Grogan & Company | The Fine Art and Jewelry Auction | Sunday, May 1 by Grogan & Company

THE

SPRING AUCT I ON S U N D A Y, MAY 9, 2021

THE

FINE ART AND JEWELRY AUCTION S U N D A Y, MAY 1, 2022

Lot 16

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

GEORGINA C. WINTHROP Vice President & Fine Art Director georgina@groganco.com

LUCY GROGAN EDWARDS Jewelry Director Emeritus lucy@groganco.com

TAYLOR P. SEE Jewelry Director taylor@groganco.com

ELIZA G. HODGSON Research & Marketing Coordinator eliza@groganco.com

CLAUDIA E. DEELEY Auction Coordinator claudia@groganco.com

S A LE 1 7 8

THE

FINE ART AND JEWELRY AUCT I ON S U N D A Y, MAY 1, 2022 ∙ 11 AM

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20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114

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

Lot 11 Right: Lot 180

FINE ART Lots 1—103

JEWELRY Lots 104—211

Lot 22

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1 RICHARD YARDE (American, 1939–2011) Untitled (Three Figures) 1977, watercolor on Rives paper signed and dated Yarde 1977 lower right sheet: 25 1/2 x 19 in. frame: 32 x 27 1/4 in. $1,500–2,500 Provenance: The Estate of a Prominent Architectural Historian, Wellesley, Massachusetts. This work was painted in 1977, a pivotal year for Boston artist Richard Yarde, as it was at this time that he switched from oil painting to watercolor as his preferred medium. His watercolors were bold in color, scale, and subject matter, and they were immediately celebrated by art critics and coveted by collectors. A December 1977 New York Times review of Yarde's one–man watercolor show at Meredith Long Contemporary notes, "The placement of each touch of color, the way these touches grow into clusters of form, and the deployment of these forms within the white space of the paper—it is in these pictorial details that Mr. Yarde establishes his real authority...Yet the mood of the work is not one of detached estheticism. We are never in doubt about the importance that Mr. Yarde's themes have for him. The note of elegy remains emphatic, and the note of personal identification with the past too. In perfecting the esthetic component of his art, Mr. Yarde has, in fact, strengthened its power to deal with a social reality, and persuades us of the force with which it has captured his imagination. The result is very moving work in a mode we seldom see nowadays." In his watercolors, Yarde explored the history of Black Americans in the 20th century. He drew on both his own upbringing in Roxbury, Massachusetts, as well as photographs from the heyday of the Harlem Renaissance, often finding inspiration in the work of noted photographer James Van Der Zee. The figures in this painting were likely photographed by Van Der Zee during one of the famed Harlem parades of the 1920s. Yarde enlivens the scene, creating a sense of spontaneity through his tilted, off–set composition, while capturing the viewer's eye with the contrast of the rich goldenrod ground against the stark white background of the paper.

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2 LLOYD McNEILL (American, b. 1935) Sign Bearers 1963, oil on canvas signed and dated Lloyd G. McNeill 1963 lower right 48 x 31 7/8 in. frame: 49 3/4 x 33 3/4 in. $5,000–8,000 Provenance: Property of a Chestnut Hill, Massachusetts Collector.

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American modernist painter Lloyd McNeill is celebrated for his figurative art from the 1960s and his talent as a jazz flutist. In 1963, he was the first person to receive a Master of Fine Arts degree from Howard University. After graduating from Howard, he spent a year at Dartmouth College as the Artist–In–Residence, during which time he painted Sign Bearers. Following his time at Dartmouth, McNeill moved to Paris to study at L’Ecole des Beaux Arts. Upon returning to the US, he had a varied and successful career as a jazz musician, artist, and arts educator.

3 JENNIE HADDAD (American, 1906–1996) Untitled oil on canvas signed Jennie Haddad verso 50 x 35 1/3 in. frame: 52 1/4 x 37 1/4 in. $8,000–12,000 Provenance: The Estate of the Artist; The Collection of Pat Houseman, Dallas, TX (1996–2020); A Texas Collection.

Jennie Haddad began her formal art training with Otis Dozier at the Dallas Museum of Fine Arts, though it was her time in New York City and Provincetown under the tutelage of Hans Hoffman that profoundly impacted her style. Haddad was one of 12 chosen pupils to study with the Abstract Expressionist in 1956, and in the artist’s words, “I clicked with Hans Hoffman and that turned out to be one of the best things that could have happened to me.” He encouraged her to take inspiration from nature and to loosen her style, as reflected in this painting, where the flat planes of receding and advancing colors establish negative and positive space. Haddad kept in touch with Hoffman until his death and continued her studies at the Arts Students League in Woodstock, NY. She exhibited across the country, and received the Houston Museum Award in 1957, upon which the critic Clement Greenberg noted, “Jennie Haddad has what I’d call ‘painting culture’ in her very bones; she has it by instinct. She was born to paint.” F I N E A RT

4 YUTAKA OHASHI (Japanese/American, 1923–1989) Current Red #3 1975, oil and sand on canvas signed Ohashi lower right signed Yutaka Ohashi, titled, and dated verso 14 x 18 in., frame: 14 3/4 x 18 3/4 in. $2,000–3,000 Provenance: By descent within a Chestnut Hill, Massachusetts Family.

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5 ROBERT REMSEN VICKREY (American, 1926–2011) Nun egg tempera on Masonite signed R. Vickrey lower right 14 x 20 in., frame: 23 5/8 x 29 1/2 in. $7,000–10,000 Provenance: Midtown Galleries, New York (label verso); By descent within a Hamilton, Massachusetts Family.

While Robert Vickrey was a student at the Yale School of Fine Arts in 1948, he found inspiration in a picture of Roman Catholic sisters the Daughters of Charity of St. Vincent de Paul. Soon thereafter, depictions of their distinct linen head coverings (cornettes) came to dominate his oeuvre. Vickrey's nun series highlights his use of traditional egg tempera. The yolk emulsion technique creates a unique luminosity seen in Vickrey's cornettes, while the matte surface of the medium heightens his striking, linear compositions. This work highlights the varied effect of the medium in Vickrey's work, with the bold white of the nun's cornette in stark contrast with the, grainy texture of the background.

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6 STEPHEN MORGAN ETNIER (American, 1903–1984) Old Schooner 1965, acrylic on panel signed and dated Stephen Etnier 65 lower left titled verso 16 x 24 in., frame: 26 x 34 1/2 in. $3,000–5,000

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7 STEPHEN MORGAN ETNIER (American, 1903–1984) The Cradle 1964, oil on canvas signed and dated Stephen Etnier 64 lower left titled verso 16 x 26 in., frame: 26 1/4 x 36 1/2 in. $3,000–5,000

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8 HAROLD WESTON (American, 1894–1972) Giant Sunrise (Giant Mountain and Lake Champlain from Dix Mountain) watercolor signed Weston lower right sight: 12 x 18 1/4 in. frame: 19 1/4 x 25 1/2 in. $5,000–7,000 Provenance: The Estate of Russell A. Ames, Westport, New York. This work is double sided, with a gouache and watercolor depiction of the artist's wife with her hands clasped, verso.

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9 HAROLD WESTON (American, 1894–1972) Faith in Yellow (The Artist's Wife) 1929, oil on canvas signed and dated Weston 29 lower right; titled and dated verso 21 x 28 1/2 in. $3,000–5,000

10 HAROLD WESTON (American, 1894–1972) View from Our Terrace oil on canvas initialed W lower right 19 1/2 x 20 1/2 in., frame: 25 x 30 1/2 in.

$7,000–10,000 Provenance: The Estate of Russell A. Ames, Westport, New York.

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11 LILLA CABOT PERRY (American, 1848–1933) Mount Monadnock from Hancock, New Hampshire 1922, oil on canvas signed and dated L.C. Perry 1922 lower left 20 1/8 x 26 1/4 in. frame: 26 3/8 x 32 1/4 in.

12 LILLA CABOT PERRY (American, 1848–1933) Japanese Girl oil on canvas signed L.C. Perry upper right 31 1/2 x 25 1/2 in., frame: 39 x 32 3/4 in. $5,000–10,000 Provenance: By descent within the family of the artist; Shannon's Auctioneers, Milford, CT, April 30, 2009, Lot 172; Property of a New York Collector.

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$5,000–7,000 Provenance: Skinner Inc., Marlborough, May 10, 2002, Lot 168; Property of a New York Collector.

13 ELMER WACHTEL (American, 1864–1929) Mountain Landscape 1928, oil on canvas signed E. W. and dated 28 lower left 36 x 48 in., frame: 42 1/8 x 52 1/4 in.

$5,000–8,000 Provenance: By descent within a Chestnut Hill, Massachusetts Family.

14 ERNEST IPSEN (American, 1869–1951) The Artist's Guide, Maine 1935, oil on canvas signed and dated E. L. Ipsen 1935 lower left 90 x 60 in., frame: 100 x 70 in. $4,000–6,000 Provenance: The Collection of a Boston Institution. Other Notes: Bears Vose Galleries (Boston, Massachusetts) label verso.

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15 WILLIAM ROBINSON LEIGH (American, 1866–1955) A Horse–Fair Pilgrimage oil on paper mounted on canvas signed W.R. Leigh lower right 15 7/8 x 15 1/8 in. frame: 23 1/2 x 22 1/2 in. $10,000–20,000

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Provenance: Private Collection, Old Lyme, Connecticut; with Cooley Gallery, Old Lyme, Connecticut; Private Collection, New York, New York. Literature: Scribner’s Magazine, October 1901, vol. 30, no. 4: Nadal, E.S., A Horse–Fair Pilgrimage, illus p. 389. Exhibitions: National Sporting Library and Museum, Middleburg, VA. Afield in America: 400 Years of Animal and Sporting Art. October 8, 2011–January 14, 2012.

16 ANNA MARY ROBERTSON 'GRANDMA' MOSES (American, 1860–1961) Cambridge in May 1943, tempera on Masonite signed Moses lower left 18 x 24 in., frame: 22 1/2 x 28 1/2 in.

Provenance: Purchased from the artist in the 1940s by a private collector; by descent within her family. Literature: Kallir, Otto. Grandma Moses. New York: 1973. p. 291, cat. no. 263.

$50,000–80,000

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17 MARGARET JORDAN PATTERSON (American, 1867–1950) Landscape oil on canvas estate stamped verso 15 x 18 in. frame: 20 x 23 in. $1,500–2,500 Provenance: The Collection of a Brookline, Massachusetts Family.

18 JAMES EDWARD FITZGERALD (American, 1899–1971) Monhegan Burial watercolor on paper signed James Fitzgerald lower right; titled verso sight: 18 1/2 x 22 3/4 in. frame: 26 1/2 x 30 3/4 in. $5,000–10,000 Provenance: By descent within a Hamilton, Massachusetts Family.

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19 ARTHUR WESLEY DOW (American, 1857–1922) Gay Head Cliffs hand colored woodcut titled verso sight: 6 3/4 x 8 1/4 in. frame: 14 x 15 1/4 in. $2,000–3,000 Provenance: The Collection of a Boston Lady.

20 BERNARD KARFIOL (American, 1886–1952) Landscape with Marie and Cows 1928, oil on canvas signed B. Karfiol lower left 28 x 36 in. frame: 33 1/2 x 41 1/2 in. $2,000–3,000 Provenance: The Collection of a Maine Gentleman. Literature: Slusser, Jean Paul. Bernard Karfiol. Whitney Museum of American Art, New York: 1931, cat. no. 26 (illus). Accompanied by a copy of the book. This work was likely painted during Karfiol's summers in Ogunquit, Maine.

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21 MARSDEN HARTLEY (American, 1877–1943) Wild White Rose oil on board estate stamped verso 16 x 12 in. frame: 20 x 16 in. $50,000–80,000 Provenance: The estate of the artist; Eva Lee Gallery, Great Neck, Long Island; purchased by a private collector, 1960; by descent within their family to a Massachusetts Lady. Literature: This painting is included in the Marsden Hartley Legacy Project: Complete Paintings and Works on Paper, with the Hartley Estate inventory no. 248; an image of it can be found in the Archives of American Art, Elizabeth McCausland Papers, box 15, folder 30: frames 33–35. Other Notes: Bears Paul Rosenberg Gallery (New York) label verso; stamped Property of Marsden Hartley verso. Modernist Marsden Hartley was a leading member of the Stieglitz group, with an innovative painting style that benefited from his exposure to French avant–garde styles and German painters. After spending years in Paris and Berlin, Hartley returned to the United States in 1915 and departed from his abstract style. His production of expressive landscapes, still life compositions, and portraits was inspired by his peripatetic lifestyle and the many places he lived. Hartley painted Wild White Rose in 1936, a notable year for him both personally and artistically. In September of that year, Hartley was living in Nova Scotia with the Mason family when both of their sons and their nephew drowned at sea. The death of his dear friends profoundly impacted Hartley, as can be seen in his repeated depiction of the iconic wild rose, or ‘rosa rugosa’, which blooms along the Atlantic seacoast. In the ensuing years, Hartley produced many iterations of the rose to memorialize the event. The striking contrast, vivid colors, exaggerated form, bold black outlines, and flattened space of Wild White Rose exemplify his work from this period. Grogan & Company thanks Gail R. Scott for her assistance in cataloging this work.

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22 MARGUERITE ZORACH (American, 1887–1968) Mountainside Road oil on canvas signed Marguerite Zorach lower right 16 x 20 in. frame: 24 1/2 x 28 1/2 in. $6,000–9,000 Provenance: The artist; to her nephew; Shannon's Fine Art Auctioneers, October 28, 2010, Lot 66; The Collection of a Maine Gentleman.

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Marguerite Thompson Zorach was a pioneer of modernism in America. Employing bright, bold colors and striking, simplified geometries, her mature paintings, especially her landscapes, express the influence of both Fauvism and Cubism. Born in California, Marguerite Thompson moved to Paris in 1907 and attended the Académie La Palette, a school of “post– impressionists,” and exhibited at the Salon d’Automne and the Société des Artistes Indépendants. In 1912, she married artist William Zorach, and the two returned to the United States. She participated in the seminal Armory Show of 1913, was the only woman exhibitor in the selective 1916 Forum Exhibition of Modern American Painters. Additionally, she served as the first President of the New York Society of Women Artists and as Vice President and Director of the Society of Independent Artists.

23 FAIRFIELD PORTER (American, 1907–1975) Evergreen Trees watercolor on paper estate stamped verso sheet: 15 1/4 x 21 1/2 in. frame: 22 3/4 x 29 in. $4,000–6,000 With a detailed preparatory pencil sketch, verso.

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24 PAUL CADMUS (American, 1904–1999) Vermont River crayon on paper signed Cadmus lower left 9 1/2 x 12 1/2 in. frame: 17 3/4 x 20 1/2 in. $3,000–5,000

25 SIGURD SKOU (American, 1875–1929) Sleeping Baby, Still Life oil and gouache on board signed Sigurd Skou lower left sight: 28 x 29 1/2 in. frame: 32 x 33 1/2 in. $1,500–2,000 Provenance: The Collection of a Brookline, Massachusetts Family.

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26 JOHN WHORF (American, 1903–1959) Caravan Campsite watercolor signed John Whorf lower right sight: 15 x 22 in. frame: 25 1/4 x 31 1/2 in. $3,000–5,000 Provenance: By descent within a Hamilton, Massachusetts Family.

27 ISABEL BISHOP (American, 1902–1988) Sketch for 'The Coats' watercolor sight: 6 1/2 x 3 1/2 in., frame: 14 3/8 x 10 3/8 in. $1,000–1,500 Provenance: By descent within a Hamilton, Massachusetts Family. Exhibitions: Midtown Galleries, New York, Isabel Bishop: Exhibition of Paintings, April 4–29, 1967, cat. no. 4. Accompanied by a copy of the exhibition pamphlet.

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28 ARTHUR BOWEN DAVIES (American, 1862–1928) The Dancers oil on canvas signed A.B. Davies lower left 28 x 14 in., frame: 31 1/2 x 17 1/2 in. $3,000–5,000 32

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29 NO LOT

31 Attributed to GUY PENE DU BOIS (American, 1884–1958) Woman in a Brown Coat oil on artist's board 9 x 12 in., frame: 16 5/8 x 13 1/2 in. 30 NO LOT

$1,500–2,500 F I N E A RT

32 DANIEL CHESTER FRENCH (American, 1850–1931) Mistletoe 1923, bronze inscribed DCF 1923 and Kunst Foundry, NY along base height: 10 in. $2,500–3,500 Provenance: Skinner Inc., Boston, September 23, 2016, Lot 352; The Collection of a Prominent Architectural Historian; to his estate.

33 WALTER GAY (American, 1856–1937) Interior Scene watercolor on paper signed indistinctly upper right double sided, with a landscape verso sheet: 31 x 22 in., frame: 39 1/2 x 31 in. $3,000–5,000

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34 JOHN SINGER SARGENT (American, 1856–1925) Study of Hands (#57) pencil on paper inscribed S.S. 235 lower left sight: 16 1/4 x 19 5/8 in. housed in an 18th century Italian frame: 29 1/4 x 32 3/4 in. $5,000–8,000 Provenance: The Art Students League, New York; Swann Galleries, New York, June 12, 2008, Lot 398; Private New York Collection. This work is accompanied by a 2008 letter from the John Singer Sargent Catalogue Raisonné Committee confirming that this is a work by the artist.

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35 CECILIA BEAUX (American, 1855–1942) William Biddle oil on panel 13 x 9 1/2 in. frame: 20 x 16 1/4 in. $1,500–2,500 Provenance: The artist; to her niece, Ernesta Drinker Barlow; a gift to noted interior designer Harold B. Cultra; by bequest to Richard Barker; to his estate; with Alfred J. Walker Fine Art (Boston); by descent within a Hamilton, Massachusetts Family. The internationally acclaimed American figure painter Cecilia Beaux was heralded by her friend and fellow artist William Merritt Chase (1849–1916) in 1899 as “not only the greatest living woman painter, but the best that has ever lived.” Though Beaux rejected the term “woman painter,” and instead, predicted as early as 1915 that “an hour when the term ‘Women in Art’ will be as strange sounding a topic as ‘Men in Art’ would be now.” Beaux embraced the framework of her family for the creation and reception of her work throughout her career. This portrait depicts her uncle and guardian William Foster Biddle, who was instrumental to her introduction to fine art and Philadelphia society. Thanks to her uncle’s encouragement of her burgeoning talent, Beaux’s sitters were not confined to women and children, and she received formal commissions from Philadelphia’s leading citizens and institutions. By the age of 18, Beaux was earning a living through commercial art and her works were exhibited internationally including the 1900 Exposition Universelle in Paris where she received the Gold Medal. In 1933 Beaux received the Chi Omega Gold Medal from Lady Eleanor Roosevelt who celebrated the artist as, “the American woman who had made the greatest contribution to the culture of the world." 36

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36 FRANK DUVENECK (American, 1848–1919) Theodore Wendel oil on canvas laid on Masonite monogrammed FD center right 15 1/8 x 12 in. frame: 19 3/4 x 16 1/2 in. $6,000–12,000 Provenance: The artist; with Martin Rettig, Cincinnati (agent for the artist's estate); Ainslee Galleries, New York; Private Collection, Los Angeles; R.C. Vose Paintings, Boston, early 1937; a Brookline, Massachusetts Collector, March 14, 1938; [whereabouts unknown]; Cowan's Auctions, Cincinnati, October 17, 2015; Property of a Manchester–by–the–Sea, Massachusetts Lady. Bears R.C. Vose Paintings, Boston stamp and inventory number on stretcher. According the Vose Galleries archives, when Vose acquired the work in 1937, the reverse of the canvas was inscribed Cincinnati Ohio, Nov 5, 1920. This is to certify that this painting, subject, 'Man's Head,' size 12 x 15 1/2 in. was painted by my brother. –Charles F. Duveneck. Additionally, the archives cite a letter from W.P. Closson of A.B. Closson Co., Cincinnati, dated January 2, 1936, that reads, "For your information, we are pleased to tell you that it is a portrait of Theodore Wendell [sic] who was with Duveneck when he painted in Munich. It was painted, we believe, sometime in the 70s." “After all’s said, Frank Duveneck is the greatest talent of the brush of this generation,” lauded John Singer Sargent in the mid–1890s. This high praise is a testament to the recognition of Duveneck’s skill within his lifetime, which was catalyzed by a series of early portraits he produced in the 1870s after a brief time at the Royal Academy of Arts in Munich. The works, including the well–known Whistling Boy (1872), expressed the artist’s celebrated Munich–style realism that blended the dark aesthetics of Realism with the painterly technique of the Impressionists. He exhibited them to great acclaim in Cincinnati (1873) and in Boston (1875), before returning to Munich to establish his own painting school. In Munich, his following colloquially known as the “Duveneck Boys,” attracted the likes of artist Theodore Wendel (1857–1932) who traveled to Germany in 1876 and of whom this portrait depicts. It is likely that Duveneck painted the portrait during Wendel's time in Germany. Before returning to the United States in 1886, Wendel spent his summers traveling and painting in Italy and his winters at Duveneck’s school of art. The two artists reunited in the late 1880s in Gloucester, Massachusetts where they spent the summers painting the New England landscape. F I N E A RT

37 JULIAN ALDEN WEIR (American, 1852–1919) Boy Polishing a Brass Jug oil on canvas 25 x 30 in. frame: 32 1/4 x 37 1/4 in. $2,000–3,000

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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. Exhibitions: Metropolitan Museum of Art, New York. J. Alden Weir: An American Impressionist. October 12, 1983–January 8, 1984. pp. 102–104, cat. no. 2.30, illus.; The Los Angeles County Museum of Art, February 9–May 6, 1984; The Denver Art Museum, June 13–August 19, 1984.

38 JAMES JEBUSA SHANNON (American, 1862–1923) The Doll (Kitty in Fancy Dress) oil on canvas signed J.J.S. lower right 30 x 24 in. frame: 42 x 36 in. $6,000–8,000 Provenance: The artist; his wife, Lady Florence Shannon; the artist's daughter (the subject), Kitty Shannon Keigwin; the artist's granddaughter, Julia Gibbons; the Estate of Julia Gibbons. Exhibitions: London, Fine Art Society, 1896; London, Leicester Galleries, 1923, no. 15. Literature: Catalogue of an Exhibition of Paintings by the Late Sir James J. Shannon, R.A. London, Leicester Galleries, June–July, 1923; Alfred Lys Baldry, 'J.J. Shannon, Painter.' Magazine of Art, 20 (November 1896), pp. 1–5, illus. p. 4; 'Art Exhibitions,' Times (London), 19, June 20, 1896; 'A Noted Portrait Painter, Death of Sir J.J. Shannon, R.A.,' Times (London), March 3, 1923; 'Art Exhibitions. The Late Sir J. J. Shannon's Paintings,' Morning Post, June 19, 1923. James Shannon’s work in the late 1880s is celebrated for bridging the gap between tradition and innovation. This cheerful portrait of the artist’s daughter Kitty playing with her dolls showcases Shannon’s affinity for painting his daughter and wife, as well as the influence of the Spanish master Diego Velazquez (1599–1660) on his portraiture. A critic viewing the portrait of Kitty at the artist’s one–man exhibition in 1896 described the painting as a “Velasquez–like child, playing with a doll.” Though, while the broad brushwork and refined palette of soft pinks, greys, and blacks are reminiscent of the Spanish baroque painter, Shannon’s sitter is masterfully captured in motion rather than the static poses typical of Velasquez.

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39 JULIAN ALDEN WEIR (American, 1852–1919) Shetucket River oil on canvas 19 x 23 in. frame: 30 1/4 x 34 3/8 in. $7,000–9,000

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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. Literature: Dawson, Anne E., ed. Rare Light: J. Alden Weir in Windham, Connecticut. Middletown, CT: Wesleyan University Press, 2016. pp. 48–49, no. 138.

40 JOHN JOSEPH ENNEKING (American, 1841–1916) Along the Banks of the Neponset River 1896, oil on canvas signed and dated Enneking '96 lower right 18 x 24 in., frame: 26 x 32 in.

Provenance: By descent within a Hamilton, Massachusetts Family. Other Notes: Bears Vose Galleries (Boston, Massachusetts) label verso.

$4,000–6,000

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41 JOHN FERGUSON WEIR (American, 1841–1926) Floral Still Life 1886, oil on canvas signed JNO. F. Weir 1886 lower left 32 x 24 in. frame: 43 x 35 in. $7,000–9,000

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Artist, writer, and teacher John Ferguson Weir began his artistic journey alongside his younger brother Julian Alden Weir under the tutelage of their father, Robert W. Weir, a revered drawing teacher at West Point. In 1868, after finding success as an artist in New York, John F. Weir received an offer to become director of the newly established School of Fine Arts at Yale, the first fine arts school in this country to be part of an established university. After moving to New Haven, Weir found inspiration in the surrounding Connecticut landscape, departing from his earlier depictions of industrial life. He instead favored landscapes, interiors, and still lifes such as the present lot. In his forty-four year tenure at Yale, Weir built the School of Fine Arts into one of the most respected in the nation, and was lauded for his forward-thinking educational approach, exposing students to not only traditional Old Master sources but also the (at the time) radical Impressionists.

42 ABBOTT FULLER GRAVES (American, 1859–1936) Roses oil on canvas signed Abbott Graves lower right 20 x 30 in., frame: 30 x 40 in. $8,000–12,000

43 ABBOTT FULLER GRAVES (American, 1859–1936) St. Cloud on the Seine, France oil on board signed Abbott Graves lower right 9 x 6 in., frame: 12 3/8 x 9 3/4 in. $1,500–2,000

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44 RUDOLF WACKER (Austrian, 1893–1939) Am Breiten Tor (Goslar) 1929, oil on paper board signed and dated R.W. II.29 lower right 25 1/2 x 19 1/2 in. frame: 30 1/2 x 24 1/2 in.

45 RUDOLF WACKER (Austrian, 1893–1939) Hof 1928, oil on paperboard signed and dated R.W. XII.28 lower left 25 1/2 x 19 1/2 in. frame: 30 1/2 x 24 1/2 in.

$5,000–10,000

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Literature: Haller, Max. Rudolf Wacker, 1893–1939. Biografie mit dem Oeuvre–Katalog des malerischen Werkes. Lustenau 1971. Lot 44: cat no. 130.; Lot 45: cat. no. 127. Lots 44 and 45 have descended for three generations within the family of the artist Rudolf Wacker. Wacker was one of Austria’s most important representatives of the Neue Sachlichkeit (New Objectivity) and the Phantastischer Realism (Magic Realism) movements. In 1914, he was drafted into the Tyrolean Imperial Rifles Regiment, captured a year later in Poland by the Russians, and imprisoned in Siberia for nearly five years. He returned to Berlin in 1920 where he became a founding member of the Vorarlberger Artists' Association, Der Kreis (The Circle). These two paintings are typical of his celebrated work of the mid to late 1920s, which depicted houses and backyards in working–class neighborhoods.

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47 JEAN ARP (French/German, 1886–1986) Tête de Bouteille et Moustache sterling silver and semi–precious stones stamped Design by Arp, numbered 35/100 and stamped Pieter Ein–Hod, ST925 Made in Israel pendant: 3 x 2 1/8 in., overall length: 19 in. $3,000–5,000 Provenance: By descent within a New York Family. Jean Arp’s multifaceted artistic practice was rooted in the pivotal aesthetic movements of the 20th century, ranging from Dada and Surrealism to Abstraction. It was only at the end of his life that he began designing jewelry such as Tête de Bouteille et Moustache. This necklace, designed in 1960 for his friend and fellow Dadaist Marcel Janco was executed in a numbered edition of 100 by Jhanaan Peter in the artist colony of Ein–Hod, Israel. The cool silver contours and biomorphic shapes of broken bottlehead and mustache forms are instantly recognizable as part of Arp’s oeuvre. 46

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48 LYONEL FEININGER (American, 1871–1956) The Bark with Flag 1935, watercolor and ink signed Feininger lower left; dated 14.6.35 lower right sheet: 7 3/4 x 11 1/2 in., frame: 16 5/8 x 22 7/8 in. $10,000–20,000

Provenance: By descent within a Chestnut Hill, Massachusetts Family. Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York – Berlin has confirmed the authenticity of this work, which is registered under no. 1773–03–07–22. A certificate of authenticity accompanies the work.

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49 PABLO PICASSO (Spanish, 1881–1973) Tête d'Histrion (Le Danseur) color linoleum cut on Arches paper signed Picasso in pencil lower right and numbered 51/200 in pencil lower left sight: 25 1/2 x 20 1/4 in., frame: 37 3/4 x 31 1/2 in. $6,000–8,000

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50 DAVID BURLIUK (Ukrainian/American, 1882–1967) The Artist watercolor signed Burliuk lower left 10 1/2 x 14 1/2 in. frame: 17 1/2 x 21 3/4 in. $1,500–2,000 Provenance: By descent within the family of a California collector.

51 DAVID BURLIUK (Ukrainian/American, 1882–1967) Two Young Peasant Women watercolor signed Burliuk lower right 10 1/2 x 14 1/2 in. frame: 17 1/2 x 21 3/4 in. $1,500–2,000 Provenance: By descent within the family of a California collector.

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52 CHARLES LEVIER (French/American, 1920–2003) Three Women oil on canvas signed Levier lower left 30 x 24 in. frame: 36 x 30 1/4 in. $2,000–3,000 Provenance: Property of a Massachusetts Collection.

53 CHARLES LEVIER (French/American, 1920–2003) Street View oil on canvas signed Levier lower right 40 x 30 in., frame: 46 x 36 in. $2,000–3,000 Provenance: Property of a Massachusetts Collection.

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54 THORE HERAMB (Norwegian, 1916–2014) Farmhouse Scene 1947, oil on canvas signed and dated Th. Heramb 47 lower left 31 3/4 x 40 1/4 in., frame: 36 1/2 x 46 1/2 in. $3,000–5,000 Provenance: Property of a Massachusetts Collection.

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55 LINO TAGLIAPIETRA (Italian, b. 1934) Two Vases 1982 and 1984, glass the shorter example etched PAF 1984 on base, width: 10 in. the taller example etched PAF 1982 on base, height: 9 in. $1,500–2,000

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56 SEWELL SILLMAN (American, 1924–1992) North Border Entry 1964, oil on masonite titled and dated verso 46 7/8 x 64 1/4 in. frame: 48 1/7 x 65 1/4 in. $5,000–8,000 Other Notes: Martha Jackson Gallery (New York) label verso.

57 LINDEN FREDERICK (American, b. 1953) Hot Dogs 2000, oil on board signed Linden lower right titled, signed, and dated verso 6 1/2 x 11 1/2 in. frame: 11 1/2 x 11 1/2 in. $2,000–4,000

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58 YARDE, RICHARD and ALEXANDER ELIOT. Richard Yarde's The Savoy Ballroom. Boston: Hampshire Typothetae for Savoy Associates, 1986. Folio edition, housed in original grey cloth box with black morocco spine; the letterpress and plates loose and housed in black paper chemise with debossed lettering. The complete suite, with two sets of 14 prints hand signed by the artist. $1,000–1,500 Provenance: The artist, to a supporter of the artist; by descent within her family. Other Notes: This example is a partner copy from the intended edition of 400; however, it is not known whether the full edition was ever printed.

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59 TINGBO GUANG (Chinese, b. 1938) Back Shore, Gloucester, Massachusetts oil on canvas signed Guang lower left 31 1/2 x 43 1/2 in. $3,000–5,000 Provenance: The artist; commissioned by a private Massachusetts collector.

60 TINGBO GUANG (Chinese, b. 1938) Changbai Mountain Road oil on canvas signed Guang lower right 30 x 37 in., frame: 34 1/2 x 42 in. $3,000–5,000 Provenance: The artist; property of a private Massachusetts collector.

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61 JOEL M. BABB (American, b. 1947) Vinalhaven 1999, oil on panel signed J.M. Babb lower left 10 x 15 in., frame: 15 x 20 in. $2,000–4,000 Provenance: The Collection of a Maine Gentleman.

62 JOEL M. BABB (American, b. 1947) Ragged Jack from Logging Road 1994, oil on linen signed and dated J.M. Babb '94 lower right 22 x 26 in., frame: 30 x 34 in. $3,000–5,000 Provenance: The Collection of a Maine Gentleman. Exhibitions: Bates College Museum of Art. Intimate Wilderness: Maine Landscapes by Joel Babb. October 25– December 29, 2002.

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63 T. M. NICHOLAS (American, b. 1963) Autumn View oil on canvas signed T. M. Nicholas lower right 20 x 30 in. frame: 28 1/2 x 38 1/2 in. $2,000–3,000 Provenance: Property of a Massachusetts Lady.

64 PAUL TURNER SARGENT (American, 1880–1946) A Walk Through the Park oil on board signed P. T. Sargent lower right 3 3/8 x 5 1/8 in. frame: 6 x 7 1/2 in. $1,000–1,500

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65 ANTHONY THIEME (American, 1888–1954) Bridge View oil on board inscribed To my friend....[indistinct]... Boston, Mass. A Thieme verso 11 3/4 x 15 1/2 in. frame: 14 1/2 x 18 1/4 in. $1,500–2,500

66 HARRY LEITH–ROSS (American, 1886–1973) Under the Pines oil on canvas laid on board signed Leith–Ross lower left 10 3/8 x 8 1/4 in. frame: 17 x 14 3/4 in. $1,500–2,500 Provenance: Property of a New York Collector. Exhibitions: Salmagundi Club, Thumb Box Exhibition, 196[?], New York (partial label verso).

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67 ANTONIO CIRINO (American, 1889–1983) Autumn Road oil on board signed A. Cirino lower left 10 x 12 in. frame: 16 1/4 x 18 1/4 in. $1,500–2,500

68 ANTONIO CIRINO (American, 1889–1983) Street at Sunset oil on board signed A. Cirino lower right 8 x 10 in., frame: 17 x 19 in. $1,000–1,500

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69 EMILE ALBERT GRUPPE (American, 1896–1978) Smith Cove, Gloucester oil on canvas signed Emile A. Gruppe lower right 20 x 24 in., frame: 30 x 34 in. $4,000–6,000 Provenance: The Collection of a Maine Gentleman.

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70 LEON KROLL (American, 1884–1974) Bay View, Gloucester oil on Masonite signed Leon Kroll lower right 18 x 28 in. frame: 25 1/2 x 35 1/2 in. $7,000–10,000 Provenance: Christie's New York, October 4, 2000, Lot 140; The Collection of a Maine Gentleman. Exhibitions: Cape Ann Historical Museum, Leon Kroll: A Singular Vision, August 14, 2004–January 29, 2005.

71 WILLIAM LESTER STEVENS (American, 1888–1969) Lanesville, Massachusetts 1939, watercolor on paper signed and dated W. Lester Stevens '39 lower right; titled Lanesville, Mass lower left sight: 17 1/2 x 21 1/2 in. frame: 28 x 31 in. $1,000–1,500

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72 WILLIAM LESTER STEVENS (American, 1888–1969) Snowy River oil on canvas signed Wm. Lester Stevens N.A. lower right 30 x 40 in., frame: 39 x 49 in. $4,000–6,000

73 JONAS LIE (American, 1880–1940) Adirondack Lake oil on board signed Jonas Lie lower right 8 x 12 in. frame: 15 1/8 x 19 1/8 in. $2,000–4,000 Provenance: Spanierman Gallery, New York; Property of a New York Collector.

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74 HENRY HOBART NICHOLS, JR. (American, 1869–1962) New England Winter oil on canvas signed Hobart Nichols lower right 30 x 36 in. frame: 37 1/2 x 43 1/2 in. $3,000–5,000 Provenance: Property of a New York Collector.

75 FREDERICK MULHAUPT (American, 1871–1938) Fall View oil on board signed Mulhaupt lower left 7 3/4 x 8 3/4 in., frame: 14 x 16 in. $3,000–5,000

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76 LESLIE PRINCE THOMPSON (American, 1880–1963) Sand Dunes 1902, oil on canvas signed and dated Leslie P. Thompson 1902 lower right; titled verso 24 x 30 in., frame: 36 x 42 in. $4,000–6,000 Exhibitions: 1902 Copley Society Exhibition, Boston, Massachusetts (label verso).

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77 ROBERT SWAIN GIFFORD (American, 1840–1905) View from Cuttyhunk Island watercolor signed R. Swain Gifford lower left sight: 6 x 13 in. frame: 13 1/4 x 20 in.

$1,000–2,000 Provenance: By descent within a New England Family. This work depicts the view from Cuttyhunk Island, looking east toward Nashawena Island. Buzzards Bay is to the left and Vineyard Sound to the right.

78 WILLIAM TROST RICHARDS (American, 1833–1905) Seaside with Cliffs oil on board signed Wm. T. Richards lower left 9 x 16 in., frame: 15 3/4 x 22 1/2 in. $4,000–6,000 F I N E A RT

79 DUNCAN MCFARLANE (American, 1834–1871) After the Storm oil on canvas 24 x 35 in. frame: 30 x 41 in. $5,000–8,000 Provenance: Marine Arts Gallery, Salem, Massachusetts; The Collection of a New York Couple.

80 WILLIAM STUBBS (American, 1842–1909) Schooner 'Alice S. Hawkes' oil on canvas signed Stubbs lower left 22 x 32 in. frame: 26 x 36 in. $3,000–5,000 Provenance: By descent within a Cambridge, Massachusetts Family.

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81 GEORGE SAVARY WASSON (American, 1855–1932) USS Brooklyn at the Battle of Santiago de Cuba 1901, oil on canvas signed and dated Geo. S. Wasson 1901 lower left 30 x 45 in., frame: 35 x 50 in. $5,000–8,000 The USS Brooklyn was built by William Cramp and Sons in Philadelphia in 1896. In 1898, the vessel became the flagship of the US Navy's Flying Squadron during the Spanish-American War. This work depicts USS Brooklyn under way during the decisive American victory at the Battle of Santiago de Cuba. On July 3, 1898, the Flying Squadron, under command of Commodore Winfield Schley aboard the USS Brooklyn, destroyed the Spanish fleet and cemented America's strength as a naval power. The Battle of Santiago de Cuba was a pivotal moment in the Spanish-American war, and the Flying Squadon's role in the victory celebrated throughout the nation. This painting was commissioned by William L. Hill, a boatswain aboard the USS Brooklyn during the battle, and it is accompanied by a signed roster of the officers.

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82 EDWARD WILBUR DEAN HAMILTON (American, 1864–1943) Venetian Canal oil on canvas signed E.W.D. Hamilton lower right 20 x 16 in., frame: 25 x 20 7/8 in. $1,000–1,500 Other Notes: Alfred J. Walker Fine Art (Boston, Massachusetts) label verso.

83 DENMAN WALDO ROSS (American, 1853–1935) Venetian Sketch colored pencil on paper inscribed D.W.R. Venice, from the balcony, Hotel Europa in pencil lower left 16 3/4 x 10 7/8 in., frame: 21 x 15 in. $1,000–1,500 Provenance: By descent within the family of the artist.

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84 DENMAN WALDO ROSS (American, 1853–1935) Assouan, Egypt 1896, oil on canvasboard signed and dated Denman W. Ross, Assouan, 1896 lower center sight: 10 1/4 x 14 1/4 in. frame: 17 x 20 1/4 in. $1,000–1,500 Provenance: By descent within the family of the artist.

85 DENMAN WALDO ROSS (American, 1853–1935) Beach Scene oil on canvas signed Denman W. Ross lower left 10 x 14 in., frame: 16 x 20 in. $2,000–3,000 Provenance: By descent within the family of the artist.

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LOTS 86 – 87 Works by Edward Mitchell Bannister from The Collection of a Rhode Island Doctor Providence artist Edward Bannister created a sensation when his painting won first prize at the Philadelphia Centennial Exposition in 1876. Working in the 19th century, he faced an uphill battle to become one of the few African American painters to garner significant recognition in his day. Born in New Brunswick, Canada, he moved to Boston where he began formal training in the 1860s under Dr. William Rimmer, who admitted Bannister as the only African American student in his evening drawing classes. Bannister moved with his wife to Providence, Rhode Island in 1869 where he found a thriving community of African American artists and took a studio in the Woods Building, where he would continue to work for the remainder of his career. His position among the Providence art society was cemented in 1878 when, while serving on the board of the Rhode Island Schools of Design, he founded what would later become the Providence Art Club with fellow artists George Whitaker and Charles Stetson. Lot 86, a tiny dynamic New England seascape, is typical of Bannister’s oeuvre, and likely depicts a view towards the mouth of Narragansett Bay from the Conanticut Island seacoast. Rhode Island landscapists favored the uninterrupted sea views along this dramatic coastline, and the bustling activity depicted with racing yachts, sloops, and a steamer in the distance is typical for the area in the late nineteenth century. The composition and narrative qualities of the painting are likewise consistent with Bannister’s work, particularly his Rhode Island studies from the 1880s and early 1890s. The mass of rocks anchoring the pictorial structure in the bottom right of the piece and the positioning of a single boat as the focal point highlight quintessential Bannister devices. He frequently painted local maritime workers as well

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as his family and friends, and his inclusion of the two figures evoke a subtle narrative as they appear to engage with the shore–bound sailboat. In his spare time, the artist enjoyed sailing on his modest Herreschoff–built sloop which he often included in his seascapes. The treatment of the sea with thick, tightly–spaced capped waves together with the subtly complex tonal qualities of the sky with windblown clouds are unmistakably Bannister, the latter frequently compared to those by Constable. Bannister’s aptitude for capturing the sky is evident in Lot 87, an example of his bucolic landscape of grazing cattle. Here he delicately reflects the fair–weather clouds in the drinking pool, offering a softness to the pastoral scene and a reprieve from the weight of summer heat. Cattle landscapes were immensely popular in the mid to late nineteenth century and Bannister and his fellow Providence Barbizonians made a specialty of the genre. The confident brushstrokes, gentle impasto, and almost impressionist application of color became hallmarks of Bannister’s later landscapes, while the pyramidal composition, established here by the varying heights of tree clusters, is a device repeated throughout Bannister’s landscapes and maritime views. The effect is strengthened by the intense contrast between the shadows cast under the trees with the light illuminating the cattle that pulls the eye towards the distant horizon. This subtle chiaroscuro effect conveys Transcendentalist notions of grace and divinity with Nature. Grogan & Company thanks art historian Anne Louise Avery for her analysis of these paintings. They are each accompanied by a copy of her report and letter of opinion confirming the authenticity of the work.

86 EDWARD MITCHELL BANNISTER (American, 1828–1901) Coastal Scene oil on canvas tacked to board 4 1/2 x 6 3/8 in., frame: 7 7/8 x 9 3/4 in.

87 EDWARD MITCHELL BANNISTER (American, 1828–1901) Cows at a Watering Hole oil on canvas 16 x 24 in., frame: 19 3/4 x 27 3/4 in.

$3,000–5,000

$8,000–12,000

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88 BENJAMIN CHAMPNEY (American, 1817–1907) New Hampshire View oil on canvas signed B. Champney lower right 12 x 18 in., frame: 19 x 25 in. $1,500–2,500 Provenance: The Collection of a Belfast, Maine Lady.

89 JAMES BRADE SWORD (American, 1839–1915) In the Field oil on canvas signed J. B. Sword lower left 16 x 20 in. frame: 25 7/8 x 29 7/8 in. $1,000–1,500

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90 SAMUEL GRIGGS (American, 1827–1898) Lake Memphremagog, Newport, Vermont 1886, oil on canvas signed and dated S.W. Griggs 1886 lower left 20 x 33 in., frame: 24 1/4 x 37 1/2 in.

$5,000–7,000 Provenance: Vose Galleries, Boston; by descent within a Massachusetts Family.

91 Attr. GEORGE LORING BROWN (American, 1814–1889) Castellammare, with Vesuvius on the Horizon oil on canvas laid on board 26 x 39 in., frame: 35 x 48 1/2 in. $2,000–4,000 Provenance: By descent within a Cambridge, Massachusetts Family.

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92 FERDINANDO ANDREI (Italian, 19th century) Greek Slave 1859, marble inscribed F. Andrei fece in Roma 1859 height: 21 in.

93 FREDERIC MONTENARD (French, 1849–1926) The Eclipse and Geese on the Fields near Chartres oil on paperboard each signed Montenard lower right each: 55 x 23 3/4 in., frame: 59 x 27 3/4 in.

$2,000–4,000 $2,000–3,000 Provenance: By descent within a Hamilton, Massachusetts Family.

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94 JOSEPH BAIL (French, 1862–1921) Still Life 1880, oil on canvas signed and dated Bail Joseph 80 lower 24 x 29 in., frame: 30 x 35 in. $1,500–2,500 Provenance: By descent within a Hamilton, Massachusetts Family.

95 CONTINENTAL SCHOOL 18th/19th century Pair of Still Lives oil on canvas each: 30 3/4 x 24 in., frame: 39 3/4 x 31 3/4 in.

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$2,000–4,000 Provenance: By descent within a Hamilton, Massachusetts Family.

96 BALTHASAR NEBOT (British, fl. 1730– 1765) A Fishmonger's Stall by an Estuary oil on canvas signed and dated B. Nebot 1759 lower left 24 1/2 x 33 1/2 in. frame: 31 x 39 1/2 in. $8,000–12,000

Provenance: Lady Grace Baring; Mrs. Alice Pleydell–Bouverie; Christie's, London, October 25, 1957, Lot 40; Larsen; M. Knoedler & Co. Inc, New York; Sotheby's New York, Sale 6970, A Celebration of the English Country House, April 11, 1997, Lot 4 (accompanied by a copy of the catalogue) ; The Collection of a New York Gentleman; by descent within the family. Balthasar Nebot was of Spanish origin and was active in London from 1730 through 1765. Apart from his marriage in London circa 1729, very little is known of Nebot's life. Initially, Nebot specialized in topographical scenes of London, though he also had a particular interest in depicting market scenes and individual fish, fruit, and vegetable stalls.

97 JACOB TOORENVLIET (Dutch, 1640–1719) The Game Vendor ca. 1685–90, oil on panel 18 3/4 x 15 1/4 in. frame: 24 3/4 x 21 1/4 in. $4,000–6,000 Provenance: By descent to a Massachusetts Gentleman. This work is accompanied by a copy of a letter from Dr. Susanne H. Karau stating that the work is by Toorenvliet's hand. F I N E A RT

98 School of VIVIANO CODAZZI (Italian, 1604–1672) Fall of Simon Magus oil on canvas 21 x 41 in., frame: 24 1/2 x 44 1/2 in. $5,000–8,000 Provenance: Collection of John and Betty B. McAndrew, Wellesley, Massachusetts; bequeathed to their friend, a prominent architectural historian; to his estate.

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The multitude of pictorial categories employed in this composition are hallmarks of seventeenth-century Italian painter Viviano Codazzi and his followers. Born near Bergamo, Codazzi is celebrated for bringing the Italian tradition of quadratura from murals to easel painting. He moved to Rome in 1647 and turned almost exclusively to architectural paintings. These architectural fantasies demonstrate his mastery of perspective, a tool that here is employed in concert with detailed topograipcal views and illusionistic scenery to set forth a narrative scene depicting the Fall of Simon Magus. Shortly after Christ’s death, Peter and Paul came to Rome to win converts to Christianity and there, Simon Magnus, claiming to be the son of God, attempted to prove his divinity by levitating. Instead, Simon fell to his death as his demons abandoned him as Peter prayed.

99 Attributed to MICHELE DA VERONA (Italian, ca. 1470–1536) A Battle Scene tempera on panel 12 1/4 x 32 1/4 in. frame: 17 3/8 x 36 5/8 in. $4,000–8,000 Provenance: A gift to Thomas Bailey Aldrich, mid–late 19th century; by descent.

This painted panel depicting an Italian battle scene was originally part of a cassone. Cassoni, or ‘chests’ were popular wedding gifts in Renaissance Italy from the late 14th century until the 16th century to commemorate marriages of the city and court elite. Often commissioned in pairs, they served as both storage chests and seating. The finest examples included horizontal panels on the front and sides with narrative subjects intended to provoke discussion drawn from mythological, biblical, or historical subjects. This secular panel painting is attributed to Michele da Verona. Verona favored the Venetian styles of the terraferma, and was influenced by Vittore Carpaccio, Giovanni Bellini, and Antonello da Messina. The almost marble–like smoothness of the wooden figures illuminated with hard light are hallmarks of his style.

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100 GIOVANNI BATTISTA PIRANESI (Italian, 1720–1778) The Arch with a Shell Ornament (Plate XI from Carceri D'Invenzione) etching and engraving sight: 16 1/4 x 22 1/4 in. frame: 29 1/2 x 35 1/2 in. $1,000–1,500 Provenance: By descent within a Hamilton, Massachusetts Family.

101 REMBRANDT VAN RIJN (Dutch, 1606–1669) Christ at Emmaus (The Smaller Plate) etching and drypoint 4 x 3 in. frame: 11 1/2 x 9 3/8 in. $3,000–5,000

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102 REMBRANDT VAN RIJN (Dutch, 1606–1669) Jews in the Synagogue etching 2 7/8 x 5 1/4 in., frame: 10 5/8 x 12 3/8 in. $2,000–3,000

103 CAMILLE PISSARRO (French, 1830–1903) Marché de Pontoise etching and drypoint stamped C.P. lower left numbered 13/13 in pencil lower right plate: 3 7/8 x 2 1/2 in. frame: 15 1/4 x 12 5/8 in. $1,000–1,500

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Lot 139

JEWELRY

104 CARTIER Art Deco Silver Figure of Pegasus surmounting a stepped plinth-form humidor, set with four carved cabochon emeralds centering a fullcut diamond; makers mark GT, possibly Georges Thibault, French Hallmark for .950; height: 17 1/2 in., length: 12 in., width: 7 1/2 in.; weight: approx. 160 ozt. $20,000–40,000 Provenance: The Collection of Carl Kiekhaefer, founder of Mercury Marine, by descent to his niece; the collection of a Seattle, Washington Gentleman. 84

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105 CARTIER 18K Gold, Diamond, and Velvet Framed Mirror 19th century; centering an oval mirror within an engraved gold frame surmounted by a gold bow with a Florentine finish; mirror flanked by two gold fan guard sticks with velvet inlay topped with gold floral and ribbon decoration; one fan guard stick featuring a portrait of a lady within a blue enamel and gold frame; the other fan guard stick featuring a gold and diamond locket, the locket opening to reveal a lock of hair; signed and numbered verso Cartier 14764; 210 dwts. (not including fan sticks or mirror); overall height: 11 1/4 in.; boxed $10,000–15,000 Provenance: The Estate of a Chestnut Hill, Massachusetts Gentleman. JEWELRY

106 Platinum and Diamond Ring centering a bezel-set old European-cut diamond weighing approx. 1.00 ct. further set throughout with old European- and old mine-cut diamonds within an engraved and millegrain mount; 2.12 tcw.; 3.41 dwts.; size 8 1/2 $6,000–8,000

107 Platinum, 14K Gold, Citrine, and Diamond Brooch the east-west form brooch centering an emerald-cut citrine weighing approx. 22.50 cts. within a yellow gold setting; framed by an open-work platinum mounting set throughout with old mine-, old European-, and baguette-cut diamonds weighing approx. 2.65 tcw.; 9.98 dwts.; 1 x 2 1/2 in. $1,500–2,500 Provenance: Property of a Chestnut Hill, Massachusetts Family.

108 Platinum and Diamond Ring the three stone ring centering a millegrain bezel-set old European-cut diamond weighing approx. 0.84 ct. flanked by millegrain bezel-set old Europeancut diamonds weighing approx. 0.54 and 0.53 ct.; shoulders bead-set with three old mine-cut diamonds; 2.54 dwts.; size 4 1/2 $3,000–5,000

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109 18K Gold and Diamond Bow Brooch the Florentine finish yellow gold brooch featuring eight channel-set emerald-cut emeralds weighing approx. 4.00 tcw. and full-cut diamonds weighing approx. 1.25 tcw.; 13.11 dwts.; 1 1/4 x 2 1/4 in. $1,500–2,500 Provenance: By descent within a South Dartmouth, Massachusetts Family.

110 14K Gold and Diamond Ring prong-set with a round brilliant-cut diamond weighing approx. 1.45 cts.; 1.85 dwts.; size 8 $2,000–4,000

111 18K Gold, Emerald, and Diamond Pendant the open-work bow-form pendant set throughout with 31 circle-cut emeralds; the ribbon tails framed by fullcut diamonds; 9.32 dwts.; 1 1/4 x 2 1/4 in. $1,000–2,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

JEWELRY

112 14K Gold, Sapphire, and Diamond Bracelet featuring domed s-links with alternating groupings of circle-cut sapphires and full-cut diamonds weighing approx. 2.50 tcw.; 25.91 dwts.; lg. 6 3/4 in. $1,500–2,500 Provenance: By descent within a South Dartmouth, Massachusetts Family.

113 NO LOT

114 14K Gold, Sapphire, and Diamond Bracelet the mesh bracelet featuring a buckle set with circle-cut sapphires and full-cut diamonds; clasp numbered 2974 9; 47.32 dwts.; lg. 7 1/2 in. (adjustable) $2,000–4,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

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115 Two Platinum Eternity Bands the zigzag style eternity band comprising channel-set tapered baguette-cut diamonds weighing approx. 3.20 tcw., size 7 1/2; platinum and square-cut sapphire eternity band, size 7 1/2; gross weight: 4.93 dwts. $2,000–4,000 Provenance: Property of a Wellesley Hills, Massachusetts Family.

116 18K Gold, Sapphire, and Diamond Earrings each centering an oval-cut sapphire weighing approx. 2.15-2.40 cts. framed by 12 round brilliant-cut diamonds; diamonds weighing approx. 1.00 tcw.; 3.09 dwts.; wd. 5/8 x 1/2 in. $3,000–5,000 Provenance: Collection of a Falmouth, Maine Couple.

117 Two Platinum Eternity Bands the zigzag style eternity band comprising channel-set tapered baguette-cut diamonds weighing approx. 3.50 tcw., size 7 1/2; platinum and square-cut sapphire eternity band, size 7 1/2; gross weight: 6.02 dwts. $2,000–4,000 Provenance: Property of a Wellesley Hills, Massachusetts Family.

JEWELRY

118 14K Gold and Diamond Ring the bombe ring featuring round brilliant-cut diamonds in the form of a flower; 1.75 tcw.; 9.37 dwts.; size 4 $2,000–4,000

119 STEFANO RICCI 18K Bicolor Gold Suite Italy; comprising a necklace and bracelet; each featuring twisted yellow gold oval links alternating with soldered white gold double links; 99.08 dwts.; necklace lg. 17 1/2 in.; bracelet lg. 8 in. $6,000–8,000

120 TRABERT & HOEFFER MAUBOUSSIN 18K Gold, Ruby, and Diamond Earclips the fluted gold earclips each centering a cluster of seven cabochon rubies framed by 10 prong-set full-cut diamonds; signed T&HM; 7.90 dwts.; dia. 7/8 in. $2,000–4,000

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121 JERRY BLICKMAN 14K Gold, Ruby, and Diamond Ring the ballerina ring centering an oval-cut ruby weighing approx. 0.50 ct. surmounted by three rows of tapered baguette-cut diamonds; 5.70 dwts.; size 5 1/2; double boxed $1,000–2,000

122 STEFANO RICCI 18K Tricolor Gold Bangle Italy; the hinged bangle bracelet featuring yellow, rose, and white gold twisted rope links; 36.99 dwts.; int. cir. 6 1/2 in. $2,000–3,000

123 STEFANO RICCI 18K Gold Earrings Italy; of bombe-form; 14.68 dwts.; 1 x 1 1/4 in. $1,000–1,500

JEWELRY

124 Platinum and Diamond Ring centering a round brilliant-cut diamond weighing 5.19 cts. flanked by tapered baguette-cut diamonds; 4.22 dwts.; size 7 $60,000–80,000 Provenance: Property of a Newton, Massachusetts Estate. Accompanied by GIA report no. 6224237926 dated January 14, 2022 stating that the diamond is E, VVS2, no fluor.

125 Platinum and Diamond Ring centering a pear-shaped diamond weighing 6.00 cts. flanked by trillion-cut diamonds weighing approx. 1.00 tcw.; 4.95 dwts.; size 6 1/4 $100,000–150,000 Provenance: Property of a Massachusetts Lady. Accompanied by GIA report no. 1260904 dated September 23, 2019 stating that the diamond is D, VVS1, faint fluor.

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126 J.E. CALDWELL Platinum, Aquamarine, and Diamond Bracelet prong-set with eight emerald-cut aquamarines each weighing approx. 4.00-5.50 cts.; further set with twenty-four full-cut diamonds weighing approx. 1.50 tcw.; signed and numbered JEC & Co. N8125; 21.08 dwts.; lg. 7 1/8 in. $5,000–7,000 Provenance: By descent in the duPont Family, Wilmington, Delaware.

127 Platinum and Diamond Bracelet ca. 1930s; the open-work bracelet featuring three rows of bead-set old European-cut diamonds weighing approx. 12.80 tcw.; numbered 46358 16157 on clasp; 21.70 dwts.; lg. 7 in. $5,000–7,000 Provenance: By descent within a South Carolina Family.

128 Platinum, Sapphire, and Diamond Line Bracelet featuring 12 alternating curved links each set with four bead-set full-cut diamonds or four channel-set step-cut sapphires; numbered 2000 on clasp; boxed; retailed by Raymond Yard; 15.54 dwts.; lg. 7 in. $3,000–5,000 Provenance: Property of a Marblehead, Massachusetts Lady.

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129 South Sea Pearl and Diamond Necklace comprising 37 cultured South Sea pearls measuring approx. 10.50–11.90 mm. completed with an 18k white gold clasp pave-set with full-cut diamonds; 54.01 dwts.; lg. 18 1/2 in. $4,000–6,000 Provenance: Property of a Wellesley Hills, Massachusetts Family.

130 Platinum and Diamond 'Toi et Moi' Ring featuring two old European-cut diamonds each weighing approx. 1.60 cts. further set with 16 full-cut diamonds; 3.65 dwts.; size 7 1/4 $7,000–10,000 Provenance: By descent within a South Dartmouth, Massachusetts Family. 94

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131 Platinum and Diamond Rivière Necklace prong-set with 88 graduated round brilliant-cut diamonds weighing approx. 21.00 tcw.; 22.12 dwts.; lg. 15 1/2 in. $15,000–20,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

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132 DANKER 14K Gold and Sapphire Bracelet featuring clusters of circle-cut sapphires within gold ribbed chevron links; signed Danker; 24.77 dwts.; lg. 6 1/2 in. $1,500–2,500 Provenance: By descent within a South Dartmouth, Massachusetts Family.

133 14K Gold, Sapphire, and Diamond Ring centering an oval-cut sapphire weighing approx. 1.50 cts. framed by 10 old mine- and old European-cut diamonds; 3.02 dwts.; size 7 $3,000–5,000 Provenance: Property of a Marblehead, Massachusetts Lady.

134 14K Gold, Sapphire, and Diamond Suite comprising a bracelet and pendant/brooch; the bracelet of sunburst engraved heart-shaped links set with either a circle-cut sapphire or full-cut diamond within a flat-link border; the pendant/brooch centering an old European-cut diamond framed by sunburst engraved hearts set throughout with eight circle-cut sapphires, boxed; retailed by Raymond Yard; bracelet wd. 1/2 in.; bracelet lg. 7 1/4 in.; pendant/ brooch wd. 1 1/2 in.; pendant/brooch lg. 1 1/2 in.; gross weight: 23.42 dwts. $2,000–4,000 Provenance: Property of a Marblehead, Massachusetts Lady. 96

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135 14K Gold Dress Clips the oval-form dress clips each of fluted and polished gold design surmounted by graduated geometric half-moons; boxed; retailed by Raymond Yard; 14.17 dwts.; wd. 1 1/8 in.; lg. 1 1/2 in. $1,000–1,500 Provenance: Property of a Marblehead, Massachusetts Lady.

136 14K Gold, Sapphire, and Diamond Earrings centering oval-cut sapphires each weighing approx. 1.10 cts. framed by two rows of round brilliant-cut diamonds weighing approx. 1.90 tcw.; 5.40 dwts.; lg. 3/4 in. $3,000–5,000

137 14K Gold Suite comprising a necklace and wristwatch; the necklace featuring braided- and rope-links centering a buckle design set with full-cut diamonds, maker's mark for Hammerman Bros., overall lg. 14 1/2 in.; the wristwatch featuring a round silvered dial with Arabic and abstract numeral indicators; the bezel set with single-cut diamonds; enclosing a manual-wind movement; signed on dial Bergdorf Goodman; movement signed Eloga Watch Co., lg. 6 5/8 in.; gross weight: 45.43 dwts. $1,500–2,500

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138 VAN CLEEF & ARPELS 18K Gold and Diamond 'Fuchsia' Pendant/Brooch and Necklace featuring a necklace and pendant/brooch; the pendant/brooch in the form of a fuchsia flowerhead set with round brilliant- and baguette-cut diamonds weighing approx. 10.93 cts. centering an articulated cascade of eight pearshaped diamonds weighing 8.09 cts.; 19.02 tcw.; signed and numbered Van Cleef Arpels NY55358 on stem; numbered M 33965 on pendant clasp; maker's and French assay marks; the 'flame' form necklace with graduated bead-set full-cut diamonds; hand signed and numbered Van Cleef Arpels 15514 on clasp; French assay mark; 33.83 dwts.; boxed $60,000–80,000 Provenance: Van Cleef & Arpels, Paris, 1987; Property of a Massachusetts Lady. Lots 138 and 139 were given to the current owner by her husband as a gift for her 40th birthday. To make the brooch more versatile, the couple commissioned Van Cleef & Arpels to design a complementary necklace, adapting the brooch to be worn alone or on the necklace. This lot is accompanied by a letter discussing the commission, adapting the brooch, and a rendering of the necklace.

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139 VAN CLEEF & ARPELS 18K Gold and Diamond 'Fuchsia' Earclips the flowerheads each set with round brilliant- and baguette-cut diamonds suspending an articulated cascade of eight pear shaped diamonds weighing approximately 6.64 tcw.; diamonds weighing approx. 15.43 tcw.; signed and numbered Van Cleef Arpels NY55359, M 34829; maker's and French assay marks; 13.32 dwts.; lg. 1 3/4 in.; boxed $50,000–70,000 Provenance: Van Cleef & Arpels, Paris, 1987; Property of a Massachusetts Lady.

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140 CARTIER 18K Gold, Lacquer, Diamond, and Tsavorite Garnet 'Panthère de Cartier' Ring panther head with black lacquer spots, two tsavorite garnet eyes, and five round brilliant-cut diamonds; signed and numbered Cartier DNM644; French assay mark; double boxed; size 7 1/2 $3,000–5,000 Provenance: Property of an Old Lyme, Connecticut Lady.

141 CARTIER 18K Gold 'Love' Bracelet maker's mark, signed, and numbered Cartier SP9202; 23.24 dwts.; int. cir. 6 3/4 in. $2,000–4,000

142 CARTIER 18K Tricolor Gold and Diamond 'Trinity' Ring comprising three intertwined bands: rose gold, yellow gold, and white gold pave-set with round brilliant-cut diamonds; signed and numbered Cartier AE6197; 9.09 dwts.; size 5; double boxed $5,000–7,000 Provenance: Property of a Boston, Massachusetts Lady.

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143 TIFFANY & CO., SCHLUMBERGER 18K Gold, Platinum, and Diamond 'X' Ring the three gold rope bands spaced by four platinum x's set with full-cut diamonds; signed Tiffany & Co. Schlumberger; 5.25 dwts.; size 7 1/4 $1,000–1,500 Provenance: Property of a Wellesley, Massachusetts Private Collection.

144 TIFFANY & CO. Platinum, Sapphire, and Diamond Eternity Band comprising alternating round brilliant-cut diamonds and step-cut sapphires; signed Tiffany & Co.; 2.24 dwts.; size 4 1/2; double boxed. $1,000–1,500 Provenance: Tiffany & Company, New York, 1991; Property of a Cambridge, Massachusetts Lady.

145 TIFFANY & CO., SCHLUMBERGER, 18K Gold 'X' Ring the six gold rope bands spaced by three x's; signed Tiffany & Co. Schlumberger; 9.89 dwts.; size 7 1/2 $1,000–1,500 Provenance: By descent within a South Dartmouth, Massachusetts Family.

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146 Platinum and Diamond Ring centering a marquise-cut diamond weighing 4.53 cts. flanked by tapered baguettes; 3.92 dwts.; size 6 3/4 $4,000–6,000 Accompanied by GIA report no. 5222346987 dated March 15, 2022 stating that the diamond is L, I2, no fluor.

147 Platinum, Sapphire, and Diamond Ring centering an oval-cut sapphire weighing approx. 3.70 cts. flanked by oval-cut diamonds weighing approx. 2.75 tcw. further set with tapered baguettecut diamonds; numbered inside shank 25607; 4.81 dwts.; size 8 $10,000–12,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

148 18K Gold and Diamond Band the wave-form band prong-set with 22 full-cut diamonds; 1.50 tcw.; 2.94 dwts.; size 7 1/2 $1,000–1,500 Provenance: By descent within a South Dartmouth, Massachusetts Family.

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149 14K Gold and Diamond Ring the three stone ring bezel-set with old European-cut diamonds weighing approx. 0.33, 0.70, and 0.35 ct. surmounted by bead-set full-cut diamonds; diamonds weighing approx. 1.85 tcw.; 3.08 dwts.; size 6 3/4 $4,000–6,000

150 Platinum, Ruby, and Diamond Ring centering a cabochon ruby weighing approx. 15.50 cts. framed by a row of round brilliant-cut diamonds and six marquise-cut diamonds; 6.48 dwts.; size 7 1/2 $5,000–7,000 Provenance: Sotheby's Milan, Fine Jewels, March 4, 2021, Lot 91; Property of a Massachusetts Lady. CISGEM report no. 7843 dated October 23, 2017 states that the ruby is Burmese with no indication of heat.

151 Platinum and Diamond Ring centering a round brilliant-cut diamond weighing 3.87 cts. flanked by tapered baguettes; 3.56 dwts.; size 6 1/2 $12,000–18,000 Accompanied by GIA report no. 2223348480 dated March 18, 2022 stating that the diamond is N, VS2, faint fluor. JEWELRY

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152 TIFFANY & CO. 18K Gold, Ruby, and Diamond Brooch Italy; the flower brooch centering a round brilliant-cut diamond framed by six circle-cut rubies; the petals and leaves with a Florentine finish; signed Tiffany & Co.; 9.66 dwts.; lg. 2 3/8 in. $1,000–1,500

153 18K Gold and Diamond Suite comprising earrings and a ring; the half-hoop earrings each set with nine full-cut diamonds in the form of an 'x'; the domed ring centering 13 full-cut diamonds in the form of an 'x'; earring lg. 7/8 in.; ring size: 7 $2,000–3,000 Provenance: Property of a Wellesley Hills, Massachusetts Family.

154 BAILEY BANKS & BIDDLE 14K Gold, Ruby, and Diamond Brooch the bicolor gold stylized bow brooch centering six step-cut rubies and six full-cut diamonds; numbered and maker's mark 69892 BBB; 8.49 dwts.; 1 1/4 x 2 3/8 in. $1,000–1,500 Provenance: Property of a Chestnut Hill, Massachusetts Family.

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155 18K Gold, Platinum, Sapphire, and Diamond Earrings centering bezel-set cabochon sapphires each weighing approx. 1.50 cts. surmounted by open-work platinum scroll decoration, four bezel-set full-cut diamonds, and a polished gold frame; 10.91 dwts.; 7/8 x 3/4 in. $1,000–1,500 Provenance: Property of a Wellesley Hills, Massachusetts Family.

156 TIFFANY & CO. 14K Gold, Sapphire, and Diamond Brooch the fluted starburst brooch featuring a cluster of 15 circle-cut sapphires, five rows of single-cut diamonds, and five prong-set circle-cut sapphires; signed Tiffany & Co.; 12.72 dwts.; 1 5/8 x 1 5/8 in. $1,500–2,500

157 14K Gold, Enamel, Diamond, and Pearl Earclips the wreath-form earclips each featuring eight full-cut diamonds, seed pearls, and royal blue enamel; 10.19 dwts.; dia. 1 in. $1,000–1,500 Provenance: By descent within a South Dartmouth, Massachusetts Family.

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158 LOUIS FÉRON 18K Gold, Colombian 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 $6,000–10,000 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. 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.

159 22K Gold and Diamond Brooch the chunky gold nugget brooch featuring one prong-set round brilliant-cut diamond weighing approx. 0.60 ct.; 19.37 dwts.; 1 x 1 1/2 in. $1,500–2,000 Provenance: By descent within a South Dartmouth, Massachusetts Family. 160 18K Gold, Diamond, Colored Diamond, and Emerald Bracelet the hinged bangle bracelet of polished fluted gold design; featuring six step-cut diamonds, a step-cut orangish/brown diamond, an emerald-cut emerald weighing approx. 1.55 cts., and pave-set full-cut diamonds; 38.62 dwts.; int. cir. 6 1/2 in. $2,000–3,000 Provenance: Property of a Wellesley, Massachusetts Private Collection.

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161 14K Gold, Platinum, and Diamond Pendant Necklace the shield-form pendant centering a shield-cut diamond measuring approx. 7.25 x 6.50 x 2.00 mm. framed by a row of bead-set old European- and old mine-cut diamonds; suspended from a fine 14k gold chain; 2.42 dwts.; lg. 15 1/4 in. $2,000–4,000

162 14K Gold Barrette engraved with floral and swag decoration; 7.75 dwts.; 1 1/8 x 3 3/4 in. $800–1,000

163 Platinum, Gold, Emerald, and Diamond Brooch the open-work platinum-topped-gold bow-form brooch set throughout with rose-cut diamonds, a circle-cut emerald, and a pear-shaped emerald; 19.68 dwts.; 2 1/2 x 3 1/8 in $2,000–4,000

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164 18K Gold, Sapphire, and Diamond Brooch the Art Deco style bow brooch featuring fancy-cut sapphires and full-cut diamonds; diamonds weighing approx. 2.35 tcw.; 6.87 dwts.; 3/4 x 1 3/4 in. $2,000–3,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

165 Platinum and Diamond Eternity Band prong-set with 18 round brilliant-cut diamonds; approx. 1.80 dwts.; size 4 1/2 $1,000–1,500 Provenance: Property of a North Shore, Massachusetts Lady.

166 Platinum, Gemset, and Diamond 'Fruit Cart' Brooch featuring seven carved cabochon rubies, seven carved cabochon emeralds, and four carved cabochon sapphires; the cart lined with baguette-cut diamonds and the wheel bead-set with full-cut diamonds; indecipherable maker's mark; French assay marks; engraved R; 14.52 dwts.; 1 5/8 x 2 in. $2,000–4,000

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167 14K Gold, South Sea Pearl, and Diamond Earrings each centering a cultured South Sea pearl measuring approx. 13.50 mm. framed by a row of full-cut diamonds within polished gold stylized mounts; 16.23 dwts.; 1 1/8 x 1 in. $1,500–2,500 Provenance: Property of a Wellesley Hills, Massachusetts Family. 168 Platinum, Pearl, and Diamond Necklace featuring 79 graduated natural pearls measuring approx. 3.90-7.25 mm.; completed by a bicolor gold clasp centering a marquise-cut diamond weighing approx. 0.50 ct. framed by bezel-set old European-cut diamonds; 10.33 dwts.; lg. 17 5/8 in. $6,000–8,000 Accompanied by GIA report no. 5221369907 dated March 24, 2022 stating that the 79 drilled pearls are natural, saltwater, pinctada species, with no indications of treatment. 169 14K Gold, Pearl, and Gemset Suite featuring a necklace and bracelet; the three strand necklace featuring cultured pearls measuring approx. 6.30-6.45 mm. completed by a half-moon gemset clasp with cabochon emeralds, pearls, and circle-cut sapphires; the four strand bracelet featuring cultured pearls measuring approx. 6.20 mm., circle-cut emeralds, and circle-cut sapphires completed by a half-moon gemset clasp with cabochon emeralds, pearls, and circle-cut sapphires; gross weight: 72.00 dwts.; necklace lg. 15 in.; bracelet lg. 7 in. $2,000–4,000 Provenance: Property of an Anchor Point, Alaska Lady.

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170 18K Gold and Diamond Pendant Necklace the heart-shaped pendant set throughout with fulland single-cut diamonds weighing approx. 2.35 tcw.; completed by a fine 10k white gold chain; 6.55 dwts.; pendant lg. 1 1/8 in.; lg. 19 in. $1,000–1,500 Provenance: By descent within a South Carolina Family.

171 14K Gold and Diamond Ring centering a graduated row of full-cut diamonds the largest weighing approx. 0.75 ct. framed by a row of 16 graduated bead-set full-cut diamonds; 5.55 dwts.; size 3 1/4 $2,000–3,000 Provenance: By descent within a South Carolina Family.

172 14K Gold and Diamond Earrings comprising four rows of channel-set round brilliant-cut diamonds; approx. 5.00 tcw.; 10.38 dwts.; lg. 7/8 in. $1,000–1,500 Provenance: Collection of a Southern Maine Family.

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173 SAM SHAW 14/22K Gold and Opal Bracelet featuring eight black opals of various shapes within 22k gold bezels; signed SHAW; 29.84; lg. 7 1/2 in. $1,000–1,500 Provenance: Property of a Chestnut Hill, Massachusetts Family.

174 18K Gold, Lapis Lazuli, and Diamond Bracelet Germany; featuring oversized paperclip links with lapis lazuli inlay alternating with curb links each set with four fullcut diamonds; 34.09 dwts.; wd. 1/2 in.; lg. 7 1/2 in $2,000–4,000 Provenance: Property of a Chestnut Hill, Massachusetts Family.

175 SAM SHAW 14/22K Gold, Silver, and Basalt Rock Suite comprising a bracelet and earclips; the bracelet featuring various shaped basalt rocks within 22k gold bezels, 14k gold connecting links, backed with sterling silver, and completed with a magnetic and latch style closure; the earclips bezelset in 22k gold with oval basalt rocks; signed SHAW; gross weight: 58.38 dwts.; bracelet wd. 1 3/8 in.; bracelet lg. 7 1/2 in.; earclip lg. 1 in. $1,500–2,000 Provenance: Property of a Boston, Massachusetts Lady.

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176 ROBERTO COIN 18K Gold Charm Necklace Italy; the circle-link necklace featuring 17 engraved coin charms; completed by a toggle clasp; signed Roberto Coin; 46.39 dwts.; lg. 32 in. $2,500–3,500 Provenance: Property of a Massachusetts Lady.

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177 Two High Karat Gold Necklaces Gurhan 24k gold station necklace with round disks, signed, lg. 50 in.; Yossi 24k gold necklace with hammered cylindrical links, signed, lg. 36 in.; gross weight: 57.16 dwts. $4,000–6,000 Provenance: Property of a Massachusetts Lady.

178 GURHAN 24K Gold Necklace featuring gold cylindrical links; completed by an adjustable clasp with a round pendant set with a bezel-set full-cut diamond; maker's mark and signed Gurhan; 22.09 dwts.; lg. 15–17 1/2 in. $1,500–2,500 Provenance: Property of a Boston, Massachusetts Lady.

179 ELIZABETH LOCKE 19K Gold, Glass Intaglio, and Gemset Charm Bracelet the hammered gold bracelet with nine charms, including: glass intaglios in various colors, cabochon amethyst, cabochon peridot, cabochon citrine, and cabochon tourmaline; maker's mark; completed by a toggle clasp; 34.50 dwts.; lg. 8 in. $3,000–5,000

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180 ILENE NEUWIRTH 18K Gold and Gemset Necklace featuring: cabochon amethyst, cabochon and faceted rubellite, moonstone, fire opal, turquoise, emerald, chrysoprase, beryl, peridot, pearl, rose quartz, shell, sapphire, topaz, chalcedony, carved jade, and more; 46.65 dwts.; lg. 52 in. $2,000–4,000 Provenance: Property of a Massachusetts Lady.

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181 14K Gold and Gemset Necklace the gold-link necklace gemset with cabochon beads including: moonstone, chalcedony, amber, amethyst, citrine, sapphire, carnelian, chrysoberyl, ruby, and emerald; 38.04 dwts.; lg. 68 in. $2,000–3,000

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182 18K Gold, Emerald, and Diamond Bangle Bracelet the hinged bangle bracelet channel-set with a row of square-cut emeralds flanked by two rows of channelset full-cut diamonds weighing approx. 2.00 tcw.; 22.14 dwts.; int. cir. 6 1/2 in. $4,000–6,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

183 YOSSI 24K Gold and Diamond 'Mica' Bangle the hammered gold bangle featuring eight full-cut diamonds; signed Yossi; 14.60 dwts.; int. cir. 7 1/2 in. $1,500–2,500 Provenance: Property of a Massachusetts Lady.

184 STEFANO RICCI Pair of 18K Gold Bangles Italy; the white and rose gold geometric hinged bangle bracelets each featuring a row of pave-set full-cut diamonds weighing approx. 1.20 tcw.; gross weight: 39.96 dwts.; int. cir. 6 1/4 in. $2,000–4,000

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185 Mexican Gold Coin Bracelet featuring seven 1945 two peso gold coins within 14k twisted gold frames; 24.97 dwts.; lg. 7 1/2 in. $1,500–2,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

186 18K Gold Bracelet the mesh- and brick-link bracelet featuring two central polished gold panels; 50.64 dwts.; wd. 7/8 in.; lg. 7 1/2 in. $2,500–3,500

187 18K Gold Bracelet Italy; featuring polished gold fancy links; 60.85 dwts.; wd. 1 1/4 in.; lg. 7 5/8 in. $4,000–6,000

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188 VAN CLEEF & ARPELS 14K Gold, Sapphire, and Diamond Wristwatch the gold-toned dial with abstract numeral indicators flanked by full-cut diamonds; further set with circle-cut sapphires and full-cut diamonds; completed by a gold fancy-link bracelet; signed and numbered Van Cleef Arpels NYC 4460; 15.75 dwts.; lg. 6 1/2 in.; boxed $1,500–2,500 Provenance: Property of a Wellesley, Massachusetts Private Collection.

189 14K Gold, Sapphire, and Diamond Wristwatch the rectangular dial featuring Arabic numeral indicators; the bezel set with four step-cut sapphires and six single-cut diamonds; enclosing a manual wind movement signed Goering Watch Co.; inside case back signed Brunner; completed by a white gold mesh-link bracelet; 15.21 dwts.; case 14 mm.; lg. 6 1/4 in. $1,500–2,500

190 PATEK PHILIPPE 18K/14K Gold Wristwatch the round silvered dial featuring baton numeral indicators; enclosing a manual wind movement; inside case rim numbered 586400; signed on dial Patek Philippe and R.C. Yard; case back marked 18k; completed by a 14k gold fancy-link bracelet; boxed; retailed by Raymond Yard; 9.87 dwts.; lg. 6 in. $2,000–4,000 Provenance: Property of a Marblehead, Massachusetts Lady. 118

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191 LUSSERNA Platinum, 14K Gold, and Diamond Wristwatch enclosing a manual-wind movement signed R.H. Macy & Co.; the bezel set with single-cut diamonds; inside case back numbered 55797; completed with a platinum bracelet set with full-cut diamonds within a 14k gold foxtail framework; bracelet clasp signed and numbered BAITH 4697315; signed on dial; case 14.00 mm.; 22.46 dwts.; lg. 6 1/4 in. $2,000–4,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

192 CARTIER 18K Gold and Diamond 'Roadster' Wristwatch the silvered dial with Roman numeral indicators and date aperture; bezel set with full-cut diamonds enclosing a quartz movement; signed on dial, case back, and clasp; case back numbered 76177CE 2723; completed by an 18k gold bracelet with a deployant clasp; 96.93 dwts.; case 35 x 30 mm.; int. cir. 6 1/4 in. $6,000–10,000 Provenance: Property of a Massachusetts Lady.

193 OMEGA 18K Gold Deville Wristwatch the goldtone dial featuring applied baton numeral indicators; enclosing a battery operated movement; signed on dial; inside case back signed and numbered 7257 030; maker's mark on clasp; completed by a textured braided gold bracelet; 36.84 dwts.; case 22.25 mm.; bracelet lg. 6 1/2 - 7 in. $2,000–4,000 Provenance: By descent within a South Dartmouth, Massachusetts Family.

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194 ROLEX Daytona Stainless Steel Chronograph Wristwatch Ref. 116520; featuring a black dial with applied baton numeral indicators and three subsidiary dials; signed on dial and clasp; completed by a stainless steel Oyster bracelet with a folding clasp; 90.16 dwts.; case 40 mm.; double boxed $15,000–20,000 Provenance: Property of a Dedham, Massachusetts Gentleman.

195 AUDEMARS PIGUET 18K Gold Day-Date Wristwatch ca. 1988; Ref. 25574; the round white dial with Roman numeral indicators; day and date subsidiary dials; enclosing an automatic movement; signed on dial and clasp; case back numbered B 98431; completed by a brown alligator skin bracelet; 29.92 dwts.; case 33 mm.; lg. 8 in. $4,000–6,000

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196 ROLEX Stainless Steel Oyster Perpetual Wristwatch Ref. 1002; the round silvered dial with applied baton numeral indicators; enclosing an automatic movement; signed on dial and bracelet; completed by an adjustable black leather bracelet; 30.16 dwts.; case 32 mm.; lg. 8 1/2 in. $1,500–2,000

197 GLASHÜTTE Stainless Steel Senator Wristwatch the silvered dial featuring baton numeral indicators and date aperture; enclosing an automatic movement; signed on dial, case back, clasp, and bracelet; case back numbered 0117; completed by an alligator skin bracelet; 50.51 dwts.; case 37 mm.; boxed $4,000–6,000

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198 CARTIER 18K Gold and Guilloché Enamel Buttons the set of six buttons each centering a gold enamel flower within a cerulean blue guilloché enamel ground framed by white enamel with gold leaf decoration; each signed and numbered verso 1395 1302 Cartier Paris; within original fitted box; dia. 1 1/4 in. $2,000–3,000 Provenance: Property of a Chestnut Hill, Massachusetts Family.

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199 Platinum, Sapphire, and Diamond Dress Set comprising cufflinks and three shirt studs each set with a cabochon sapphire framed by full-cut diamonds; 8.54 dwts. $1,000–1,500

200 14K Gold, Rocky Crystal, and Diamond Dress Set comprising a pair of cuff links, four buttons, and three studs of rectangular faceted rock crystal centering a beadset full-cut diamond; 12.58 dwts.; with a fitted box $1,000–1,500 Provenance: Property of a Wellesley, Massachusetts Private Collection.

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201 Two Unmounted Diamonds emerald-cut diamonds each weighing approx. 1.05 cts. $1,500–2,500

202 18K Gold and Onyx Cufflinks the oval polished gold cufflinks with onyx inlay in the form of a tarantula; 13.41 dwts.; lg. 3/4 in. $1,000–1,500 Provenance: Property of a Cambridge, Massachusetts Collector.

203 14K Gold Purse the bicolor gold purse featuring vertical mesh links; completed with a kiss lock set with two cabochon sapphires; 135.60 dwts.; 5 1/2 x 5 1/4 in. $5,000–7,000 Provenance: Property of a Chestnut Hill, Massachusetts Family.

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204 14K Gold Cigarette Box with stripe engraved decoration; monogrammed G.C.; 90.11 dwts.; 5 x 3 1/2 in. $2,000–3,000 Provenance: Property of a Wellesley, Massachusetts Private Collection.

205 14K Gold Dresser Set comprising: a powder box with etched glass body and gold cover, hand mirror, hairbrush, clothing brush, shoe brush, shoe horn, button hook, cuticle pusher, and tortoise shell comb; monogrammed; each with maker's mark and numbered; shoe horn signed J.E. Caldwell; approx. 220 dwts. $8,000–12,000 Provenance: Property of a Wellesley, Massachusetts Private Collection.

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206 Collection of 28 British Sovereign Gold Coins, Victoria and George V featuring 12 Queen Victoria from 1852-1901 and 16 George V from 1912-1931; gross weight: 143.66 dwts. $7,000–10,000

207 Four Dutch Crown Coins and Three French Francs including: four 10 gulden Dutch coins (1933), one five franc coin (1864), one 10 franc coin (1859), and one 20 franc coin (1867); gross weight: 24.50 dwts. $700–1,000

208 Native American Ten Dollar Gold Coin, 1926 10.75 dwts. $700–1,000

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209 Collection of 25 British Sovereign Gold Coins, George V, 1911 gross weight: 128.53 dwts. $7,000–10,000

210 Collection of 25 British Sovereign Gold Coins, Victoria, 1886-1889 gross weight: 128.23 dwts. $7,000–10,000

211 Collection of 25 British Sovereign Gold Coins, Victoria, 1892-1896 gross weight: 128.27 dwts. $7,000–10,000

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NOW ACCEPTING CONSIGNMENTS FOR THE FALL 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 georgi n a @gro ga nc o.c o m

Helen Frankenthaler, Untitled, 1969 acrylic, 11 x 8 in., SOLD $106,250

J EW E L RY T A Y L O R P. S E E Jewelry Director taylo r@ gro ganco. co m

Van Cleef & Arpels 'Mystery-Set' Ruby and Diamond Leaf Brooch, SOLD $781,250

S I LV E R & R U G S MICHAEL B. GROGAN President mi chael @gro ga nc o.c o m

Roger Williams Silver Co. Japanesque Silver Rectangular Footed Tea Caddy, ca. 1880 , SOLD $7,500 128

S AV E T H E DAT E ! THE

FINE RUGS AND CARPETS AUCT I ON SUNDAY, JUNE 12, 2022 ∙ 11 AM

Featuring rugs and carpets from private estates and collections, including a fine selection from the late Peter Tillou of Litchfield, Connecticut. Yellow Ground Kuba Rug, Caucasus, ca. 1875, 5 ft. 6 in. x 4 ft., $5,000–7,000 129

ARTIST INDEX ARTIST

LOT

ANDREI, FERDINANDO

FITZGERALD, JAMES EDWARD

ARP, JEAN

FREDERICK, LINDEN

BABB, JOEL M.

61, 62

FRENCH, DANIEL CHESTER

BAIL, JOSEPH

GAY, WALTER

BANNISTER, EDWARD MITCHELL

86, 87

GIFFORD, ROBERT SWAIN

BEAUX, CECILIA

GRAVES, ABBOTT FULLER

42, 43

BISHOP, ISABEL

GRIGGS, SAMUEL

BROWN, Attr. GEORGE LORING

GRUPPE, EMILE ALBERT

BURLIUK, DAVID DAVIDOVICH

50, 51

GUANG, TINGBO

59, 60

CADMUS, PAUL

HADDAD, JENNIE

CHAMPNEY, BENJAMIN

HAMILTON, EDWARD WILBUR DEAN

CIRINO, ANTONIO

67, 68

HARTLEY, MARSDEN

CODAZZI, School of VIVIANO

HERAMB, THORE

CONTINENTAL SCHOOL

IPSEN, ERNEST

DAVIES, ARTHUR BOWEN

KARFIOL, BERNARD

DOW, ARTHUR WESLEY

KROLL, LEON

DU BOIS, Attr. GUY PENE

LEIGH, WILLIAM ROBINSON

DUVENECK, FRANK

LEITH-ROSS, HARRY

ENNEKING, JOHN JOSEPH

LEVIER, CHARLES

52, 53

ETNIER, STEPHEN MORGAN

6, 7

LIE, JONAS

FEININGER, LYONEL

MCFARLANE, DUNCAN

130

MCNEILL, LLOYD

STEVENS, WILLIAM LESTER

71, 72

MONTENARD, FREDERIC

STUBBS, WILLIAM

MOSES, GRANDMA

SWORD, JAMES BRADE

MULHAUPT, FREDERICK

TAGLIAPIETRA, LINO

NEBOT, BALTHASAR

THIEME, ANTHONY

NICHOLAS, T. M.

THOMPSON, LESLIE PRINCE

NICHOLS, JR., HOBART

TOORENVLIET, JACOB

OHASHI, YUTAKA

VAN RIJN, REMBRANDT

101, 102

PATTERSON, MARGARET J.

VERONA, Attr. MICHELE DA

PERRY, LILLA CABOT

11, 12

VICKREY, ROBERT REMSEN

PICASSO, PABLO

WACHTEL, ELMER

PIRANESI, GIOVANNI

100

WACKER, RUDOLF

44, 45

PISSARRO, CAMILLE

103

WASSON, GEORGE SAVARY

PORTER, FAIRFIELD

WEIR, JOHN FERGUSON

RICHARDS, WILLIAM TROST

WEIR, JULIAN ALDEN

37, 39

ROSS, DENMAN WALDO

83, 84, 85

WESTON, HAROLD

8, 9, 10

SARGENT, JOHN SINGER

WHORF, JOHN

SARGENT, PAUL TURNER

YARDE, RICHARD

1, 58

SHANNON, JAMES JEBUSA

SILLMAN, SEWELL

SKOU, SIGURD

Lot 4

131

MAKER INDEX MAKER

LOT

AUDEMARS PIGUET

195

BAILEY BANKS & BIDDLE

154

CARTIER

104, 105, 140, 141, 142, 192, 198

DANKER

132

ELIZABETH LOCKE

179

GLASHÜTTE

197

GURHAN

177, 178

ILENE NEUWIRTH

180

J.E. CALDWELL

126

JERRY BLICKMAN

121

LOUIS FÉRON

158

LUSSERNA

191

OMEGA

193

PATEK PHILIPPE

190

ROBERTO COIN

176

ROLEX

194, 196

SAM SHAW

173, 175

STEFANO RICCI

119, 122, 123, 184

SCHLUMBERGER

143, 145

TIFFANY & CO.

143, 144, 145, 152, 156

TRABERT & HOEFFER MAUBOUSSIN

120

VAN CLEEF & ARPELS

138, 139, 188

YOSSI

177, 183

Lot 152

132

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 platforms such as Invaluable or LiveAuctioneers will be subject to an additional 5% 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.

M A S S A C H U S E T T S A U C T I O N E E R L I C E N S E N O. 8 0 0 133

Lot 8

134

135

E S T. 1 9 8 7

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