 3/8 x 14 1/8 in. $5,000–8,000 Provenance: Property of a Massachusetts Collector.

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147 NEIL WELLIVER (American, 1929–2005) Landscape 1972–3, oil on linen signed Welliver lower right 12 1/8 x 14 1/16 in., frame: 13 1/2 x 15 1/2 in. $5,000–8,000 Provenance: Property of a Massachusetts Collector.

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148 ANNA MARY ROBERTSON 'GRANDMA' MOSES (American, 1860–1961) A Blanket of Snow 1945, oil on masonite signed Moses lower center 16 x 20 in., frame: 23 x 27 1/2 in. $30,000–50,000

Provenance: James Vigeveno Galleries, Los Angeles; Private Collection; Skinner, Inc., Boston, May 20, 2011, Lot 434; The Collection of a Maine Gentleman. Literature: Kallir, Otto. Grandma Moses. New York: 1973, p. 297, cat. no. 539. Other Notes: The Columbus Museum (Columbus, Georgia) loan label verso. Loaned July 20, 1991 to July 31, 1992. With Grandma Moses's inventory label verso (dated September 4, 1945, numbered 1059, and titled).

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149 ANNA MARY ROBERTSON 'GRANDMA' MOSES (American, 1860–1961) Almost Home oil and glitter on masonite signed Moses lower left 9 7/8 x 12 in. frame: 16 3/4 x 20 in. $25,000–35,000 Provenance: The Collection of Cora P. Waite; Pucker Safrai Gallery, Boston, Massachusetts; Private Massachusetts Collection, 1970; by descent within the family. Literature: Kallir, Otto. Grandma Moses. New York: 1973, p. 297, cat. no. 534.

150 ANNA MARY ROBERTSON 'GRANDMA' MOSES (American, 1860–1961) Long Bridge 1954, oil on masonite signed Moses lower right 6 1/2 x 10 in. frame: 12 1/8 x 16 1/4 in. $15,000–20,000 Provenance: Parke–Bernet, New York, April 15, 1970, Sale 3025, Lot 212; by descent within an Illinois family. Literature: Kallir, Otto. Grandma Moses. New York: 1973, p. 313, cat. no. 1127 (illus). Other Notes: With Grandma Moses inventory label verso (dated February 25, 1954, numbered 1616, and titled).

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151 ANNE PACKARD (American, b. 1933) Dunes and Sea Pond at Truro oil on canvas signed A. Packard lower left 36 x 48 in., frame: 39 1/8 x 51 1/8 in. $15,000–25,000 Provenance: The Collection of a Cape Cod Couple.

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152 ANNE PACKARD (American, b. 1933) Dune at Truro 1988, oil on canvas signed and dated A. Packard '88 lower right 24 x 36 in., frame: 31 x 43 in. $10,000–20,000 Provenance: The Collection of a Cape Cod Couple.

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153 ANNE PACKARD (American, b. 1933) Provincetown View, 1988, oil on canvas; signed and dated A. Packard 88 lower right; 48 x 72 in., frame: 49 1/2 x 73 1/2 in. $20,000–30,000 F I N E A RT

154 ANNE PACKARD (American, b. 1933) Ocean Waves 2005, oil on canvas signed A. Packard lower right 36 x 48 in., frame: 42 x 54 in. $10,000–15,000 Provenance: The Collection of a Connecticut Couple.

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Accompanied by a copy of the book Anne Packard. Fields Publishing, North Truro, Massachusetts: 2006, hand signed by the artist and numbered 123/2000.

155 ANNE PACKARD (American, b.1933) Red Dory oil on canvas signed A. Packard lower left 22 x 36 in., frame: 26 3/4 x 40 3/4 in. $8,000–12,000 Provenance: The Collection of a Charlestown, Massachusetts Family.

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156 ELLEN GALLAGHER (American, b. 1965) Lips & Paper 1993, ink, oil, and collaged paper on canvas 72 x 64 in. $50,000–70,000 Provenance: Purchased directly from the artist by a Cambridge, Massachusetts woman in the early 1990s. After learning about Gallagher at an event at the Institute of Contemporary Art featuring emerging Boston artists, the Cambridge woman visited Gallagher’s studio and purchased this painting. It has hung in her home ever since. Grogan & Company thanks Ellen Gallagher for confirming the title, date, and additional details about her work. Exhibitions: Institute of Contemporary Art, Boston, Milena Dopitova in Context, January 19 - March 27, 1994 (exhibited alongside works by Lillian Hsu-Flanders, Annette Lemieux, Denise Marika, and Ellen Rothenberg). Ellen Gallagher works in paint, collage, drawing, and film to communicate social commentary. Her canvases layer everyday materials, soft tones, and symbolism drawn from African–American targeted advertisements and caricatures that recall blackface and minstrelsy. In discussing her use of abstracted bodily forms, the artist notes, “What is crucial to my making of a language and a cosmology of signs is the type of repetition that is central to jazz. You start off with a limited class of signs and, like jazz, you revisit and repeat with slight changes and build structure...as these things are repeated and revised they expand–depending on the configuration of characters.” As such, from a distance, paintings in the manner of Lips & Paper read as minimalist and abstract, yet up close the repeating patterns of ink lips, printed on penmanship paper and meticulously laid on canvas, challenge viewers to engage with issues of race and identity. Lips & Paper was created in 1993, following Gallagher's formative summer at the Skowhegan School of Painting and Sculpture in Maine. It was at this time that she began to increase the scale of her paintings and utilize the technique of transfer printing on penmanship paper applied to stretched canvas, as seen in the present work. The artist considers Lips & Paper to be a direct precursor to her 1994 work Afro Mountain, which was included in the 1995 Whitney Biennial and is now in the Whitney's permanent collection.

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157 EKUA HOLMES (American, b. 1955) Progeny 2007, collage and mixed media on board signed and dated Ekua Holmes '07 lower right sight: 20 1/4 x 16 1/2 in.; frame: 27 1/4 x 23 1/2 in.

158 EKUA HOLMES (American, b. 1955) Let the Games Begin 2008, collage and acrylic on paper signed and dated Ekua Holmes 2008 lower right 30 x 22 1/2 in., frame: 36 1/2 x 29 1/4 in.

$800–1,200

Artist and community activist Ekua Holmes employs collage as a medium to share her family histories, explore relationship dynamics, and investigate the forces of hope, faith, and nostalgia. She frequently draws inspiration from her experiences growing up in Roxbury, Massachusetts, and the rich colors, dynamic compositions, and textural qualities of her work are instantly recognizable. An exhibition focused on Holmes’ award-winning children’s book illustrations is currently on display at the Museum of Fine Arts in Boston. The exhibition showcases her commitment to pushing the boundaries of the literary and visual narratives available to children today, and to championing inclusivity and Black representation.

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159 CLAES THURE OLDENBURG (American, b. 1929) Crusoe Umbrella 1977, watercolor and crayon on paper signed and dated C.O. 77 lower center titled R. Crusoe lower right 11 x 13 3/4 in. frame: 18 1/8 x 21 in. $15,000–25,000

Provenance: By descent within the family of a private collector. Exhibitions: – The Pace Gallery, New York, Claes Oldenburg/Coosje van Bruggen Large Scale Projects: Drawings and Sculpture, December 2, 1994– January 7, 1995, cat no. 34 (label verso). – Museo Correr, Comune di Venezia–Musei Civici, Oldenburg e Van Bruggen, May 22–October 30, 1999, cat. no. 33 (label verso). – Library of the Boston Athenaeum, From Boston Collections, October 10–December 1, 2007 (label verso).

This watercolor served as the inspiration for a large–scale Oldenburg sculpture referencing Daniel Defoe’s novel Robinson Crusoe (1719), in which a castaway fashions an umbrella from the island’s natural materials to remind himself of the civilization he once knew. In 1978 Claes Oldenburg together with his wife and collaborator Coosje van Bruggen dedicated their careers to creating outdoor, site–specific public sculptures, including their first commission for the Civic Center of Greater Des Moines, Iowa. The realized Crusoe Umbrella, though made of steel, recalls the organic plant forms of the umbrella in Defoe’s novel. Speaking about the design the artists stated, “The umbrella of Crusoe was as structured as it had to be, yet organic in form, made of branches and plants on the island. This image became our point of departure. We wanted to place an exotic element in the midst of prosaic circumstances and turn the center of the continent paradoxically into an island in the sea."

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160 ADOLPH GOTTLIEB (American, 1903–1974) Untitled 1965, acrylic on paper signed and dated Adolph Gottlieb 1965 lower left 20 x 15 in., frame: 26 1/2 x 21 3/8 in. $70,000–100,000 Provenance: Marlborough Gallery, New York (label verso); by descent within the family of a private collector. Exhibitions: Library of the Boston Athenaeum, From Boston Collections, October 10–December 1, 2007. The thick, gestural brushstrokes and circular motifs in Adolph Gottlieb’s Burst paintings draw on mythical and anthropological motifs to reflect a ‘totality of existence.’ In a 1943 letter by Gottlieb and Mark Rothko published in the New York Times, the Abstract Expressionists declared, ‘We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.’ In Untitled, the simple, binary structure of the composition relies on the polarity of the circular focal point at the top of the paper and the gestural burst at the bottom. The upper zone appears to vibrate, evoking a calming effect reminiscent of Color Field paintings. In contrast, the frenetic energy in the bottom zone engages with the gestural abstraction tradition.

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161 ELAINE FRIED DE KOONING (American, 1918–1989) Theme of the Bull #14 1959, oil on paper signed E. de K. lower right sheet: 11 x 13 5/16 in. frame: 18 3/8 x 20 1/2 in. $15,000–25,000 Provenance: By descent within the family of a private collector. Other Notes: Holland-Goldowsky Gallery, Inc (Chicago) label verso. The Abstract Expressionist artist Elaine de Kooning had a lifelong interest in bodily movement, whether capturing the presence of her portrait sitters or the physiology of animals in motion. While teaching at the University of New Mexico in 1958, she became infatuated with bullfighting. The artist would travel six hours to see the Sunday bullfights at the Plaza Monumental in Ciudad Juárez, Mexico, and even likened “the muscles and bristled hides of stampeding bulls” to the Sandia Mountains in Albuquerque. On paper, De Kooning animated the ferocious energy of these events with brilliant colors and impulsive, vivid applications of paint. This work was included in de Kooning's 1960 solo exhibition on the Theme of the Bull at Chicago's Holland-Goldowsky Gallery. In a glowing review of the exhibition in the Chicago Daily News, de Kooning's artist statement is quoted: "... now my colors have become claustrophobic; they want to burst the boundaries, to expand, radiate, explode – anything can happen as long as it's outward...If a bull finds himself charging through, if bull fighters wave their capes...it's ok with me...Right now, I gather, I want pageantry, splendor...clamorous color – trumpeting reds and shrieking yellows... the heraldic colors of the corrida." In Theme of the Bull #14, the bull, depicted in black and centered in the composition, becomes the focal point in an otherwise chaotic cacophony of color and movement.

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162 LYONEL FEININGER (American, 1871–1956) Three Little Figures 1946, watercolor and ink on paper signed Feininger lower left dated 16.4.46 lower right sight: 6 1/2 x 10 1/4 in. frame: 13 7/8 x 17 1/2 in. $10,000–20,000

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Provenance: Buchholz Gallery, New York (label verso); by descent within the family of a private collector. Exhibitions: Library of the Boston Athenaeum, From Boston Collections, October 10–December 1, 2007 (label verso). Other Notes: Museum of Modern Art, New York loan label verso (LS–51–104).

163 MAX WEBER (American, 1881–1961) Sorrow 1912, pencil on paper signed and dated Max Weber 1912 lower right sheet: 8 3/4 x 5 1/2 in. frame: 16 1/4 x 13 1/4 in. $1,000–1,500 Provenance: Forum Gallery, New York; The Collection of an Arkansas Gentleman. Other Notes: With Max Weber Estate stamp and label verso; Forum Gallery (New York) label verso.

164 ANDY WARHOL (American, 1928–1987) Six Faces 1955, pen, ink, and gouache on paper dedicated and signed Andy Warhol lower right sheet: 15 1/8 x 12 in. $8,000–12,000 Provenance: Swann Auction Galleries, New York, November 10, 2011, Lot 309; The Collection of a Maine Gentleman. Other Notes: Stamped verso with Andy Warhol Art Authentication Board, New York blue ink stamp; identification no. A120.103.

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165 ANDY WARHOL (American, 1928–1987) Gertrude Stein (F. & S. II.227) 1980, screenprint numbered 58/200 and signed Andy Warhol in pencil lower right with publisher's blindstamp lower left sheet: 40 x 32 in., frame: 42 x 34 in. $5,000–8,000 Provenance: The Morgan Gallery, Boston, Massachusetts; The Collection of a Belmont, Massachusetts Family.

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166 ANDY WARHOL (American, 1928–1987) Mao (Wallpaper) (F. & S. II.125A) 1974, screenprint in colors from an unlimited edition, one of approximately 100 signed sight: 39 1/2 x 29 1/4 in. frame: 44 3/4 x 34 1/4 in. $4,000–6,000 Provenance: A gift from the artist to his friend Robert Christian (a model and muse for both Warhol and Robert Mapplethorpe); to his friend, a New England lady.

167 TOM WESSELMANN (American, 1931–2004) Great American Nude 1968, screenprint sight: 12 5/8 x 14 3/4 in. frame: 22 1/8 x 24 in. $800–1,200 Provenance: A Private Collection.

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168 ROBERT BURNS MOTHERWELL (American, 1915–1991) La Casa de la Mancha 1984, etching, aquatint on paper signed Motherwell and numbered 20/70 lower left with the artist's blindstamp lower right sight: 24 x 30 3/4 in., frame: 26 1/2 x 32 1/2 in. $2,000–4,000 Provenance: Tyler Graphics, Bedford Village, New York (label verso); by descent within the family of a private collector.

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169 ROBERT BURNS MOTHERWELL (American, 1915–1991) Hermitage 1975, lithograph and screenprint signed and numbered Motherwell 166/200 in pencil lower right with publisher's blindstamp lower right sight: 45 1/2 x 31 in., frame: 54 x 39 1/2 in. $4,000–6,000

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170 ANDERS ZORN (Swedish, 1860–1920) Zorn and His Wife 1890, etching on paper signed Zorn in pencil lower right sight: 14 1/2 x 10 1/4 in., frame: 22 1/4 x 17 7/8 in. $1,500–2,000 Provenance: By descent within the family of a private collector.

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171 MARC CHAGALL (French, 1887–1985) Le Christ à l'horloge (M. 196) 1957, lithograph on wove paper signed Marc Chagall in pencil lower right, numbered 45/90 lower left sight: 17 1/2 x 14 in., frame: 26 5/8 x 23 1/4 in. $2,000–4,000 Provenance: The Collection of a Boston Couple.

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172 PABLO PICASSO (Spanish, 1881–1973) Pigeonneau dans son nid (M. 71, B. 427) 1947, lithograph signed Picasso in crayon lower left numbered 50/50 lower right sight: 11 x 16 1/4 in. frame: 17 5/8 x 22 1/4 in. $2,000–3,000 Provenance: By descent within the family of a private collector. Other Notes: Art Lending Service of the Museum of Modern Art, New York, label verso, no. LS 578–394.

173 PABLO PICASSO (Spanish, 1881–1973) Toros (A.R. 161) earthenware ceramic conceived July 29, 1952 executed in an edition of 500 stamped and marked Madoura Plein Feu / Edition Picasso / Edition Picasso / Madoura diameter: 7 7/8 in. $2,000–3,000 Provenance: The Estate of a Maryland Lady.

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174 KAREL CHRISTIAAN APPEL (Dutch, 1921–2006) Close Together 1977, hand painted wood edition numbered 28/50 published by Editions Press, San Francisco, with signed and numbered certificate on the underside height: 30 in. $5,000–7,000 Provenance: The Collection of an Upstate New York Gentleman.

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175 MICHAEL GHAUI (Tanzanian, b. 1950) Running Warthog 1998, silver inscribed M A Ghaui (c) 98, numbered 1/9, and stamped 925 on base total weight approx. 218 ozt. height: 11 in., length: 18 1/2 in. $1,500–2,500 Provenance: The Estate of a Lincoln, Massachusetts Lady.

176 PAUL HOWARD MANSHIP (American, 1885–1966) Sleeping Dog bronze inscribed P. H. M. on dog's collar length: 3 1/4 in., height: 1 1/2 in. height including base: 2 1/2 in. $2,000–3,000 Provenance: A gift from the artist to the daughter of his friend and fellow artist Solon H. Borglum (1860–1922); by descent within the family. The celebrated artistic career of Paul Manship was catalyzed by his time as Solon H. Borglum’s studio assistant. He joined the studio in 1905, and fondly recalled how Borglum, “encouraged me to do practically as I pleased and I worked arduously at art.” He created this tiny bronze sleeping dog, modeled after Borglum’s Dalmatian, as a gift to his mentor and friend. Manship left Borglum’s studio to study at the Pennsylvania Academy of Fine Arts and then Rome, thereafter launching his successful career creating idealized figurative works in bronze.

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177 MILTON ELTING HEBALD (American, 1917–2015) James Joyce 1966, bronze inscribed Hebald 1966 III on base height: 16 1/2 in., mounted on a 2 in. base, overall height: 18 1/2 in. $3,000–5,000 Provenance: The Collection of a Newport, Rhode Island Family. Milton Hebald’s bronze statue depicts the Irish author James Joyce (1882–1941) in contemplation. The bronze is a smaller version of a life–size sculpture by Hebald depicting Joyce seated with a book overlooking his gravestone in Fluntern Cemetery, Zurich. Hebald was commissioned to create the bronze in 1966, when Joyce was moved from his original resting place to an 'honor grave' within the cemetery.

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178 OLIN LEVI WARNER (American, 1844–1896) Julian Alden Weir 1880, bronze signed Olin Warner, dated 1880, and inscribed Alden Weir on the reverse height: 22 in. $1,500–2,500 Provenance: Julian Alden Weir, the sitter; by descent to his daughter, Mrs. George Page Ely (née Caroline Weir), 1919; by descent to her daughter, Mrs. Gregory Smith (née Anne Weir Ely); by descent within the family to a private California collection; private collection, New York. Literature: Tolles, Thayer, ed. American Sculpture in The Metropolitan Museum of Art, Volume I: A Catalogue of Works by Artists Born before 1865. New York: The Metropolitan Museum of Art, 1999), pp. 213 – 215, no. 89, (another cast illus). In 1877, Olin Levi Warner became a founding member of the Society of American Artists, through which he likely met Julian Alden Weir, a fellow artist, and future sitter. Warner’s celebrated portrait bust of Weir shows the young artist at age twenty–eight and was immediately praised as “the finest, most virile piece of work yet exhibited in New York,” when the plaster was shown at the Annual Exhibition of the Society of American Artists in 1880. The turned head, asymmetrical shoulders, and facial expression of Weir are reminiscent of Jean–Baptiste Carpeaux’s naturalistic modeling, and perhaps influenced by Warner’s time spent as Carpeaux’s studio assistant. Warner later submitted a bronze cast of Weir to the 1881 Paris Salon, his first time in the exhibition, and included it in shows at the National Academy of Design (1888), Paris Universal Exposition (1889), a retrospective exhibition at the Society of American Artists (1892), and Worlds Columbian Exhibition (1893).

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179 JULIAN ALDEN WEIR (American, 1852–1919) Lady in a Kimono oil on canvas 31 1/8 x 26 in., frame: 37 1/2 x 31 3/4 in.

Provenance: The artist; by descent to his daughter, Mrs. George Page Ely (née Caroline Weir), 1919; by descent to her daughter, Mrs. Gregory Smith (née Anne Weir Ely); by descent within the family to a private California collection; private collection, New York.

$6,000–8,000 Julian Alden Weir was a leading Connecticut impressionist, renowned for his landscapes and his embrace of a new style of portraiture in the last decade of the nineteenth century. For Weir, portraiture was not limited to presenting the likenesses of his sitters, and it became an inventive medium for him to experiment with style and technique. The soft, feathery brushwork and light palette of Lady in a Kimono speak to this, as does Weir’s inclusion and treatment of his sitter’s kimono and Japanese screen.

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180 RICHARD EDWARD MILLER (American, 1875–1943) Portrait of a Young Woman oil on canvas signed Miller lower left 46 x 35 in., frame: 50 x 39 in. $4,000–6,000 Provenance: Property of a New York Collector.

181 GEORGES D'ESPAGNAT (French, 1870–1950) Femme nue assise oil on canvas initialed GdE lower right 16 x 13 in., frame: 28 x 25 in. $4,000–6,000 Provenance: Christie's New York, Impressionist and Modern Auction, September 20, 2011, Lot 172; The Collection of a New York Lady.

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182 LE PHO (Vietnamese, 1907–2001) Fleurs oil on canvas signed Le Pho lower right 29 x 24 in., frame: 35 x 30 in. $20,000–30,000 Provenance: Purchased from Wally Findlay Galleries, New York by an East Coast couple; by descent within their family.

183 CECIL KENNEDY (English, 1905–1997) Spring Flowers in Glass oil on canvas signed Cecil Kennedy lower right titled on stretcher 26 x 20 in., frame: 31 1/2 x 25 1/2 in. $5,000–7,000 Provenance: Property of a Back Bay, Boston, Massachusetts Couple.

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184 OGDEN MINTON PLEISSNER (American, 1905–1983) Coming Ashore, Camp Harmony watercolor on paper signed Pleissner lower right sight: 16 1/2 x 26 1/4 in., frame: 27 1/2 x 37 1/2 in. $15,000–25,000 Provenance: The Collection of a Massachusetts Gentleman. Other Notes: The Sporting Gallery and Bookshop (New York) label verso.

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The historic Camp Harmony was built in 1879 at the junction of the Restigouche and Upsalquitch Rivers in New Brunswick, Canada for New York angler Dean Sage. In 1888, Sage's privately published book The Restigouche and Its Salmon Fishing sparked worldwide recognition for the river and the camp. In 1895, the camp was expanded by the noted New York architect Stanford White, an avid angler who designed many of the premier fishing lodges on the Restigouche River, including William K. Vanderbilt's Kedgwick Lodge and the Restigouche Salmon Club. Since the 19th century, the Camp Harmony Angling Club has continued to operate as one of the most famous Atlantic salmon fishing destinations in North America.

185 OGDEN MINTON PLEISSNER (American, 1905–1983) On the River Avon, Stratford–upon–Avon 1944, watercolor on paper signed Ogden M. Pleissner and located and dated Stratford on Avon 1944 lower right sight: 11 5/8 x 17 3/4 in. frame: 19 1/2 x 25 1/2 in. $2,000–3,000

186 JOHN WHORF (American, 1903–1959) Morning Mist II watercolor on paper signed John Whorf lower right; numbered K193 and titled Morning Mist II verso sheet: 15 1/4 x 22 1/2 in. frame: 24 x 30 1/2 in. $3,000–5,000 Provenance: By descent within a New England Family.

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125

187 JOHN WHORF (American, 1903–1959) Setting the Decoys watercolor on paper signed John Whorf lower right sheet: 15 x 22 1/4 in., frame: 25 1/2 x 31 1/2 in. $4,000–6,000 Provenance: By descent within a Massachusetts family.

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188 JOHN WHORF (American, 1903–1959) In The Shadows watercolor on paper numbered No.21 and titled In The Shadows verso sheet: 15 1/4 x 22 1/2 in. frame: 24 1/4 x 31 1/4 in. $3,000–5,000 Provenance: By descent within a Massachusetts family.

189 JOHN WHORF (American, 1903–1959) Pulling the Canoe 1930, watercolor on paper signed John Whorf lower right sheet: 16 1/2 x 21 1/2 in. frame: 23 1/2 x 28 1/2 in. $3,000–5,000 Provenance: The Collection of a Brookline, Massachusetts Gentleman. Other Notes: double sided, the verso depicting a farmhouse landscape, signed and dated John Whorf '30 lower left

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127

190 JOHN WHORF (American, 1903–1959) Mystic Avenue Bridge watercolor on paper signed John Whorf lower right sheet: 22 x 28 3/4 in., frame: 29 3/4 x 36 1/2 in. $5,000–8,000 Provenance: By descent within a Massachusetts family.

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191 JOHN WHORF (American, 1903–1959) Winter Morning Through the Birches watercolor on paper signed John Whorf lower right; numbered 139 and titled Winter Morning Through the Birches verso sheet: 22 1/4 x 30 1/4 in., frame: 30 x 37 1/2 in. $4,000–6,000 Provenance: By descent within a New England family.

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129

192 JOHN WHORF (American, 1903–1959) Grandfather's House oil on canvas signed John Whorf lower right 29 1/8 x 36 1/8 in., frame: 33 1/2 x 40 1/2 in. $5,000–10,000 Provenance: From the artist to his friend, a Massachusetts gentleman; by descent within the gentleman's family.

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193 JOHN WHORF (American, 1903–1959) Seated Figure (Myrna Loy) 1923, watercolor on paper signed and dated John Whorf 23 lower right dedicated and titled verso sheet: 21 3/4 x 15 in. frame: 29 1/2 x 22 1/2 in. $2,000–4,000 Provenance: From the artist to his friend, a Massachusetts gentleman; by descent within the gentleman's family.

194 JOHN WHORF (American, 1903–1959) Reclining Nude watercolor on paper signed John Whorf lower left sheet: 15 3/8 x 22 in. frame: 24 3/4 x 29 3/4 in. $2,000–4,000 Provenance: From the artist to his friend, a Massachusetts gentleman; by descent within the gentleman's family.

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131

195 ARTHUR CLIFTON GOODWIN (American, 1864–1929) Quincy Market, Boston oil on canvas signed A.C. Goodwin lower right 30 x 36 in. frame: 35 1/4 x 41 1/2 in. $10,000–15,000 Provenance: The Collection of a Boston Institution. Other Notes: Childs Gallery (Boston, Massachusetts) label verso.

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196 ARTHUR CLIFTON GOODWIN (American, 1864–1929) Park Street Church oil on canvas signed A C Goodwin lower right 18 x 22 in. frame: 24 1/2 x 28 3/4 in. $1,000–2,000 Provenance: The Estate of a Lincoln, Massachusetts Lady.

197 ALDRO THOMPSON HIBBARD (American, 1886–1972) Connecticut River at Wells River, Vermont oil on canvasboard signed A. T. Hibbard lower left 17 3/4 x 23 1/2 in. frame: 24 x 30 in. $3,000–5,000

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133

198 CARL WILLIAMS PETERS (American, 1897–1980) Harbor View oil on canvas estate stamped verso 25 x 30 in., frame: 33 x 37 3/4 in. $2,000–4,000 Provenance: The Collection of a Maine Gentleman.

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199 WILSON HENRY IRVINE (American, 1869–1936) The Edge of the Wood oil on board signed Irvine lower left titled verso 24 x 27 in. frame: 29 3/4 x 32 3/4 in. $3,000–5,000 Provenance: The Collection of an Upstate New York Gentleman.

200 EMILE ALBERT GRUPPE (American, 1896–1978) Birch Trees 1965, oil on canvas signed Emile A. Gruppe lower right 30 x 36 in., frame: 36 x 42 in. $1,500–2,500 Other Notes: Grand Central Art Galleries (New York) label verso; Audubon Artists Annual, National Academy Galleries (New York) label verso.

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135

201 EMILE ALBERT GRUPPE (American, 1896–1978) Gloucester Harbor from Smith's Cove oil on canvas signed Emile Gruppe lower right 30 1/8 x 40 1/4 in., frame: 33 3/4 x 43 7/8 in. $10,000–20,000

136

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137

202 JAY HALL CONNAWAY (American, 1893–1970) Tree and Waves oil on masonite signed Connaway lower right signed and titled verso 20 x 30 in., frame: 28 x 38 in. $2,000–4,000 Provenance: The Collection of a Vermont Lady.

203 ANDREW GEORGE WINTER (American, 1893–1958) Self Portrait with Decoys oil on canvas signed A Winter center left 22 x 28 in. frame: 26 1/2 x 32 1/2 in. $2,500–3,500 Other Notes: Grand Central Art Galleries, Inc. (New York) label verso.

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204 ANDREW GEORGE WINTER (American, 1893–1958) Annisquam Light oil on masonite signed A Winter lower left 12 x 18 in. frame: 15 3/4 x 21 7/8 in. $3,000–5,000 Other Notes: Grand Central Art Galleries, Inc. (New York) label verso.

205 CHARLES JAY TAYLOR (American, 1855–1929) Boothbay Harbor, Maine 1914, oil on canvas signed and dated C.J. Taylor 1914 lower right 24 x 32 in. frame: 33 1/2 x 41 1/2 in. $4,000–6,000 Provenance: The Collection of an Upstate New York Gentleman.

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139

206 WILLIAM STANLEY HASELTINE (American, 1835–1900) A Rest in the Shade, Lenox, Massachusetts 1860, oil on canvas inscribed Lenox 60 lower left 16 x 18 in., frame: 24 x 26 in. $4,000–8,000 Provenance: The artist's daughter, Mrs. Helen Haseltine Plowden; Gift to the Dayton Art Institute, Dayton, Ohio, 1954; Sotheby's New York, October 30, 1996, Lot 109; Private Collection, Washington, D.C.; Eldred's Auctions, Dennis, Massachusetts, November 21, 2013, Lot 1339; The Collection of an East Coast Gentleman. Exhibitions: The Berkshire Museum, Pittsfield, Massachusetts. A Return to Arcadia: 19th Century Berkshire County Landscapes, March 31– August 26th, 1990 (label verso). Other Notes: Doll & Richards (Boston, Massachusetts) label verso.

207 FRANK HENRY SHAPLEIGH (American, 1842–1906) The Old Wharf at Rowley, Mass oil on canvas signed F. H. Shapleigh lower right titled and signed verso 20 x 30 in., frame: 22 x 32 in. $2,000–4,000 Provenance: The Collection of a Maine Gentleman.

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208 HARVEY JOINER (American, 1852–1932) Road Through the Woods oil on canvasboard signed Harvey Joiner lower right 12 x 10 in., frame: 20 x 17 3/4 in. $2,000–4,000 Provenance: The Collection of a Rochester, New York Gentleman.

209 WORTHINGTON (THOMAS) WHITTREDGE (American, 1820–1910) Hunter in the Woods oil on canvas signed W. Whittredge lower right 15 x 12 in., frame: 25 x 22 in. $5,000–10,000 Provenance: The Collection of a Maine Lady.

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141

210 RICHARD LABARRE GOODWIN (American, 1840–1910) Hanging Woodcock oil on canvas signed R. LaBarre Goodwin lower right 20 x 16 in., frame: 23 1/2 x 19 1/2 in.

Hanging Quail oil on canvas signed R. LaBarre Goodwin lower right 20 x 16 in., frame: 23 1/2 x 19 1/2 in.

$2,000–3,000 Provenance: The Collection of a Rochester, New York Gentleman.

142

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211 RICHARD LABARRE GOODWIN (American, 1840–1910) Hanging Grouse oil on canvas signed R LaBarre Goodwin lower right 26 x 20 in., frame: 19 1/2 x 23 1/2 in. $1,500–2,500 Provenance: The Collection of a Rochester, New York Gentleman.

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143

212 WILLIAM AIKEN WALKER (American, 1838–1921) Cabin Scene oil on board signed W.A. Walker lower left 7 3/8 x 14 in. frame: 9 x 15 in. $10,000–15,000

144

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Provenance: Private Illinois Collection; purchased by an Illinois collector, 1970; by descent within an Illinois family. William Aiken Walker is best known for his depictions of the lives of the Black sharecroppers he encountered in his travels throughout the South and along the Mississippi River in the years following the Civil War. By the 1880s, he had found success selling his paintings to Northern tourists, and he gained further notoriety when two of his paintings were reproduced as chromolithographs by Currier & Ives in 1883-4.

213 WILLIAM AIKEN WALKER (American, 1838–1921) Plantation Scene oil on board signed W.A. Walker lower left 13 x 16 in., frame: 18 5/8 x 21 5/8 in.

$10,000–15,000 Provenance: Parke–Bernet, New York, April 15, 1970, Sale 3025, Lot 149; by descent within an Illinois family.

214 WILLIAM AIKEN WALKER (American, 1838–1921) Summer Camp 1894, oil on board signed and dated W.A. Walker, Sep. 14, 1894 lower left 8 1/8 x 11 1/2 in. frame: 9 1/4 x 12 5/8 in. $6,000–12,000 Provenance: Parke–Bernet, New York, May 1, 1979, Lot 56; by descent within an Illinois family.

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145

215 ANTONIO NICOLO GASPARO JACOBSEN (American, 1850–1921) The Santiago 1890, oil on canvas signed and dated A. Jacobsen 1890 lower right 18 x 30 in. frame: 23 1/2 x 35 1/2 in. $5,000–8,000 Provenance: The Collection of a Massachusetts Gentleman. Antonio Jacobsen’s ship portrait depicts the steamship 'Santiago,' built in 1881 for the New York & Cuba Mail Steamship Co., commonly known as the Ward Line, which linked New York City with Nassau, Havana, and Mexican Gulf ports.

216 SOLON FRANCIS MONTECELLO BADGER (American, 1873–1919) The Kenwood oil on canvas signed S.F.M.Badger, Charlestown Mass lower left 18 x 30 in. frame: 24 x 36 in. $8,000–12,000 Provenance: The Collection of a Maine Gentleman. Boston–born artist Solon Francis Badger is best known for his ship portraits, a genre that flourished in 19th and early 20th century America, particularly for independent commercial vessels. This portrait depicts the ‘Kenwood,’ a four– masted schooner built in Boston in 1901 for the local shipping company John S. Emery & Co. The ‘Kenwood’ was a coastal cargo vessel engaged in the lumber trade, and Badger’s painting captured the schooner in the years before a storm wrecked the ship off of Cedar Point, Scituate, Massachusetts, on February 4, 1926.

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217 WILLIAM HOWARD YORKE (American, 1847–1921) Prince Lucien oil on canvas signed W. H. Yorke lower right 24 x 26 3/4 in. frame: 28 1/2 x 40 1/2 in. $3,000–5,000 Provenance: The Collection of a Massachusetts Gentleman.

218 THOMAS BUTTERSWORTH (English, 1768–1842) English Man–of–War Forming Up in the Straits of Dover oil on canvas 24 3/4 x 30 in. frame: 33 1/2 x 38 1/2 in. $15,000–25,000 Other Notes: Quester Gallery (Stonington, CT) label verso.

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147

219 SUNQUA (Chinese, 19th century) View of the Hongs at Canton oil on canvas 17 1/2 x 30 1/2 in., frame: 23 x 36 in. $20,000–30,000 Provenance: The Collection of a Maine Gentleman. 148

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Working in Canton and Macao, the Chinese painter Sunqua was widely celebrated for his paintings of the China trade ships, ports, and landscapes. His delicate attention to detail vividly captures the bustling trade and commerce surrounding the western factories, or hongs, at Canton. The hongs functioned as trading headquarters, warehouses, and residences for Western merchants until 1841, when Westerners were expelled from Canton during the first opium war. In this scene, Sunqua relays the vibrancy and prosperity of the Canton waterfront in the early 19th century through his depiction of the busy waterway, detailed architecture, and foreign flags flying high along the waterfront. F I N E A RT

149

220 CHARLES–THEODORE FRERE (French, 1814–1888) Entrance to the Mosque of Cairo oil on panel signed Th. Frere lower left 6 3/4 x 5 in. frame: 14 1/4 x 12 3/4 in. $3,000–5,000

221 ERNEST WADSWORTH LONGFELLOW (American, 1845–1921) The Acropolis from Mount Lycabettus 1878, oil on artist's board signed E W L lower left titled and located verso 11 x 16 in. frame: 20 3/4 x 25 1/4 in. $1,000–2,000

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222 Attributed to THOMAS SULLY (American, 1783–1872) Portrait of a Gentleman oil on canvas 30 x 25 in., frame: 33 1/2 x 28 1/2 in. $5,000–7,000 Provenance: By descent within a New England family.

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151

Mary Marcy 1823, oil on panel inscribed Mary Marcys likeness, painted in 1823, aged 58 yrs. verso 27 x 22 in.

Joseph Marcy 1823, oil on panel inscribed T. Ware upper right inscribed Joseph Marcy, aged 65, 1823 verso 27 1/4 x 21 3/4 in.

223 THOMAS WARE (American, 1803–1836) Four Portraits of the Marcy Family $15,000–25,000 Provenance: By descent within a Woodstock, Vermont family. Thomas Ware, a Vermont native, is known for his naïve portrait painting, as demonstrated in Four Portraits of the Marcy Family, painted in 1823. The paintings, which have descended within a Woodstock, Vermont family collection, are notable not only for the striking rendering of each figure, but also for Ware's confident signature and inscriptions on the reverse of each work. These works reflect the heyday of naïve American portrait painting that flourished from the late–eighteenth century until the 1850s.

152

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Eliza T. Marcy 1823, oil on panel inscribed Eliza T. Marcy, Aged 17 years, Painted by T. Ware in 1823 verso 26 1/4 x 21 1/2 in.

Sylvester Marcy 1823, oil on panel inscribed Sylvester Marcy, Aged 23 years, T. Ware Sculp., June 30th, 1823 verso 27 x 22 1/2 in.

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153

224 PAUL LELONG (French, 1779–1846) Suite of Six Still Lives gouache on paper the largest: 6 3/4 x 8 3/4. the smallest: 5 3/4 x 8 in. the largest frame: 9 x 11 in. the smallest frame: 8 x 10 1/4 in. $5,000–7,000 Provenance: The Collection of a Newport, Rhode Island Couple.

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225 SALVATORE GIUSTI (Italian, 1773–1845) Pair of Floral Still Lives oil on panel one signed and dated Sal. Giusti 1829 lower left the other signed S. Giusti lower left each: 15 x 12 in. frames: 18 3/4 x 15 1/2 in. $2,000–3,000 Provenance: Purchased in Naples, Italy, April 1849 by J.L. Gardner; by descent within the family to the collection of a Newport, Rhode Island Couple.

226 After LIPPO MEMMI (Italian, ca. 1291–1356) Madonna and Child oil on panel 31 1/2 x 21 1/2 in., frame: 41 x 31 in. $5,000–10,000 Provenance: Purchased in Europe, first half 20th century; The Collection of Herman and Margaret Hyde Butler, Rochester, New York; a gift to the Sisters of Mercy of Rochester; The Collection of an Upstate New York Gentleman. The Tuscan town of Siena was dedicated to the Virgin in 1260 on the eve of the Battle of Montaperti. The resulting fervor in the “City of the Virgin” resulted in an influx of imagery from Sienese artists depicting the Madonna and Child. The present work is after a panel of the same subject by Lippo Memmi (the brother–in–law and collaborator of noted artist Simone Martini), now in the Gemäldegalerie, Berlin. Memmi's sensitive modelling, refinement, and the almost–translucent quality of his colors are typical of Sienese painting of this period.

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155

ARTIST INDEX

156

ARTIST

LOT

ALLEN, MARION BOYD

119

LONGFELLOW, ERNEST WADSWORTH

221

APPEL, KAREL CHRISTIAAN

174

MANSHIP, PAUL HOWARD

176

BADGER, SOLON FRANCIS

216

MEMMI, AFTER LIPPO

226

BERMAN, EUGENE GUSTAVOVITCH

137

MILLER, RICHARD EDWARD

180

BOSLEY, FREDERICK ANDREW

122

MOSES, GRANDMA

148, 149, 150

BOUVE, ROSAMOND SMITH

121

MOTHERWELL, ROBERT BURNS

168, 169

BURCHFIELD, CHARLES EPHRAIM

139, 140, 141

NEUMAN, ROBERT STERLING

136

BUTTERSWORTH, THOMAS

218

OHASHI, YUTAKA

132, 133

CHAGALL, MARC

171

OLDENBURG, CLAES THURE

159

CHASE, ADELAIDE COLE

118

PACKARD, ANNE

151–155

CHASE, WILLIAM MERRITT

126

PETERS, CARL WILLIAMS

198

CONNAWAY, JAY HALL

202

PHO, LE

182

D'ESPAGNAT, GEORGES

181

PICASSO, PABLO

172, 173

DE KOONING, ELAINE FRIED

161

PLEISSNER, OGDEN MINTON

184, 185

ETNEIR, STEPHEN MORGAN

130

REMINGTON, FREDERIC

142, 143

FEININGER, LYONEL

162

ROBERTS, ELIZABETH WENTWORTH

124

FISKE, GERTRUDE HORSFORD

123

ROBICHAUX, MARGUERITE

128

FRANSIOLI, THOMAS

131

SHAPLEIGH, FRANK HENRY

207

FRERE, CHARLES-THEODORE

220

SHEETS, MILLARD

138

GALLAGHER, ELLEN

156

SULLY, THOMAS ATTR.

222

GHAUI, MICHAEL

176

SUNQUA

219

GIUSTI, SALVATORE

225

SUTHERLAND, GRAHAM VIVIAN

134, 135

GOODWIN, ARTHUR CLIFTON

195, 196

TAYLOR, CHARLES JAY

205

GOODWIN, RICHARD LABARRE

210, 211

WALKER, WILLIAM AIKEN

212, 213, 214

GOTTLIEB, ADOLPH

160

WARE, THOMAS

223

GRUPPE, EMILE ALBERT

200, 201

WARHOL, ANDY

164, 165, 166

HASELTINE, WILLIAM STANLEY

206

WARNER, OLIN LEVI

178

HEBALD, MILTON ELTING

177

WEBER, MAX

163

HIBBARD, ALDRO THOMPSON

197

WEIR, JULIAN ALDEN

179

HILLS, LAURA COOMBS

120

WELLIVER, NEIL

146, 147

HOLMES, EKUA

157, 158

WESSELMANN, TOM

167

IRVINE, WILSON HENRY

199

WHITTREDGE, WORTHINGTON

209

JACOBSEN, ANTONIO

215

WHORF, JOHN

186–194

JOINER, HARVEY

208

WINTER, ANDREW GEORGE

203, 204

KAHN, WOLF

144, 145

WOODWARD, MABEL MAY

125

KENNEDY, CECIL

183

YORKE, WILLIAM HOWARD

217

KNOWLES, DOROTHY PEREHUDOFF

127

ZORACH, WILLIAM

129

LELONG, PAUL

224

ZORN, ANDERS

170

MAKER INDEX MAKER

LOT

BAUME & MERCIER

101

BOIVIN, RENÉ

BOUCHERON

7, 9, 113

BUCCELLATI

22, 23, 24, 115, 117

BULGARI

103

CALDWELL & CO., J.E.

CARTIER

37, 38, 40, 47, 48, 50, 53, 56, 73, 74, 90, 106

CHOPARD

COHEN, JULIUS

CUMMINGS, ANGELA

1, 2

DE VROOMEN, LEO

DUNHILL, ALFRED

110

FÉRON, LOUIS

GÜBELIN

HERMÈS

111

LOCKE, ELIZABETH

MELLERIO DITS MELLER

114

NARDIN, ULYSSE

107

PHILIPPE, PATEK

98, 102

PIAGET

72, 96, 100

ROLEX

97, 104, 105, 108

SCHLUMBERGER

TACORI

TIFFANY & CO.

3, 4, 5, 16, 42, 63, 65, 81, 85

VAN CLEEF & ARPELS

8, 29, 30, 36, 112

WEBB, DAVID

49, 51, 84, 86, 87, 89, 109

ZWIKKER & ZACHER

Lot 24 157

SAVE THE DATE! THE

HOLIDAY AUC T I ON SUNDAY, DECEMBER 5, 2021 ∙ 11 AM Featuring a selection of over 300 lots of fine art, jewelry, silver, and decorative arts.

158

THE

FINE RUGS AND CARPETS AUCT I ON SUNDAY, JANUARY 30, 2022 ∙ 11 AM Featuring a curated offering of fine rugs, carpets, and textiles from private collections and estates.

159

NOW ACCEPTING CONSIGNMENTS FOR THE SPRING AUCTION SEASON Contact us to learn more about the consignment process and to schedule your complimentary, confidential auction valuation.

FINE ART GEORGINA C. WINTHROP Fine Art Director georgina@groganco.com

John Marin, Stonington Harbor, 1924 watercolor, 17 x 21 in., SOLD $97,600

JEWELRY T A Y L O R P. S E E Jewelry Specialist taylor@groganco.com

Raymond Yard Platinum, Gold, Enamel, and Gemset House Brooch, SOLD $40,625

S I LV E R & R U G S MICHAEL B. GROGAN President michael@groganco.com

Tiffany & Co. Colonial Pattern Flatware Service, SOLD $11,250

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TE RMS A ND CO ND ITIO N S OF S A L E PLEASE READ CAREFULLY AS YOU WILL BE BOUND BY THESE TERMS IF YOU BID AT AUCTION The auction catalogue, if any, and the terms hereinafter set forth, as amended by any posted notices or oral announcements during the sale, is Grogan & Company’s (herein referred to as “we”, “us”, or “our”) and the consignor’s entire agreement with the purchaser relative to the property listed in our catalogue or otherwise offered for sale. 1. All property is sold “as is” and neither we nor the consignor make any guarantees, warranties or representations, expressed or implied, with respect to the property, merchantability, or correctness of the catalogue or other description of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. No statement anywhere, whether oral or written, shall be deemed such a guarantee, warranty or representation. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored. We and the consignor make no representation or warranty as to whether the purchaser acquires any copyrights, including but not limited to any reproduction rights, in the property. However, if within 14 days of the sale of any lot, the purchaser gives notice in writing to us that the lot is counterfeit and within 10 days after such notice, the purchaser returns the lot to us in the same condition as when sold, and demonstrates to our satisfaction that the lot is a counterfeit, we will refund the purchase price. 2. A buyer’s premium of 25% will be added to the successful purchase price and is payable by the purchaser as part of the total purchase price. Purchases made online through Invaluable or LiveAuctioneers will be subject to an additional 5% charge and Bidsquare a 3% charge. 3. Acceptable forms of payment include cash, check, or wire transfer. For personal checks over $3,000, property will not be released until the check clears, unless credit has been previously established with us, or if a bank letter has been received prior to the sale guaranteeing said personal check. All property must be paid for within 5 business days following the sale and removed from the gallery within 20 days. Property not removed from the gallery within 20 days will be sent to our warehouse where storage fees may be assessed. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or, in case of bank or cashier’s checks, we have confirmed authenticity. 4. We reserve the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser. In the event of a dispute between bidders, or in the event of doubt on our part as to the validity of any bid, the auctioneer will have the final discretion either to determine the successful bidder or to re–offer and re–sell the article in dispute. If any dispute arises after the sale, our sale record is conclusive. Although at our discretion we will execute order bids or accept telephone bids as a convenience to clients who are not present at auctions, we are not responsible for any errors or omissions in connection therewith.

from sale, and if, having acknowledged an opening bid, he decides that any advance thereafter is insufficient; he may reject the advance and may thereafter withdraw the property. 7. On the fall of the auctioneer’s hammer, title to the offered lot will pass to the highest bidder acknowledged by the auctioneer, subject to fulfillment by such bidder of all of the conditions set forth herein, and such bidder thereupon assumes full risk and responsibility therefore. 8. If any applicable conditions herein are not complied with the purchaser, in addition to other remedies available to us and the consignor by law, including without limitation the right to hold the purchaser liable for the total purchase price, we at our option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or (b) resell the property at public auction without reserve, and the purchaser will be liable for any deficiency, as well as costs, including handling charges, the expense of both sales, our commission on both sales at our regular rates, all other charges due hereunder and incidental damages. 9. Unless exempt by law, the purchaser will be required to pay the Massachusetts sales tax or any applicable compensating use tax of another state on the total purchase price. The rate of sales tax in Massachusetts is 6.25%. For those eligible, a Massachusetts exemption number may be applied for prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, Massachusetts. 10. These Conditions of Sale as well as the purchaser’s and our respective rights and obligation hereunder shall be governed by and construed and enforced in accordance with the laws of the Commonwealth of Massachusetts. By bidding at an auction whether present in person or by agent, order bid, telephone, or other means, the purchaser shall be deemed to have consented to the jurisdiction of the state courts, and the federal courts sitting in the Commonwealth of Massachusetts. 11. We are not responsible for the acts or omissions of carriers or packers of purchased lots, whether or not recommended by us. Packing and handling of purchased lots by us is at the entire risk of the purchaser. In no event will we be liable for damage to glass or frames, regardless of the cause. 12. In no event will our liability to a purchaser exceed the purchase price actually paid. 13. No invalidity or partial invalidity or unenforceability of any provision provided herein shall effect or impair the validity of enforceability of any other provision hereof.

5. We reserve the right to withdraw any property before the sale. 6. If the auctioneer decides that any bid is below the value of the article offered, he may reject the same and withdraw the article

14. Bidding at an auction, whether present, by proxy (agent, order, telephone, online bid), or by any other means, constitutes your acceptance of these terms and conditions of sale.

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