Catalogue Vente Renoir

European Art AUCTION SEPTEMBER 19, 2013 ❘ NEW YORK

THE UNKNOWN The Unknown Renoir

RENOIR

The Man, TheTHusband, The he Man, t h e Father, H u s b a The n d , Artist t h e Fat h e r ,

t h e A rt i s t

PRiCe • $50

eURoPean aRT aUCTion sePTeMbeR 19, 2013 ❘ new YoRk

89003

89090

89012 89081

© 2013 Heritage Auctioneers & Galleries, Inc.

EuropEAn Art AuCtIon #5157 ❘ tHE unKnoWn rEnoIr ❘ SEptEMBEr 19, 2013 ❘ nEW YorK

89047

89091

89120

88119 89047

89110

89134 89119 THE UNKNOWN The Unknown RenoiR

RENOIR

The Man, TheThUsband, The he Man, T h e FaTheR, h u s b a The n d , aRTisT T h e FaT h e r ,

T h e a rT i s T

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Renoir Auction #5157

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Heritage Signature® Auction #5157

The Unknown Renoir

The Man, The Husband, The Father, The Artist September 19, 2013 | New York Signature® Floor Session

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2 E. 79th Street • New York, NY 10075

2 E. 79th Street • New York, NY 10075

(Ukrainian Institute of America at the Fletcher-Sinclair Mansion)

(Ukrainian Institute of America at the Fletcher-Sinclair Mansion)

Session 1 Thursday, September 19 • 4:00 PM ET • Lots 89001–89143

Tuesday, September 17 • 6:00 PM – 8:00 PM ET Wednesday, September 18 • 9:00 AM – 8:00 PM ET Thursday, September 19 • 9:00 AM – 4:00 PM ET View lots & auction results online at HA.com/5157

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28692

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Cataloged by: Natalie Jones, Karla Ruzo

“We would like to note that without the curatorial expertise and intellectual contributions from Virginie Journiac this incredible sale would not have been possible.”

Brian Roughton

From the desk of Virginie Journiac: These priceless archives, intimate personal objects and rare artifacts--scattered for decades across two continents— represent the Renoir family’s history like no other. Rarely do collections of this magnitude become available for sale.

MEMORABILIA AND PERSONAL ARTIFACTS This collection, for the greater part, was never published or reproduced and remained in possession of the Renoir heirs until 2005, when they launched it on the art market. It completes de facto the numerous publications on the painter, especially for his much less studied late period. The memorabilia and artifacts were preserved for decades at Cagnessur-Mer, first by Auguste Renoir’s third son, Claude, nicknamed “Coco”, who inherited the family house “Les Collettes” in 1922, and subsequently, after Coco’s death, by his only son, Paul.

The collection resides today in the United States because the Renoir family history continued here. Jean, Renoir’s second son, immigrated to Los Angeles in 1941. His only son, Alain, followed in 1942. Alain was a professor at the University of California, Berkeley, who died in 2008. Paul Renoir settled first in Canada in 1979 and later moved to the States at the end of the 1980s. He brought with him most of the archives.

Paul consigned his entire memorabilia and artifacts collection to an auction house just before his death at the beginning of 2005. It was purchased as a single lot by the consignor and is now being offered in over 140 lots.

Pierre-Auguste Renoir’s personal archives include correspondence with his sons, wife, friends and relations (artists, writers, musicians and art dealers); his Legion of Honor medals; diverse notes and newspaper clippings from the 1890s, as well as family photograph albums and hundreds of glass-plate negatives. There are also floor plans and invoices regarding the construction of the villa Les Collettes at Cagnes-sur-Mer, birth and marriage certificates, as well as the lease documents of his apartment in Nice.

Among the artifacts of Renoir and his wife are the painter’s famous silk scarf with pea designs (visible in numerous photographs), his glasses and cigar case, Aline’s missals, a jewelry box, a shawl and a silk embroidered kimono (gifts of the Japanese painter Ryuzaburo Umehara), cameras, and the intimate correspondence of Pierre-Auguste and Aline in their youth.

Renoir’s three sons (Pierre, Jean and Claude) also left behind archives, such as legal documents and deeds regarding the estate, especially the allocation of the paintings left at the painter’s studio at Cagnes.

Numerous documentary files related to the works of Renoir provide invaluable resources for art historians. They were gathered by Claude and Paul and are accompanied by copper lithographic plates showing paintings and sculptures and by glass-plate negatives.

Some ceramics by Jean Renoir are also in the collection – witnesses of the time when the whole family was involved in ceramic production. Renoir, a painter of ceramics in his youth, built ovens at Les Collettes for his sons Jean and Claude in order to introduce them to ceramic art.

Finally, the large family library indicates that Renoir and his heirs were very interested in art history. Some of these books are signed by important artists, such as Auguste Rodin.

THE PLASTERS COLLECTION Along with the archives collection, the auction offers a unique collection of nineteen original foundry plasters for Renoir’s sculpture.

Renoir and Sculpture Renoir’s painting has always eclipsed his sculpture. How, at the end of his life, did Renoir sculpt in spite of his debilitating arthritis? Truth be told, he had already during the years 1907-1908 executed a medallion and a bust of his son Claude.

In 1913, his art dealer Ambroise Vollard encouraged him to produce other works with an assistant. Richard Guino, a pupil of Aristide Maillol, was put in charge of all the sculpture production for four years at Les Collettes, while guided by the master; this collaboration with Renoir ended in 1918. Their work was the object of a contract with Vollard: Guino was paid by Vollard for the modeling and the molding and, working as an assistant, did not sign the works. The sculptor Louis Morel succeeded Richard Guino in 1919 for a short period, executing two bas-relief sculptures, Dancers with a Tambourine and the Pipe Player.

Following a French court ruling in 1965, Richard Guino was recognized in 1973 as co-author of the sculptures he made with Renoir. The Dancer with a Veil is sometimes said to have been made with Maillol’s or Morel’s help, likelier with Guino’s help. However, Renoir directed Guino’s work so firmly on this particular piece that Guino renounced his claim of co-authorship (Tribunal de Grande Instance of Paris, Judgment of January 11, 1971).

Method and Technique Guino modeled works from both drawings supplied by Renoir and from live models (as shown by pictures taken at Les Collettes). Guino worked in the ground-floor studio of the villa, as well as in the small house of the gardener.

The original works were executed in raw earth (clay), taken directly from the garden. These final clay works were very fragile, and in order to achieve a solid model for their casting in bronze, they were reproduced in plaster. For this process, Guino made a mold “in lost hollow” of the final clay piece from which an original plaster was cast. The casting process destroyed both the final clay sculpture and the mold, leaving the plaster cast itself as the only original. As a precaution, copies were made and sent to the various foundries (Godard, Valsuani, Rudier, and Susse), which were involved in casting Renoir’s bronzes. These nineteen maquettes are the original plasters ultimately kept by Renoir and his family.

Renoir had great fondness for the sculptures, and during his final years, he arranged around his villa some of the plasters, emphasizing his high regard for them as original works of art. The Bust of Paris was placed on the banister of the main entrance of the villa. The Bust of Madame Renoir was put on a stone base in the garden, and after Aline’s death, a bronze of this piece was placed on her gravesite. Three Heads of Venus, decorating the south balcony of the villa, are visible in a 1916 photo showing Claude Renoir posing with them (in the memorabilia collection). The Venus Victorious was placed in his garden facing the villa. In 1920, after Renoir’s death, Matisse came to Les Collettes to paint in the garden, and the Venus appears in several of his paintings.

Renoir uses four themes for his sculptures: Mythology The following works were inspired by the painting The Judgment of Paris (1913-1914): • Small Venus Victorious, 1914-1915 (sketch probably 1913) • Large Venus Victorious, 1914-1915 (a variant worked again at the beginning of 1916) • Judgment of Paris (bas-relief), 1914-1915 • Bust of Paris, 1914-1915 • Dancer with a Veil, 1913 or 1914 • Dancers with a Tambourine and Pipe Player, 1919

Tribute to Famous Artists • Medallion portraits of Cézanne, Monet, Rodin, [Courbet, Delacroix and Ingres]; these last three are considered by the French judges as works by Richard Guino’s hand only.

The Allegories • Hymn in the Life, clock, 1914-1915 (a variant worked again in 1916) • Water or Washerwoman, 1915-1916 (small, medium), 1917 (large) • Fire or Blacksmith, 1915-1916 (small, medium; the large one is unachieved) Tribute to Aline Renoir • Bust of Madame Renoir, 1916 • Maternity (Mother and Child) 1916 • Bust of Maternity, 1916 Provenances of the Plasters: Sources: • Paul Renoir’s letter of February 2, 1986, giving evidence of the origin and the authenticity of the Venus Victorious (variant) • Paul Renoir’s letter of February 5, 1986, discussing the creation of the Venus Victorious (variant) • Expertise of Claude Cueto of August 15, 1992 (fourteen sculptures) • Certificates of origin and authenticity signed by Jean•Emmanuel Renoir of April 4, 2002 (busts of Paris and Madame Renoir) • Certificates of origin and authenticity signed by Jean•Emmanuel Renoir and Louise Hernandez•Renoir of June 12, 2003 (seventeen sculptures) • Affidavit of Claude Cueto of August 22, 2003 (resuming the expertise of 1992, fifteen sculptures) • Letter by Roland Bois, 1991, evidencing the donation of the plasters by Claude Renoir to Louise in 1968 • Document from the law firm Yen, Pilch and Komadina: interview of April 21, 2004, with Phil. Flemming and Jean•Emmanuel Renoir about the origin of the plasters Location of Plasters until 1968-69 We distinguish between two groups of plasters. The first group represents plasters which stayed at Les Collettes until 1960 (year of the purchase of the property by the city of Cagnes-sur-Mer and the opening of the Renoir Museum), then at Paul Renoir’s place of residence, Avenue de Verdun at Cagnes-sur-Mer, until the end of 1960s. The Venus Victorious remained in the garden at Les Collettes until 1967 when it was also taken to Paul Renoir’s home.

The second group represents plasters that were stored at Parisian foundries (Rudier and Valsuani) until Paul Renoir moved from Les Collettes in the 1960s, when they were returned to him. Concerning the Medallion of Coco and the Medium Blacksmith, we have less information. However, it is thought that they remained in Cagnes.

GROUP 1: • Vénus victorieuse (Venus Victorious) variant • Pipe Player • Dancer with a Tambourine II • Bust of Madame Renoir • Dancer with a Veil • Maternity • Bust of Maternity

• Medallion of Cézanne • Medallion of Rodin • Bust of Paris • Head of Venus • Medium Washerwoman GROUP 2: • Small Washerwoman (Rudier) • Small Blacksmith (Rudier) • Base of Petite Vénus à la pomme (Rudier) • Petite Vénus à la pomme (Rudier) • Bust of Coco (Valsuani) The 1973 decision awarding Richard Guino co-authorship status was followed by a 1982 agreement between those descendants of Pierre-Auguste Renoir and Richard Guino who personally held any of the plasters at that time: they were to deposit the plasters with the Susse foundry in Paris.

The plasters offered in this sale were not in this group. Claude Renoir gave all of these plasters to his daughter-in-law, Louise Hernandez, wife of Paul Renoir, on July 7, 1968, in the presence of Claude’s wife, Paulette, and a family friend, Roland Bois.

Shortly after this, the Renoirs took out a loan and used as collateral the plasters--except for Vénus victorieuse. They defaulted on the loan, and the plasters were taken by the bank, sold, and placed in storage at Natural Le Coultre Warehouse (fine art and antiquities transporter and storage) in Geneva by the new owner. In 1991, Jean-Emmanuel Renoir, with the assistance of a Paris art dealer, located the plasters then stored at Natural Le Coultre Warehouse. He commissioned Claude Cueto to confirm the identity of the pieces and photograph them. Cueto was a credentialed expert in European sculpture for the A.A.A. (Appraisers Association of America) and had worked with the foundry Rudier in Paris in the publication, purchase and sale of the bronzes of Camille Claudel and Auguste Rodin. He was a friend of Claude and Paul Renoir for many years and had regularly visited their home in Cagnes. In the mid 1960s--probably when the family moved from Les Collettes--Paul Renoir had even asked Cueto to go to Paris to the foundries, pick up the plasters stored there and return with them to the Renoir home in Cagnes.

Cueto signed his 1991 photographs of the plasters on the back in confirmation that they were the plasters he had known for many years, and then they were countersigned by Roland Bois. At the same time, Bois wrote a letter attesting to the transfer of the plasters’ ownership which he had witnessed in 1968. Later that year, on October 11, nineteen original plasters were shipped from the Geneva Warehouse to Vancouver, Canada, to be picked up by a Mr. Lawrence Jean and Jean-Emmanuel Renoir. In 1992, Claude Cueto created appraisal documents on the plasters.

The Venus Victorious variant plaster was not pledged on the 1960s loan in France, and it is believed that it remained in possession of Paulette, Claude’s widow, when the family moved to Canada in early 1979. When Paul left the family in Edmonton and moved to Houston in 1982, the Venus Victorious variant plaster came with him, and shortly after the move, it was pledged as collateral on a second loan, this one from Joe Russo’s Ameriway Bank. The Renoirs also defaulted on this loan, and the Vénus victorieuse plaster was seized by the bank, where it apparently had been displayed for a brief period. The plaster was later purchased by Texan Stanley Adams.

In 2003, the consignor gathered this entire collection of plasters by purchasing them – assisted by Jean Emmanuel Renoir – from Stanley Adams and Lawrence Jean. Later that year, Claude Cueto again authenticated the plasters, confirming they were indeed the ones which had belonged to Claude and then Paul Renoir, which he had photographed himself in Geneva in 1991.

Provenances For all the works -- except Vénus victorieuse variant: 1907/8 - 1919: 1919 - 1922: 1922 - 1968: 1968 - 1969: 1969 - 197?

197? - 1991 1991 - 2003: 2003 - 2013: Vénus victorieuse (variant) 1915 - 1919: 1919 - 1922: 1922 - 1969: 1969 - 1984: 1984 - 198? : default) 198? - 2003: 2003- 2013:

Auguste Renoir Renoir Estate Claude Renoir Louise Hernandez-Renoir (by donation of Claude) Lender (plasters pledged on a loan and then seized at its default) Private collection, Geneva, Switzerland Lawrence Jean Private collection, Scottsdale, Arizona

Auguste Renoir Renoir Estate Claude Renoir Paulette Renoir (Claude’s wife) Ameriway Bank, Houston, Texas (plaster pledged on a loan and then

seized at its

Stanley Adams, Texas Private collection, Scottsdale, Arizona

A French judgment on April 8, 1998 (Tribunal de Grande Instance of Paris) determined that the making and marketing of bronze casts from the plasters of those sculptural works common to Pierre-Auguste Renoir and Richard Guino, without authorization of their beneficiaries, would not be permitted. The judgment concerns specifically eight works: Head of the Small Venus, Medium Washerwoman, Head of Vénus victorieuse, Bust of Madame Renoir, Large Maternity, Bust of Paris, Little Venus and its base, The Judgment of Paris, and Small Blacksmith.

The decision was ultimately validated in the U.S. In 1984, following the French ruling awarding Richard Guino coauthorship, his heirs filed for U.S. copyright protection on Petite Tête de Vénus, Maternité, Buste de Madame Renoir, Petite Vénus à la pomme, Grande Laveuse, Médaillon de Cézanne, Petit Forgeron, Moyen Forgeron, Laveuse, and Moyenne Laveuse.

These copyrights were challenged in U.S. courts in 2003 and were ultimately upheld in the United States 9th Circuit Court of Appeals in 2008.

As a consequence, the eight copyrighted works can be enjoyed as works of art but cannot be reproduced (in bronze or in any other material) without the authorization of the Guino and Renoir heirs. The pieces created by Renoir alone (Medallion of Coco, Bust of Coco) and those created with Louis Morel’s help (the triptych of the Dancers with a Tambourine and the Flute Player) are no longer under copyright protection.

The plasters in this collection are thought to be essentially the only original foundry plasters of Renoir’s sculptural efforts remaining outside of the control of museums or the two families.

By Virginie Journiac, Expert for Renoir Works of Art, Former Curator of the Renoir Museum, Cagnes-sur-Mer, France (2006-2012).

TABLE OF CONTENTS RENIOR: THE MAN

11

RENIOR: THE HUSBAND

21

RENOIR : THE FATHER

39

RENOIR: THE ARTIST

51

THE LATER YEARS – RENOIR, THE SCULPTOR

75

RENOIR FAMILY PHOTO ALBUMS

101

RENOIR FAMILY ARTIFACTS

105

RENOIR FAMILY REFERENCE LIBRARY

107

Renoir: THE MAN

89001 RENOIR BIOGRAPHY, “RENOIR” BY ARSÈNE ALEXANDRE Autograph document signed, twenty-one pages, written on unlined paper, accompanied by a copy of Arsène Alexandre’s L’Art du Rire et de la Caricature, inscribed to Renoir from the author.

Estimate: $2,000-$3,000

89003 NINETEEN HANDWRITTEN LETTERS FROM FRENCH OFFICIAL IN THE MINISTRY OF FINANCE, AUTHOR OF RENOIR ET SES AMIS, AND ONE OF RENOIR’S DEAREST FRIENDS, GEORGES RIVIÈRE TO RENOIR The intimate relationship between Renoir and one of his closest companions, Georges Rivière is revealed in this collection of letters from Rivière to Renoir, written throughout the artist’s travels away from home. These handwritten letters touch on a variety topics including personal matters, such as the break-in at Renoir’s home, family affairs, like the recovery and well being of Renoir’s two sons, Jean and Pierre, both wounded while serving in the army, as well as the troubles being experienced by Renoir’s extended family, publications and critiques of Renoir’s recent works and exhibitions, Rivière’s visits with mutual friends and colleagues, and current foreign affairs and international politics, among numerous other subjects of interest.

89002

NOTE: This lot is accompanied by a copy of Georges Rivière’s Renoir et Ses Amis.

RENOIR BIOGRAPHY, “AUGUSTE RENOIR” BY JULES DE VARAVILLE

Estimate: $3,000-$4,000

Autograph document signed, four pages written on lined paper.

Estimate: $2,000-$3,000

12 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89004 RENOIR’S BIRTH RECORD (COPY) Autograph document signed, two pages [one sheet folded], dated 25 February 1841, located at Limoges, which certifies that a child was presented before presiding official, Jean Joseph Abria in the Limoges City Hall by Renoir’s father, Léonard Renoir, age 41, and mother, Marguerite Merlet, age 22, residing at Boulevard St. Catherine, who named their son, born at 6:00 in the morning, Pierre Auguste Renoir.

Estimate: $2,000-$3,000

89006 RENOIR’S FUNERAL RECEIPTS Three funeral receipts, one, dated 4 December 1919, located Nice, made out to his son, Jean Renoir, for 542 francs 72 centimes, for some of Renoir’s funeral expenses, another dated 3 December 1919, located Nice, listing funeral expenses such as the hearse wagon and transportation charges, etc., and the third, signed “H. Jaubert”, dated 21 December 1919 and located Cagnes, for Renoir’s casket, pallbearers, three iron bands to wrap the casket, four men to place it on the bier, tip for the men, 1140 francs, from funeral accoutrements firm Honore Jaubert, Tonnelier Cagnes.

Estimate: $2,000-$3,000

89005

RENOIR’S MARRIAGE LICENSE AND MINUTES OF THE MARRIAGE Certificat de Mariage, dated 14 April 1890, located 11 Boulevard de Clichy, 9th Arrondissement, Paris, documenting the names and addresses of Renoir, his parents, his wife, Aline Victorine Charigot and her parents, and bearing the Paris city hall stamp, together with an Estrait des minutes des Actes de Mariage, dated 2 October 1893, certifying the witnesses, proceedings and birth of their son, Pierre [born 21 March 1885], signed by the presiding official and bears the embossed town seal to verify the document is a copy of the original.

Estimate: $5,000-$7,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 13

89007 RENOIR’S ESTATE DOCUMENTS Documents concerning the disposition of his estate personal property including (1) Typed document, Partage Renoir, signed “Me. de Marhac Notaire”, dated 16 September 1922; (2) Autograph document, Certificate de notaire, signed “Joseph Camatte, Notaire”, dated 12 February 1920, located Cagnes; (3) Copy of typed document, Estate Summary, dated 16 November 1922; (4) Autograph document, Partage par lots [list of Renoir works distributed into three lots]; (5) Copy of typed document, Liste Des Tableaux Faisant Partie de la succession de Monsieur Pierre Auguste Renoir; (6) Autograph document, Institule d’Inventaire, signed “Joseph Camatte, Notaire”, dated 2 December 1915 [After his wife’s death in 1915, Renoir was required to provide an inventory of assets that he and his wife shared at the time of her death, including a list of his own paintings]; (7) Copy of typed letter, dated 8 August 1922, signed “Pierre” (his son) to cousin Eugène [Renoir’s older brother], together with additional and partial copies of the above mentioned documents.

Estimate: $5,000-$7,000

89008 RENOIR’S HOME DECORATING EXPENSE LEDGER Peinture & Vitrerie, dated 1907, located Aube, paper cover, 20 pages, 15 filled out by hand, listing work done to the various rooms painted and wallpapered by the firm Charruet & Fils. The work order totaled 2251 francs 91 centimes.

Estimate: $1,000-$1,500

14 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89010 RENOIR’S BANK BOOK Caisse Nationale d’Epargne Livret National, no. 83-23,930, dated 16 March 1891, located in Paris, with three pages of entries and stamps.

Estimate: $3,000-$5,000

89011 RENOIR’S PINCE-NEZ Renoir’s pince-nez spectacles popular in the 19th century, supported without earpieces by pinching the bridge of the nose in a hinged leather case with royal purple velvet lining.

Estimate: $1,000-$1,500

89009

RENOIR’S LEDGER OF FAMILY EXPENSES AND PICTURES Autograph document signed, black softcover lined notebook with ledgers of Renoir’s family expenses and picture collection, dated October 1910, located 43, rue Caulaincourt (Paris) [the Renoir residence; the atelier address was 73, rue Caulaincourt]. Thirty-seven pages of handwritten entries of Tableaux by Renoir. Pictures are itemized 1-299, subsequent pages include entries categorized Roleau no. 1-7, followed by inventories of pictures stored in boxes and pictures in specific house rooms: Salon, Salle à Manger, Chambre Pierre, Chambre Mme Renoir. When turned over and inverted, the ledger converts to an expense ledger with twentyone pages of handwritten entries of family expenses dated 10 November [1909]. Entries include medical, travel, food, clothing, piano lessons, pharmacy, etc. Two pages have thirteen French coin rubbings.

Estimate: $3,000-$5,000

89012 RENOIR’S SPECTACLES Oval lenses with brass stems, enclosed in a 5 x 1-1/2 inches brown leather, hinged case inscribed, Regniault Opticien F..., 54 Rue Laffitte, Paris.

Estimate: $3,000-$5,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 15

89015 RENOIR’S JEWELRY BOX Brown leather hinged box, stamped on lid A.R. 26 Septembre 1910, with ivory silk lining gilt stamped Ane Mos Marret & Besugrand, Vever, Paris, Trois Grands Prix EXPos UNIVIes 1889, 1897, 1800.

Estimate: $1,000-$1,500

89013 RENOIR’S SILK SCARF The rectangular 50 x 16-1/2 inches, maroon and white polka-dotted silk scarf with fringed ends, accompanied by a 4.25 x 2.5-inch black and white photograph of Renoir dressed in scarf, taken by Melandri, Paris, as well as a newspaper article depicting the artist in his later years, stricken with arthritis, wearing the scarf while working in his Paris atelier.

Estimate: $4,000-$6,000

89016 RENOIR’S FINANCIAL DOCUMENTS

89014 RENOIR’S CIGARETTE HOLDER Bakelite, in conforming hinged case labeled J. Sommer, Paris, Médaille d’or 1878.

Estimate: $2,000-$3,000

Four autograph documents signed (1) Renoir’s Paris house lease, dated 1887, signed by Renoir, located Paris, with Paris stamp and embossed seal; (2) Renoir’s Nice apartment lease, dated 2 December 1911, located Nice, read and approved by A. Renoir [signed by Edouard Faraut]; (3) Credit receipt, signed Caillebotte [painter, 1848-1894], dated 22 June 1881, located Paris, Received from Mr. Renoir with value on my credit, following an act M. Courtus, notary at Meaux, for the sum of 5,100 francs, plus 500 francs, received today in all, 5,600 francs, (one sheet folded); (4) Banque de France certificate, dated 31 October 1916, certifying that Renoir deposited 820 francs of gold for the Nationale Defense in exchange for bills.

Estimate: $1,000-$1,500

16 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89018 CORRESPONDENCE FROM FRIENDS AND COLLEAGUES TO RENOIR

89017 THREE LETTERS FROM RENOIR TO UNIDENTIFIED PERSONS (1) Autograph letter signed, two pages [one sheet folded, two pages blank], Renoir writes: Mademoiselle [probably Miss Aline Charigot, early 1881], I thank you for having paid my bill and if I’m not mistaken, there must be 50 francs remaining for the first of October, I’m taking this occasion to give some advice about the quality of: 1. Do not give... black for the coffee with milk, 2. Do not irritate Madame Drout too much, 3. Do not wake till noon, that which will make serving the morning chocolate at 7 AM troublesome, 5. When she has returned, give Madame Camille compliments from me, 6. I have no more to say, 7. I will bring you back a shell for your troubles.

All the best, Renoir; (2) Autograph letter signed, one page written on lined paper, Renoir writes: If Bistolfi [Renoir’s chauffeur after Baptisin], I need papers in order to come to occupy. I would like to have them as early as possible. “Bemigny” (in major’s office) will tell you what there is to do. Renoir [written in a very shaky hand]; (3) Autograph letter signed, two pages [one sheet folded, two pages blank], reads: Sunday morning, Dear little woman, I probably will take next Sunday’s boat. Please notify Mr. Deschamps he will receive a telegram that I will send from Marseille without putting my name or what it means. I will simply put the hour of my arrival. If there is a change, I will let you know. It will only be if there is bad weather that slows down my last two works. I will be happy when I am on the boat even though it is very disagreeable. But, I am in a hurry to see you. I love you, Auguste.

I will probably be in Marseille Tuesday morning about 7 o’clock, later if there is bad weather. If the sea is too rough, I’ll be later than Tuesday, let’s hope not.

Estimate: $4,500-$6,000

Collection of twenty-two letters from various friends and colleagues to Renoir.

Correspondents include: P. Cloix (autograph letter signed, dated 23 January, 1912, located Paris); Beniqui (autograph letter signed, dated 4 May 1918, located Paris); Paul Bernard [actor] (autograph letter signed, dated 23 April 1882, located Paris); (Georges) Dorival [early silent screen actor, artist and friend] (two autograph letters signed, no date, one letter located Paris, and autograph signed post card, dated 1912, located Lille) in his letter Dorival writes about sharing Renoir’s letters with Emile Fabre [1868-1955, French dramatic actor] to emphasize that newspapers want classic performancs and that he found a banker to underwrite the 4,000 francs for the show (and is there is any profit left, he will give it to the war effort). He also describes seeing Renoir’s apartment windows every day and that “Jean has not watched the expenses. There are little panes...”; Dosbourg (autograph letter signed, dated 18 December 1913, located Paris); Dr. Evalba (autograph letter signed, 31 October 1915, located Lausanne); N. Fray [artist] (autograph postcard signed, no date, no location); Konrad von Freyhold [admirer] (autograph letter signed, dated 20 November 1913, located Hôtel Savournin, Cagnes); “J” [friend who stayed at Les Collettes] (autograph letter signed, no date [Sunday], located Paris); Claude Meunier [cousin by marriage on Aline’s side], informs Renoir that he is forwarding papers relating to Aline’s death and bills from Renoir’s Essoyes properties (home, vineyards and family vault) and will pay the tax collector. He reports he is still Vendage (picking grapes) for the rest of the week...; Gertrude Osthaus [museum official] (autograph letter signed, dated November 15, 1913, located Hohenhof, Hagen i.W.) she asks Renoir to authenticate whether he painted the picture depicted in the photograph she sent to him and relays that she arranged a special entranceway into the room where his and other of his contemporary artists’ (Daumier, Millet, Rodin, Maillol) works are exhibited, You have to understand that our museum isn’t like other museums a piling of paintings and art-pieces...; Theodore Reinhart [collector], (autograph letter signed, 12 January 1914, located Winterthur); A. Segard (autograph letter signed, no date, located 150 Avenue Victor Hugo); F. Thurneyssen [Dr. Franz Thurneyssen, collector, Wessling, Germany, commissioned Renoir to paint a portrait of his wife and daughter in 1910.] (autograph letter signed, dated 23 January 1912, located Munich, and autograph note signed, no date, no location); “V” (autographed letter signed, dated 1 June 1910, located Paris); Emile Wéry [painter living in Cagnes] (autograph postcard signed, located Venezia) writes about having seen some of their family in Venice and looking forward to visiting them soon at Les Collettes; Comte de Goyoz [Proprietor, Manoir de Beraut], (two autographed letters signed, dated 21 November 1913 and 3 December 1913, located Manoir de Beraut), Together With a receipt from Galerie Eug. Blot.

Estimate: $1,500-$2,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 17

89019 COLLECTION OF LETTERS AND DOCUMENTS TO RENOIR Autograph letters signed, dating from 1882-1913, include those from: Armand Cabrol (autograph letter signed, dated 29 March 1903, located Boujan [Hirault].); Paul Cézanne, Jr. [son of Paul Cézanne, 1839-1906, artist] (autograph letter signed, dated 23 February 1914, located Paris) sends Renoir birthday greetings; Jeanne Baudot [1877-1957, painter and Jean Renoir’s godmother] (autograph letter signed, dated 29 December 1913, located Louveciennes) sends New Years wishes; Paul Bérard (autograph letter signed, date 29 October 1882, located Wargemont); Léonce Bénédite [Musée Rodin conservateur] (autograph letter signed, dated 10 April 1918, Musée Rodin); Emile Bergèrat [1845- 1923, author] (autograph letter signed, dated 22 March 1912, located Villa Garro, Nice); Jean Baffier [1851-1920, sculptor] (autograph note signed and photograph, no date, no location); Jean Albert William Spencer- Churchill [1871-1934, 10th Duke of Marlborough and Winston Churchill’s cousin] (autograph letter signed, dated 27 March 1913, located Blenheim Palace, Woodstock) requests Renoir to paint him a small female nude similar to the one he saw at the 1912 Mausi exhibit; (Jules) Abel Faivre [1867-1945, artist and humorist] (autograph letter signed, no date, no location); Sacha Guitry [1885-1957, film maker, actor, poet] (two autograph letters signed, first letter: no date, located Lyon, second letter: no date, located Casino Municipal Nice) in one letter Guiltry expresses his admiration of Renoir, in the second he asks for two floral still life paintings and offers a ridiculously low price of 4,000 francs for these two marvels...; Joachim Gasquet [journalist, Cézanne biographer and Renoir model, 1873-1921] (two autograph letters signed, first: dated 23 March 1912, located Marseille, second letter: no date [Thursday], located Manor Leliwa, Nice), in the second letter he offers Renoir the position of honorary Presidency of the Salon for the May retrospective on Cézanne in Marseille; Frantz Jourdain [1847-1935, architect, art critic, writer, President of the Société de Salon D’Automne] (autograph letter signed, dated 19 December 1916, located Paris) asks Renoir to donate a painting to a charitable fundraiser because this hideous war amasses suffering and miseries and it becomes more and more difficult to take care of all whom sorrow has affected; Lucien Mignon [1865-1944, painter] (autograph letter signed, dated 30 December 1913, no location); Octave Mirbeau [1848- 1917, journalist and art critic who wrote the preface to Bernheim-Jeune’s Renoir 1867-1913 retrospective exhibition catalog] (autograph letter signed, 1919, located Nice); François Nicolai [President, Musique Municipale de Cagnes] (autograph letter signed, dated 1 January 1914, located Cagnes); Theodore Reinhart (autograph letter signed, dated 12 January 1914, located Winterthur); Jean Renoir’s School Professor (autograph letter signed, no date, no location) writes about Jean’s scholastic progress (mentioning that he talks all the time but is a good boy that everyone loves), that Jeanne Baudot visited her godson, and sends wishes that Renoir will get relief from his rheumatism in the south of France; Paul Rosenberg [Paris and Berlin art dealer and collector] (autograph letter signed, dated 31 December 1916) wishes Renoir a Happy New Year and confirms that 50 kilos of sugar were delivered to his house and that twelve bottles of fine champagne from 1858 will be sent, and white Burgundy next week; Société du Salon de Mai President (name illegible) (autograph letter signed, no date, located Marseille) asks Renoir to take a letter to Cézanne as soon as possible and obtain the painting “Joueurs de Cartes” (The Card Players) before the exhibition. In exchange for securing the painting, the Salon will exhibit Renoir’s painting, Le Port de Marseille, currently on display in the Hôtel Beauveau window; Jean Valéry (autograph letter signed, dated 14 January [no year], no location); Teodore de Wyzewa [1862-1917, critic, journalist, family friend] (42 signed pages, no date, no location, several letters on black bordered stationery), discussing various daily life pursuits; Armand Fallières [1841-1931, Président de la République Francais 1906-1913],(two autograph documents signed, dated 25 March 1909 and 22 February 1910, two invitations to Soirée au Palais de l’Elysée, on cards embossed with the presidential seal.

Estimate: $1,500-$2,000

18 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89020 RENOIR’S HOME, LES COLLETTES DOCUMENTS, PHOTOGRAPHS AND OTHER RELATED MATERIAL Large group assorted documents and receipts from 1908-1919 relating to the planning, design and construction of Les Collettes, Renoir’s home in Cagnes-sur-Mer, in the South of France. Many legal documents regarding the purchase of the property and subsequent sale of small parcels are included, none of which bear Renoir’s signature. One document describes the options Madame Renoir selected for her new home, including a state-of-the water closet, “small American nickel plated copper faucets”, etc. The assorted photographs include vintage photographs of Les Collettes, Renoir’s atelier on the grounds that was built in 1914-15; Les Collettes under construction (which began in June 1907), a view of the balcony off Renoir’s bedroom (the same room where Paul Renoir was born), Renoir’s atelier bedroom. Also in the lot are various notarized and incomplete notarized documents (signed typed and handwritten documents) [1925 and 1930], a map of Les Collettes parcels, documents relating to the Comité Renoir fundraising project to purchase Les Collettes for the official Renoir Museum; and book: Renoir aux Collettes, Cagnes-sur-Mer: 1960.

Estimate: $4,000-$6,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 19

89021 A LETTER FROM FRENCH COMPOSER, MUSICIAN AND TEACHER, GABRIEL FAURÉ (1845-1924) TO RENOIR Autograph letter signed, two pages [one sheet], dated 8 November 1915, located in Hyères (Var) that reads: My Very Dear Old Master, Your letter awakened my remorse in not having yet gone to see you if my health had permitted me until now. Unhappily, this stay on the Cote (the coast) was not at the least favorable and the bad weather continues. Perpetual gusts of wind unpleasantly influenced my nervous state. I am certainly worse off for having arrived here and I’m seriously thinking of leaving. I would like to be in Morocco! If only you could come with me! In the meantime, I would like to see you, but it’s so far, all the while seeming so near. I don’t even need to tell you that, I will do all that I can for your son. At the same time, I am writing to my brother-in-law, who is an officer in the special service of the secretary. I hope that he will be able to do something, but the information is insufficient. The best thing to do is to go quickly, that your son write to him directly what he wants. He will be informed and believe me very favorable disposed, being on brotherly terms with me and admirer of your genius. Your son must write to him without delay with the number of his regiment, his depot, his service record, and his injury to exchange the post that they want to give him in place of the one he asked for. He should not be afraid to give him all the details and information. See you soon, perhaps old master, your letter seems that you are fine. Faure.

Estimate: $3,000-$4,000

20 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

Renoir: THE Husband

89022 TWO LETTERS FROM RENOIR TO ALINE REMINISCING OF LEARNING TO SWIM IN PARIS AND REPORTING THE SUCCESS OF THEIR SON, PIERRE IN A RECENT COMPETITION Autograph letter signed, two pages [one sheet folded, two pages blank], in which Renoir writes about his experience of learning how to swim in the baths of Paris, My dear, I learned to swim in the “bath” of Paris. I go into the wadding pool. I went to a ladder where I scarcely had a foot, and I did three or four strokes, where I sometimes scrape my knees against the bottom of the wood. After repeating this celebration, I went to another ladder a little further away and I had the big bath under the eye of the master swimmer and I learned to swim very quickly. One never learns how to hang by a rope.

It’s useless to continue this exercise. Either you explain a task from the moment one begins to understand it. As for the amateurs, know that I embrace you. Try not to get angry with anyone and say nice things to everyone for me. I’ll be there as soon as possible if I’m not held back at Dieppe. When you see Father Charles, have him arrange the calico curtains for my window frame. Tell me if it’s well done. August; accompanied by a second autograph letter signed, one page [one sheet folded, two pages blank], dated July 12, 1908, Renoir writes: I’m furious at not having sent you a dispatch for the competition. I was convinced that the deadline was Sunday and that you would receive the letter soon. Pierre did an excellent competition and took first prize. The whole room applauding him caused a scene. Hug Jean and tell him to only go swimming in the sea with strong people around. Renoir

Estimate: $6,000-$8,000

22 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89023 A LETTER FROM RENOIR TO ALINE MOURNING THE DEATH OF THEIR FAMILY DOG, QUIQUI Autograph letter signed, one page [one sheet folded, three pages blank], written on graph paper, reads: Pauvre Quiqui, having covered so much road, to die at Montmartre. Bury him in our garden. I’d rather never see him again than see him stuffed. Love, Renoir

Estimate: $6,000-$8,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 23

89024 AN INTIMATE AND HUMOROUS LETTER FROM RENOIR TO ALINE LIFTING HER SPIRITS IN LIGHT OF THEIR NEXT RENDEZVOUS Autograph document signed, one page [one sheet folded, three pages blank], Renoir reacts to Aline’s previous letter by writing: I’ve just read your big letter full of despair and also full of malice- for you want me to compliment you, but no. You are not ugly. You are the most pretty. This is not to engage you. I wouldn’t do that to you. Since I am such a rascal [scoundrel] that I’m so ill behaved. I must stay in my role [in character]. I do not know if you are pretty or ugly but I know that I have an extraordinary desire to behave badly again and it’s not so far away. He discusses travel plans and his itinerary and ends telling her to Get ready, even though you are so ugly I want to kiss you. All in good time, but with a foolish abandon. Love, Auguste

Estimate: $6,000-$8,000

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89026 TWO LETTERS FROM RENOIR TO ALINE CONFIRMING HIS SAFE ARRIVAL [LIKELY IN ALGIERS] AND HIS PLANS TO EXPLORE THE NEW COUNTRY

89025 A LETTER FROM RENOIR TO ALINE RELAYING HIS PLANS TO SEE LE ROI EN EXIL Autograph letter signed, one page [one sheet folded, three pages blank], Renoir writes My dear friend, I’m obligated to go to a general rehearsal of Le Roi en Exil, that will probably finish late. You will not see me this evening - send me a word in order to tell me if I should refuse my guests or take them tomorrow. If you are not able, we will go to the restaurant ___________. I don’t have any way of letting them know. Auguste

Autograph letter signed, one page [graph paper] that reads: My dear little one, I arrive in good health. I am going to put myself to work, after tomorrow I’ll begin the rounds in order to know where to begin. I’ll write you soon. Auguste. I tell you nothing of the country that I have just arrived in. Accompanied by a second autograph letter signed, one page [one sheet folded] that reads: My dear friend, I will take the boat Tuesday... I have beautiful weather and I can have two studies more. 1,000 francs in January. I embrace you, Auguste. My brother arrives here tomorrow. In case I move up my return, I will send a telegram to Chatou at Baron.

Estimate: $2,000-$3,000

Estimate: $2,000-$3,000

89027 TWO LETTERS FROM RENOIR TO ALINE CHECKING IN FROM ALGIERS Autograph letter signed, one page [one sheet folded, three pages blank], dated 29 February, located Algiers [c. 1881-1882]. Renoir writes: My dear friend, Be nice enough to acknowledge the receipt of 100 francs. Try to write me again about something very pleasant, as everybody writes me nice things to encourage me in my work. This would be a diversion, I embrace you, Love, A. Renoir. Accompanied by a second autograph letter signed, one page [one page folded, three pages blank], no date [Monday morning], located Algiers. Renoir writes: My dear, I received your letters. You are very nice. I don’t have time to say more... I’m working. The weather is very nice and I’m taking advantage of it. If I come back here in the fall, I will bring you to Africa... All my love, Auguste. Algiers.

Estimate: $2,000-$3,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 25

89029 TWO LETTERS FROM RENOIR TO ALINE ADDRESSING SOME FAMILY MATTERS BACK AT HOME

89028 TWO LETTERS FROM RENOIR TO ALINE REPORTING HIS IMPROVING HEALTH AND HIS PLANS TO RETURN HOME One page, located in Dieppe, Saturday night, reads: Dear friend, I have arrived in good health. I took a long walk with Deudon. I’m in much better health, I believe I will be cured by the end of the month. Don’t tire yourself out in that workshop... You will read about me when “my day on high” will be done and how much it costs me. I embrace you.

Accompanied by a second letter, autograph letter signed, one page [one sheet folded, three pages blank] Renoir writes: My good little one (Lit) I will be back at the end of the month- stay calm for you’re going to make me proud... I’m not ____ at all and as soon as I’ll have the ability to return with something proper. I will not hesitate. Love, Pierre.

Estimate: $2,000-$3,000

Autograph letter signed, one page [one sheet folded, three pages blank], no date [Sunday morning], reads: It is still bad weather and I am still not sure if I will be able to finish my paintings, especially as my models leave regardless on the 5th. We will see. I send you 100 francs. It is all I can do for the quarter hour and I will take off that amount from next month, I warn you. It is up to you to manage. I embrace you, Auguste. Sunday morning. Accompanied by a second autographed letter signed, two pages [one sheet folded, two pages blank], written on graph paper, no date [Tuesday], likely in Dieppe, Renoir anticipates receiving a letter from Aline acknowledging whether she received the 100 francs he sent her Sunday which she should have received yesterday and speculates that he didn’t put enough postage on it... I received your letter in which you tell me your maid is not working out. It should not be too difficult to dismiss her and get another, since you are the mistress of your actions, from the moment that you do not surpass your budget— which never happens.

It is still raining in Dieppe and we have a high tide today. I’m going this evening to Wargemont with the Blanches. I embrace you, Auguste.

Estimate: $2,000-$3,000

89030 TWO LETTERS FROM RENOIR TO ALINE CHECKING IN FROM DIEPPE Autograph letter signed, two pages [one sheet folded, two pages blank] written on graph paper. Renoir tells his wife he will be in Dieppe until the 5th, that he bought round trip tickets for her and Cecile and that he received a letter from Cecile about which he initially did not understand. He also describes how difficult it is for him to paint in the cold and that his progress is slow. [ Renoir’s writing show signs of deterioration due to arthritis]. Accompanied by a second autograph letter signed, one page [one sheet folded, three pages blank], located Dieppe. Renoir writes My Dear, I’m sending you a little money. I will send you more if you need it. All my love, Auguste. I received your letter, have fun. A. Renoir. 8, rue de Rouen, Dieppe

Estimate: $2,000-$3,000 26 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89031

89032

A LETTER FROM RENOIR TO ALINE EXPRESSING FRUSTRATION WITH THE WEATHER AND HIS SETBACKS DUE TO THE RAIN Autograph letter signed, three pages [one sheet folded, one page blank], no date [Thursday evening]. In the letter Renoir is depressed.

He describes his frustration with the bad weather (it’s either raining or the wind is too strong to work). He believes his paintings are bad and that he won’t be able to finish them. In the evenings he thinks about life philosophically but that serves to only lower his morale. He describes going to a casino with his painting models but not enjoying it as they do. He relays that his friend, Bernard (who has a cadaverous face), occasionally visits and that he’s convinced that Montmartre [where his studio is located] is the only place that could improve his morale. He writes that painting disgusts him because he is too old now and tells Aline to get used to his oldness... He also reminds her not to paint his studio floor as they have to save money because he’s not sure how much more he will be able to earn. Renoir closes by saying Nevertheless, I kiss you as long as I am able... Auguste. Thursday night.

Estimate: $3,000-$5,000

TWO LETTERS FROM RENOIR TO ALINE DISCUSSING RENOVATIONS ON THEIR HOME AND REPORTING POSITIVELY ON HIS HEALTH AND THE PROGRESS OF HIS WORK IN DIEPPE Autograph letter signed, one page [one sheet folded, three pages blank], Renoir writes: My dear friend, I’m looking for a day to have you come without causing rumors throughout the country. If I can arrive there on my return, we will go to Bretagne. You know that I can charge 20 times...

Bretagne will maybe become Fontainebleau. There is a torrid heat you would succumb in Paris. I embrace you, Auguste. Accompanied by a second letter, two pages [one sheet folded, two pages blank], likely located in Dieppe, in which Renoir agrees to send Aline funds for calico curtains, and prefers she wait to make the other renovations, but would not prevent her if she so pleases. He describes working as much as possible, making progress painting a child’s portrait despite the rainy weather, and that their friends, the Berards, are coming to visit him. He reports he is happy to have his flannels and that he is bathing and doing well.

NOTE: Renoir stayed at the Berard’s summer home in Wargemont over the years where he painted the Berard family and many others during his visits.

Estimate: $3,000-$5,000

89033 A LETTER FROM RENOIR TO ALINE CONCERNING HER HEALTH, THE FRAGILE CONDITION OF THEIR RECOVERING SON, PIERRE AND THEIR FAMILY DOCTOR, “LATTY” Autograph letter signed, two pages [one sheet, folded] Renoir writes that he went to the village of Le Portel and worries that because it is on a high cliff it could be too dangerous for the little one. He implores her to try to get some exercise. I fear that your weight will harm you. I confess that it’s not easy to lose weight, but I don’t want you to become sick before you age. [Aline had diabetes.] In the balance of the letter he discusses Pierrot’s non-healing wound and his confidence in Latty [Dr. Latty], and his upcoming rendezvous with his wife in Paris.

Estimate: $3,000-$5,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 27

89035

89034 A LETTER FROM RENOIR TO ALINE IMPARTING SOME CAUTIONARY ADVICE FOR HER SUMMER TRIP TO CHATOU, FRANCE Autograph letter signed, three pages [one sheet graph paper, folded] that reads: My dear friend, you will tell Madame Alphonsine that I am thinking of coming to Chatou towards the 8th of September or about, unless there is bad weather. I would like to finish my Cassatt at the Barons. I’m not stopping you to go spend several days at Chatou, on the contrary, you only need pay attention to not put yourself in any gossip in order to be in the good graces with everyone. For it is probably nothing has changed in the rapport on the Island of Chatou. I am so much more content... ask Cecile if the shutters are closed on Rue St. Georges so that the sun does not wash out my piano... You could begin taking classes that will keep you busy... Tell Cecile to not touch anything in the studio, there is a pile of misplaced things and I want to find them the way they are... All my love, Auguste.

Estimate: $3,000-$5,000

A LETTER FROM RENOIR TO ALINE WITH INSTRUCTIONS TO SETTLE HIS ACCOUNT WITH MADAME FOURNAISE, PROPRIETOR OF RESTAURANT FOURNAISE (SETTING FOR RENOIR’S LUNCHEON OF THE BOATING PARTY, 1881) Autograph letter signed, three pages [one sheet, folded] where Renoir instructs with wife to tell Madame Fournaise (proprietor of Restaurant Fournaise) that upon his return he will settle his account with them but that if she needs the money sooner he will send it. He asks Aline to try and arrange some free time and not tire yourself out too much. I will come back as soon as I can. I’m bored (this counts for nothing). Say all sorts of nice things to the Fournaise family. I think I won’t be longer than fifteen days... All the best, I embrace you, A. Renoir.

NOTE: The terrace of Restaurant Fournaise, located on the island of Chatou on the Seine River, provided the setting for Renoir’s 1881 Luncheon of the Boating Party.

Estimate: $3,000-$5,000

28 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89037 TWO LETTERS FROM RENOIR TO ALINE REGARDING HIS MOTHER’S DECLINING HEALTH

89036 A LETTER FROM RENOIR TO ALINE DESCRIBING HIS EXPERIENCE IN ALGIERS Autograph letter signed, two pages [one sheet, folded], likely located in Algiers that reads: My little one, I forgot to tell you that I was with my brother at the Café Helder at Mustapha, Algiers. It’s very beautiful and I think I will bring back nice things. I have a list of choices, for everything is beautiful. Don’t forget when writing me to put my first name. I am going to take a trip right away or later in three weeks. You won’t be surprised, if by chance you don’t receive a report, for my letters will stay in Algiers.

In the places where I go, I fear that I won’t be able to receive letters for there is not a railway or make the voyage in a stage-coach and that does not go quickly. In any case, I will write you if I stay or if I leave. I kiss you, don’t get too bored. I am very presumptuous, in fact. Auguste. PS I have a beautiful deer head above my bed.

Estimate: $3,000-$5,000

Autograph letter signed, one page [one sheet folded, three pages blank], reads: My dear friend, I’m going to stay here a few more days in order to bring something back if I can. I’m waiting for my mother to be doing better in order to tell you some hard things. I am and will be all my life in uncertainty. If only my mother was doing better and I could work, I’d tell you to come for a few days, in another hotel, but I want to know before if I stay more than 8 days. I hope not. I embrace you, Auguste. I urge you to take up your English again, we will welcome the next friend (?).

Accompanied by a second autograph letter signed, one page [one sheet folded, three pages blank], reads: My dear friend, My mother is worse. I will probably return soon. Do not write me. I embrace you, Auguste.

Estimate: $3,000-$5,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 29

89038 A LETTER FROM RENOIR TO ALINE DESCRIBING THE SEASHORE WHERE HE IS PAINTING Autograph letter, two pages [one sheet folded, two pages blank], Renoir describes the seashore where he is painting and its similarities to other Mediterranean shorelines he painted previously. He notes that the rocks and sea are ochre in the sun... the wind brought a bunch of pitiless little bugs which are sticking to the canvas. In the postscript he relays having twelve courses at each meal and opines that one should eat at noon, not at 1:00 because someone is always late. He describes the wife of a Russian as agreeably intelligent with a face like a chimpanzee.

Estimate: $3,000-$5,000

89039 TWO LETTERS FROM RENOIR TO ALINE ARRANGING THEIR RENDEZVOUS IN DIEPPE Autograph letter signed, two pages [one sheet folded, two pages blank], no date [Saturday], Renoir writes: My dear friend, I leave tomorrow for Le Havre and Tuesday morning for Dieppe. So Wednesday I will wait for you at the train station. Write me in care of general delivery at Dieppe. I can’t tell you where Varengeville is. I know that it is near Dieppe, but I don’t remember where. If it is near St. Aubin, it is the station before Dieppe.

As soon as I am in Dieppe, I will find out. The most convenient train is the 7:45 a.m. or the 12:45 p.m. train. I embrace you, Auguste. If you have something to tell me write me at Hôtel de L’amirauté. Accompanied by a second autograph letter signed, one page, no date [Monday], located Le Havre, reads: My dear friend, I will leave tomorrow at five minutes to seven and will be in Dieppe for lunch. Send me a telegram or overnight letter to Dieppe. Seine inferior. Love, Auguste. The morning train at 7:45 am is the most convenient or the train at 12 something.

Estimate: $3,000-$5,000 30 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89040 TWO LETTERS FROM RENOIR TO ALINE DISCUSSING TWO PORTRAITS AND HIS IMPRESSION OF THE “SOCIETY OF THE BEACH” WHERE HE IS STAYING Autograph letter signed, two pages [one page folded]. Renoir writes he is happy about his portraits but he doesn’t want to say too much about them because they aren’t finished and one stroke of the brush can make them ugly. Accompanied by a second autograph letter signed, two pages [one sheet folded, two pages blank]. Renoir writes: My dear friend, I’ve almost finished my two portraits. I have been working at them intensely. I didn’t receive any fanfare. The children, while not beautiful, put up with being bothered by me without crying too much. I hope that if it goes well, I will be finished quickly.

There are pretty things in this country. The annoyance is the little “society of the beach” - that is big like your hand. Everyone looks down their nose at it in spite of it, I almost feel like going by with you sometime. There are models, children, blonde, curious enough who will pose for a few coins. But all that depends on the weather and lots of things. I am not receiving any letters, what are you doing - are you well or sick? As soon as I can get it, I will send you some money (live coals=money). All my love, Auguste, Maison Aubourg Rue de L’Eglise, Yport.

Estimate: $3,000-$5,000

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89041 TWO LETTERS FROM RENOIR TO ALINE CONCERNING HIS UPCOMING TRAVELS TO PARIS Autograph letter signed, one page, written on graph paper, no date [Tuesday]. Renoir writes: My Good Friend, I have nothing to tell you except that I have begun a portrait and I am anxious to come back to Paris to work in my studio. This change amuses me a lot and if I don’t freeze too much in this shed, I will do good work here. You’ll tell me when my glazing will be done and keep me current on the work. That Father Charles, if he worked Sunday, he must need _____ heat. I hope you don’t plan to stay in that oven (weather has been very hot). When I have advanced a little more in my work, I will write to you... A lot of good things to qui qui (their mongrel fox terrier). Are you still alright with Cecile. I kiss you, Auguste. Accompanied by a second autograph letter signed, one page, no date [Thursday night], Renoir tells his wife that he’s going to Paris in ten days and I’ll write you when I’m there. He asks her to write him if she is feeling better. I kiss you, Auguste

Estimate: $2,000-$3,000

89042 TWO LETTERS FROM RENOIR TO ALINE COMPLAINING ABOUT HOW THE RAIN IS INTERFERING WITH HIS WORK Autograph letter signed, two pages [one sheet folded, two pages blank], no date [Monday evening, probably c 1881-1882], likely located in Algiers.

Renoir writes that he cannot return to France until he finishes two studies for his landscapes which he cannot do until it stops raining (because it’s always raining) and the sun comes to dry them. He reports working on two important landscape pictures. Accompanied by a second autograph letter signed, one page [one sheet folded, three pages blank], March 15. Renoir writes: My little sweetheart, I’ll do everything possible in order to leave on Sunday. It’s raining and I hope tomorrow I will find work. I ordered my trunks to be ready in order to not have to pack in case I’m late. No matter what, I will not spend Tuesday here, too bad for my studies. I’m bored as a carp looking at the sky. I kiss you, Auguste. PS. Don’t write me any more, your letters will be too late.

Estimate: $2,000-$3,000

89043 TWO LETTERS FROM RENOIR TO ALINE ADVISING HER THAT A LAST MINUTE PROJECT WILL DELAY HIS RETURN HOME Autograph letter signed, one page [one sheet folded, three pages blank], Renoir writes: My dear little friend, at the moment when I was packing my trunk, someone came to me to do a portrait of a child. I could not refuse. Even though I doubt success- it’s very difficult. What’s more, I’m a bit nervous not to be able to leave when I want. I’m going to try to finish this portrait as early as possible. I don’t count on coming before Friday or Saturday. I will be writing you as soon as I’m sure. In any case, it won’t be till the end of the week. Love, Auguste. Accompanied by a second autograph letter signed, one page [one sheet folded, three pages blank]. Renoir writes: My dear friend, I am so happy with your letter of this morning that tells me that near here _______. I’m going to go there. If by chance I find an inexpensive inn, I will ask Latty (Dr. Latty) if we can bring Pierre with us [Pierre needed fresh air (from the sea) because of weak lungs]. For this is a nice place and this will be a simple project. Because of the cold, the portrait I am painting will be late. But I will take it up again tomorrow. In the meantime, I am doing flowers. Love to you all. Auguste.

Estimate: $2,000-$3,000

32 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89045 A LETTER FROM RENOIR TO ALINE CONVEYING HIS SOLITUDE [IN ALGIERS] AND FRUSTRATION WITH HIS BROTHER, FOR ABANDONING HIM

89044 TWO LETTERS FROM RENOIR TO ALINE WRITING FROM THE HOUSE OF MADAME LAFON AT BALANS-PRÈS-BRANTÔME Autograph letter signed, one page [one sheet folded, three pages blank], located Balans-Près-Brantôme (Province of Dordogne). Renoir writes I’m not expecting a lot of letters because it is difficult to get them to the post office. It’s necessary to wait by the side of the road. It’s pouring generously. I embrace you and see you soon. Auguste. I’m writing this from the house of Madame Lafon, located at Balans-Près-Brantôme.

Accompanied by a second autograph letter signed, one page [one sheet folded, three sheets blank], written on graph paper, Renoir writes Saturday evening, My old lady, It’s probable that I will come back Tuesday evening, but it could be that I will be obligated to stay a day longer, if the good weather comes back to do my landscape. It’s not likely that the weather will be nice. Everyone is going tomorrow to Tréport. I hope not to be a part of it. To spend eight hours in the car round trip is tough. However, what would I do without a model? There are two portraits that I could doIt’s very boring, therefore, on Tuesday, I will write you, Monday for sure.

Love, Auguste

Estimate: $2,000-$3,000

Autograph letter signed, three pages [one sheet folded, one page blank], no date [Saturday], located Algiers, written on lined paper. Renoir writes about his solitude in Algiers. He tells Aline that he cannot return to France without many paintings and that tomorrow he will begin a large painting of Arabians in landscape. He complains about the bad weather and his boredom and reveals his anger with his brother who arrived for a visit and brusquely departed leaving him alone. Renoir tells Aline You really shouldn’t write me with such cruelty when I’m so far from Montmartre because I’m one of the worst travelers... He goes on to tell her if she goes to America, he wouldn’t find that funny, but that if she still decides to go, he wouldn’t stop her.

Estimate: $6,000-$8,000

89046 A LETTER FROM RENOIR TO ALINE ACKNOWLEDGING THE PROFESSIONAL HAZARDS OF BEING AN ARTIST Autograph letter signed, 2 pages [one sheet folded, two pages blank], Renoir tells her you believe I am a complete idiot, which flatters me. You must known that I have a lot of trouble earning money for my paintings without behaving foolishly and it is not flattering to distinguish who is a maniac and sometimes is unbearable, but all that is most and very discreet. I didn’t talk to you about it because I had something else on my mind and I wasn’t thinking about... I didn’t think it would interest you by telling you he has a friend that he’s going to see three months every three years which deprives him of his annual vacation of one month. You see I am doing what I can to escape your anger. I hope that you had the idea to delay your trip for this summer while I am in Wargemont and that you will not “grow moldy there”... He describes the weather and reports that he goes to bed every night at 8 o’clock, I get up at 6 a.m. in order to bring you a totally new man. Kiss you, hug you... Auguste

Estimate: $6,000-$8,000

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89047 A LETTER FROM RENOIR TO ALINE REGARDING THEIR FAMILY DOCTOR, “LATTY”, SIGNED WITH A CHARMING SKETCH OF A TRAIN Autograph letter signed, three pages [one sheet folded], written on blue graph paper, in which Renoir expresses reserves about Dr. Latty, but encourages Aline to continue to follow his guidance. Renoir speaks promisingly of a painting he’s working on, and the prospect of earning some good money before long. He signs, I embrace you, and draws her a small sketch of a train.

Estimate: $8,000-$10,000

34 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89048 A LETTER FROM RENOIR TO ALINE RELAYING HIS TRAVELS TO NICE, MARSEILLE, HYÈRES AND MONTE CARLO IN THE SOUTH OF FRANCE Autograph letter signed, three pages [one sheet folded, one blank page], written on graph paper, located in the South of France. Renoir writes that he is in the South of France and that Monte Carlo is very tiring and sometimes dangerous but that he is careful. His friend, Barbier [?], invited him to Tunis but he declined and will leave Monte Carlo to see the hills and come back. He says he will try to see Cézanne and writes about the many towns along the Riviera with beautiful landscapes (Nice, Marseille, Hyères, Monte Carlo) that he has painted.

Estimate: $6,000-$8,000

89049 ALINE RENOIR’S POLYCHROME SILK KIMONO Black with a print bodice and sleeves, this kimono was a gift to Renoir by Japanese artist Umehara [Ryuzaburo Umehara, 1888-1903]. Umehara was inspired by Renoir’s works in the Musée du Luxembourg to such an extent that he visited Renoir in Cagnes-sur-Mer and was accepted as a student for two months. On Renoir’s recommendation, he returned to Paris and studied at the Academie Ranson. He and Yasui are credited with bringing the new Western painting styles (Paul Cézanne, Pierre Auguste Renoir and Camille Pissarro) to Japan. Accompanied by a postcard of a group of Japanese artists visiting Les Collettes.

Estimate: $2,000-$3,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 35

89050 ALINE RENOIR’S FRENCH MISSALS Late 19th/Early 20th century. Paroissien romain [Dalpayrat et Depelley, Ed., Limoges], medium thirty-two-month, brown leather with gilt edges and Missel de la terre sainte [Pellon & Marchet Fres., Ed. A Dijon], medium sixteen-month tooled leather and stamped covers with gilt edges NOTE: Aline Renoir was religious and supported the church.

Estimate: $500-$700

89051 ALINE RENOIR’S JEWELRY BOX Napoleon III burlwood and fruitwood box with mother-of-pearl and brass inlaid lozenge to hinged lid, with brass mounts to banded rim, opening to a tufted aqua silk interior.

Estimate: $1,500-$2,000

36 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89053 TWENTY-FOUR HANDWRITTEN LETTERS FROM FRIENDS AND FAMILY TO ALINE CHARIGOT RENOIR Twenty-four autograph letters signed from (1) Aline’s father, Victor Charigot, four pages [one sheet folded], dated 2 August 1880, located Winnipeg, Canada Manitoba, in which he invites her to come to Canada and assures her that it isn’t a land of savages-that inhabitants dress as well as they do in Paris; (2) Aline’s niece, three pages written on graph paper, dated 7 October 1913, located Clichy, in which her niece asks for money; (3) Mrs. Albert André; (4) Madeleine Lerolle [wife of artist Henry Lerolle], three pages [one sheet folded], dated April 28, located Paris, writes about attending Durand- Ruel’s Renoir exhibit; (5) five Unidentified persons, various dates [1907-1915]; 6) Aimée Amic [proprietor, wine merchant], dated November 21, 1918, inquires why she had not received an order from Mme. Renoir and hoped nothing was amiss [Aline Renoir had passed away in 1915]; (7) Asselin, no date, located 272, Boulevard Raspail, two pages [one sheet folded]; (8) Parisot [2], dated January 1 and 21, 1914 three pages [one sheet folded, one page blank, and one page]; (9) Georges Rivière [2], one dated 19 November 1901, other undated, one three pages [one sheet folded, one page blank], one four pages [one sheet folded]; (10) Jenny Durand-Ruel [2], dated 13 December 1913 and 5 January, 1914, located Paris, on black bordered notecards; (11) J. Lestringuez [2], one dated 31 December, other Tuesday evening, one four pages [one sheet folded]; other six pages [one sheet folded, other single sheet]; dated Tuesday evening, (12) Paul Cézanne, Jr., dated 28 November 1912, located Paris, three pages [one sheet folded, one page blank]; (13) Mme. [Paul] Cézanne, dated 24 June, located Paris, three pages [one sheet folded, one page blank]; (14) Ginette Gangnat, dated 14 January 1914, located Hôtel Hendaye B.P., four pages [one sheet folded]; (15) Unidentified persons [2] requesting loans and two autograph document receipts.

Estimate: $3,000-$5,000

89052 ALINE RENOIR’S POLYCHROME SILK EMBROIDERED SHAWL Ecru silk with decorated with flowerheads and sprays, within a trellised border, with long ecru crocheted fringe, accompanied by a photograph of Renoir’s daughter-in-law, Mme. Claude (Coco) Renoir pregnant with Paul Renoir, wearing Aline’s shawl at the horse races at Cagnes-Sur-Mer.

Estimate: $4,000-$6,000

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89054 ALINE RENOIR ESTATE DOCUMENTS AND BANK BOOK Two autograph documents signed. (1) La Succession de Madame Renoir, five pages on lined paper, located Cagnes, a ledger of expenses from November 15, 1915 - March 29, 1916 (2) Bank book, Caisse Nationale D’Epargne Livret, in the name of Charigot, A., dated 4 April 1892.

NOTE: Aline died at the age of 56 years old, at which time Renoir was 74 years old and they had been married for 36 years.

Estimate: $1,000-$1,500

89055 ALINE RENOIR DEATH RELATED DOCUMENTS Four documents signed. (1) Laboratoire d’Analysses Medicales for Madame Renoir, dated 23 June 1915; (2) Essoyes funeral receipt, dated 22 September 1915; (3) Act De Concession Perpetuelle, permitting Aline to be buried in Essoyes, two-page certificate, dated 22 September 1915; (4) Funeral expense receipt dated 28 June 1915.

Estimate: $2,000-$3,000

38 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

Renoir: THE Father

89056 A LETTER FROM RENOIR AND HIS SON, JEAN TO RENOIR’S ELDEST SON, PIERRE Autograph letter signed, one page, written on graph paper in a very shaky hand that reads: My dear Pierre, I really regret leaving just at the moment when you are coming back to Paris but I have my tickets and I can’t put it off. I am very happy to learn that Herti asked for you. That’s going to keep you busy and cheer you up and I don’t need you there as I won’t stay there. I’m walking a little. I send my love and hope your health is good. On verso, autograph letter signed, one page that reads: Dear Pierre, Vollard invited me to dinner this evening before I knew that you could come. Come dine with us if you want. Love, Jean

Estimate: $2,000-$3,000

89057 A LETTER FROM RENOIR TO HIS SON, JEAN Autograph letter signed, two pages [one sheet, folded] on lined paper, dated 10 March 1918, located in Cagnes that reads: My dear Jeannot, Time passes here without much happening; it is a little monotonous. But in order to vary things I got an attack of rheumatism and it’s always in my foot that shows itself. After the right foot, it’s the left which doesn’t work well. Despite all these little troubles, I’m not doing badly. I’m looking now for all the ways I could be useful to you without finding anything. I don’t even know if I’ll be able to leave Cagnes this summer [because] there are so many things preventing me. It’s been a few days since I’ve had any news from you. I do know that often several letters with different dates arrive at the same time in the evening. We all send out love. Papa Renoir.

Estimate: $2,000-$3,000 40 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89058 A LETTER FROM RENOIR TO HIS SON, JEAN Autograph letter signed, two pages [one sheet folded], dated 15 September 1914 that reads: My dear Jean, It isn’t worth it to burden you with the two canvasses I was talking about. If you receive this letter in time to go by Durand-Ruel who has photographs of the nursing child, ask him for one. If he doesn’t have one tell him to send one to Cagnes when he does. As for the La Boulangère [housekeeper] pay her ... either 50 francs a month or 2 francs a day if you feed her during your stay and 3 francs if you don’t feed her. We’re waiting for you next Monday with pleasure. Yours, Renoir. Give the address to the concierge. R. Don’t worry about the photograph when Guino comes he’ll bring it. R. NOTE: In 1913, French sculptor, painter and lithographer, Richard Guino (18901973) was hired by Renoir’s dealer, Ambroise Vollard to model and mold sculptures under the direction Renoir and based on drawings and studies supplied by the master, whose hands, at that point, were stricken with debilitating arthritis. The pair worked together in Essoyes and Cagnessur-Mar (Renoir’s country residence and Aline’s home town) until the collaboration ended in 1918.

Estimate: $2,000-$3,000

89059 A POSTCARD FROM RENOIR TO HIS SON, JEAN, TOGETHER WITH AN UNADDRESSED POSTCARD SIGNED BY RENOIR Autograph postcard signed, dated March 12, 1913, located Nice, the front depicting photograph image of DOZY- Ruines de l’Eglise du Pre, verso: I embrace you (hug you), AR. Together with an autograph postcard signed, depicting a landscape with lake photograph, signed on verso Renoir.

Estimate: $2,000-$3,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 41

89060

89061

A LETTER FROM RENOIR TO HIS SON, JEAN

A LETTER FROM RENOIR TO HIS SON, JEAN

Autograph letter signed, one page written on lined paper, dated 1 September 1917, located in Essoyes that reads: My dear Jean, Georges Durand-Ruel [Jean Renoir’s godfather] who is here leaves tomorrow for Paris. I have given him the task to see your letter to Vollard. Write him. He will [be more likely to succeed] than anyone else. I still think of leaving next week. I’m looking forward to the day when I will know when I will be able to ... I don’t believe I’m having ... trouble with Vollard. A. Renoir

Autograph letter signed, one page, dated 2 November 1917, located in Cagnes, addressed and postmarked verso that reads, in a very shaky hand: Dear Jeannot, This morning I received your last letter telling of traveling on horseback and in an automobile. I’m writing to tell you that nothing has changed, that I’m well, and the weather is still nice. All my love, Renoir.

Estimate: $2,000-$3,000

Estimate: $2,000-$3,000

89062 THREE LETTERS FROM PAUL GACHET, JR. TO JEAN RENOIR Two autograph letters signed (“Paul Gache”) [reclusive Van Gogh scholar and son of Dr. Paul Ferdinand Gachet, 1873-1962] to Claude Renoir dated 15 January 1957 and 2 February 1957, requesting permission to publish letters his father received from Renoir (and from other Impressionist painters, Pissaro, Guillaumin, Cézanne, Monet, Sisley, Van Gogh, Vignon) that he believed deserved to be published, Together with a note from Jean to Claude.

Estimate: $2,000-$3,000

42 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89064 JEAN RENOIR’S CERAMIC COVERED SUGAR BOWL AND COVER Ovoid bowl with domed lid (3-1/2 x 4-1/4 inches) centered with a yellow flower head, blue dots and cross-hatched pattern.

NOTE: Jean Renoir made this sugar bowl and cover with his father while recuperating from war injuries at Les Collettes.

Estimate: $1,500-$2,000

89063 JEAN RENOIR’S PAINTED CERAMIC VASE Hand-thrown baluster-form Vase (4-1/4 inches) with a blue, white and yellow glaze, with vertical wavy stripes and a horizontal band around the neck.

NOTE: Jean Renoir made this vase with his father while recuperating from war injuries at Les Collettes. Renoir built a kiln on the property after his wife’s death.

Estimate: $1,500-$2,000

89065 CORRESPONDENCE BETWEEN JEAN RENOIR, HIS BROTHER, CLAUDE AND HIS SISTER-IN-LAW, MARIA-PAULETTE An assortment of letters on various personal and professional subjects from 1950-1969 (the year of Claude’s death). In these letters, Jean discusses the film industry, writing and family matters. Included is a 1946 telegram from Jean Renoir to Claude Renoir about actor Hurd Hatfield, photographs relating to the film, The River (1951), two printed flyers from the Société de Production et de Distribution des Films de Jean Renoir, a newspaper article about Jean Renoir’s 1939 film, La Règle du Jeu (The Rules of the Game) and three autograph post cards signed, c.

1908, written to his father, Renoir while vacationing with his mother at their country home in Essoyes, together with a letter from family friend, Georges Rivière.

Estimate: $1,000-$1,500

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89066 CLAUDE “COCO” RENOIR AND MARIA-PAULETTE “POPO” DUPRÉ RENOIR MARRIAGE MEMORABILIA Fourteen black & white photographs of the couple, including pictures from their wedding day, a handwritten letter from Albert André [Renoir’s student and Claude’s legal guardian after Renoir’s death] giving permission for Claude [still a minor] to marry Paulette, as well as a letter from André to Claude, written prior to the couple’s union, expressing his reservations about Claude being married so young and while still enlisted, advising the young “Coco” to wait, and Paul Renoir’s birth certificate, dated 28 September 1934.

Estimate: $1,200-$1,600

89067 CLAUDE “COCO” RENOIR’S ART RELATED MATERIAL Articles include (1) Brochure for Cannes 1968 Exposition; (2) Nice exposition papers [7 letters, plus forms]; (3) Opinions on origin of paintings; (4) Copies of legal documents; (5) “Grande Laveuse folder” purchase of statue by city of Fresno; (6) Claude Renoir’s Bernheim-Jeune exhibition entrance card; (7) Claude’s voter registration card, dated 15 February 1959; (8) Brochure for 1949 Renoir exhibit; (9) Two letters about sculptures [one written by Claude Renoir, other written to him]; (10) Autograph letter signed to Claude Renoir from Edward C. Wasner; (11) Critique of Pierre Auguste Renoir’s work; (12) Receipt; (13) Two gallery requests for attestations of authenticity (1956, 1960)

Estimate: $1,200-$1,600

89068 CLAUDE “COCO” RENOIR’S CERAMICS CAREER ARTICLES Articles include: (1) Two brochure for Exposition Renoir Peintures Céramiques; (2) Two brochures for Les Emaux de Renoir, Claude Renoir Sr’s ceramic business; (3) “Le Paradis Terrestre” card signed by Claude Renoir and Jean Effel [friend of Claude Sr. and caricaturist] collaborative limited work; together with other various documents, receipts, and correspondence relating to the exhibit; (4) Printed advertising paper, Atelier and Editions Artistiques Renoir Ceramique with Claude’s notes on verso; (5) Two black and white printed flyers Ceramiques Claude et Paul Renoir Atelier Exposition Menton les Castagnins; (6) Newspaper [unknown] article, circa 1933-34 about Claude’s ceramics; (7) Five black and white photographs of Claude’s sculptural works.

Estimate: $1,200-$1,600 44 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89069 CLAUDE “COCO” RENOIR’S CERAMIC PLAQUE

Rectangular plaque (8-1/2 x 5-1/2 inches) with profile of kneeling woman in landscape, signed lower right “CR”.

NOTE: Claude made this plaque at Les Collettes following the death of his mother. Renoir had a kiln built on the property in 1915 to teach Coco ceramics as a distraction to his loss.

Estimate: $1,200-$1,600

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89070 CORRESPONDENCE TO AND FROM CLAUDE “COCO” RENOIR Correspondence written by Claude Renoir includes (1) three autograph postcards signed, two to his brother, Pierre, and one to his brother, Jean; and (2) one autograph letter signed, no date, no location, to his wife “Popo” (nickname). Correspondence written to Claude Renoir includes letters from Albert André (1 autograph letter signed and one telegram); Georges Rivière (autograph letter signed, dated 1925 congratulating him on the birth of his son Paul; (4) René Joubert [French designer] (autograph postcard signed); (5) Paul Cézanne, Jr. (autograph letter signed, dated 1924); Louis [car mechanic] (2 autograph letters signed, dated 1914, 1926); Labadie and Fisor [friends]; Claude Renoir, Jr. [son of Pierre Renoir and famous cinematographer] (2, autograph letters signed, 1947); Albert André [2 autograph letters signed, no date]; Guino, Michel Fontenoy [autograph letter signed, dated 1962]; Louis Morel [sculptor who worked from Renoir from 1917 until his death] (autograph letter signed, dated 1947, located Paris, Together With a black and white photograph of Morel in his Atelier à rue Danzig; Andrew Poggenpohl [National Geographic Society] (dated 1958 requesting a photograph of Renoir for a story); Together With three autograph letters signed to Claude’s wife, Paulette, from Renée Cézanne [daughter of Georges Rivière], dated 1926.

Estimate: $3,000-$5,000

89071 CLAUDE “COCO” RENOIR’S MILITARY SERVICE Articles include: (1) Typed letter about Claude receiving a medal from the British Embassy, dated 3 July 1948; (2) Activities Report photostat of Claude Renoir’s group [“French Forces of the Interior”], (3) photograph reproduction of a cavalry including Claude Renoir; (4) Registration as an alien in Britain, dated 1945; (5) National registration temporary ID card, dated 1946; (6) Clothing ration book, dated 1945 and two coupons; (7) Medical card [New Haven, Scotland], dated 1946; (8) Shoe receipt; (9) Movement order; (10) Food ration book; (11) Two photographs; (12) Postcard from Cavalier Claude Renoir to Mademoiselle Dupré, dated 17 December 20, located Tunisia; (13) Seven canceled stamps from Tunisia (where Claude was stationed), four with partial envelopes addressed to Paulette Dupré.

Estimate: $1,200-$1,600

89072 DOCUMENTS RELATING TO THE LIFE OF CLAUDE “COCO” RENOIR Assorted memorabilia including: (1) Christmas card and envelope from Jacques Renoir (son of Claude, Jr.) to Claude Sr.’s wife, Paulette “Popo” Renoir; (2) Three autograph letters to Paulette; (3) Document concerning a wet nurse for Paulette, dated 22 October 1902; (4) Official copy of Claude Renoir’s baptismal certificate; (5) Claude Renoir’s driver’s license, dated 11 July 1917, located Nice; (6) Medical card identifying Claude as a diabetic; (7) Autograph letter signed to Jean, dated 11 December 1919; (8) Claude’s Yacht Club de France Certificate and Rules Book, dated 1968-69, and 1930 Yacht Club de France Bellis V booklet [Paul Renoir won two Mediterranean Giralia races (Italy vs. France) on Bellis V against Mr. Ted Turner and Herbert von Karagan Giralia]; (9) Claude’s hunting licenses issued by the République Française Ministère de L’Agriculture, dated July 1926-1927 and July 19301931; (10) Signed authorization for Claude Renoir to carry a shotgun for hunting, dated 14 March 1923; (11) Deed for small piece of land sold by Claude Renoir to Marcel Netter in 1926, stamped, sealed and signed by both parties; (12) Typed and signed letter from Claude’s telephone company informing him of their increased rates as of January 1927.

Estimate: $1,200-$1,600

46 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89073 CLAUDE “COCO” RENOIR CONDOLENCE LETTERS Collection of approximately 102 condolence letters, cards and notes to Paulette and Paul Renoir concerning the 1969 death of Paul Renoir’s father, Claude Renoir. Accompanied by A Mentor-UNESCO Art Book titled “Renoir” with a condolence letter to Paulette Renoir from author Michel Drucker.

Estimate: $1,500-$2,000

89074 CLAUDE “COCO” RENOIR’S WIFE, MARIA-PAULETTE’S FLORAL PRINT DRESS Polychrome floral print chiffon dress belonging to Maria- Paulette (Dupré) Renoir, circa 1922. Size 2-4. Short sleeves, open shoulders, V-neck with green plastic pendant neckline decoration, front pleat, back with vented panel. Collar to hem: 53”.

Estimate: $3,000-$4,000

89075 CORRESPONDENCE BETWEEN COCO’S WIFE, MARIA-PAULETTE RENOIR AND ACTRESS VALENTINE TESSIER Four autograph letters signed from stage and film actress Valentine Tessier, one dated 1972 (80 years old), together with three black and white stage photographs, one inscribed and one post card signed.

Estimate: $700-$900

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89076 DOCUMENTS RELATING TO CLAUDE RENOIR’S (GRANDSON OF PIERRE-AUGUSTINE RENOIR) FILM CAREER Articles relating to son of Pierre Renoir and grandson of Piere-Auguste Renoir, Claude Renoir’s film career, including letters, photographs, script notes, copies of never produced film concepts, Claude’s 1939 union card and other miscellaneous documents.

Estimate: $3,000-$5,000

89077 PIERRE RENOIR MEMORABILIA Twenty-three assorted documents, letters and photographs relating to the life of Pierre Renoir including (1) Unsent letter from Pierre to brother Claude, dated 13 December 1950, together with a black and white photograph of Pierre holding infant Claude at Cagnes in 1902; (2) Funeral expense receipt; (3) Eight condolence letters; (4) Personal property inventory at the time of his death, 11 March 1952, which was left to his son, Claude Jr. and includes a list of sixteen Renoir paintings that he inherited after his father’s death; (5) Two black and white photographs of Pierre, 9” x 7”, (one signed and inscribed to Paulette Renoir [his brother Claude Sr’s wife]); (6) One black and white photograph, 9” x 6 1/2”, of Pierre’s third wife, Gisele Payer [actress, stage name Elisa Ruis] signed and inscribed to Paulette Renoir; (7) Official copy of Pierre Renoir’s death certificate [Paris, 9th Arrondissement]; (8) Small playbill for “Le Soldat et la Sorciere” starring Pierre Renoir at Theatre Sarah Bernhardt; (9) Autograph letter signed, dated 29 May 1906 to the Renoirs about Pierre’s continuing studies at the Conservatoire National (age 21); (10) Typed letter signed to Pierre Renoir for his appearance before a group of blind veterans, Aveugles de guerre; (11) Autograph letter signed, two pages [one sheet folded, two pages blank], dated 1901, telling his mother to let soand-so hold onto his bicycle; (12) Photograph of Pierre in costume for his role as a woman in a Paris production; (13) 20 November 1927 booklet Renoir, signed by Mme. Pierre Renoir; (13) Will of Eugène Renoir [Renoir’s younger brother, 1863-1941], bequeathing his estate to his nephew, Pierre under the terms that he share the property with his brothers, Jean and Claude.

Estimate: $2,000-$3,000 48 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89078 TWO NOTES FROM MARC CHAGALL TO PAUL RENOIR (SON OF COCO AND GRANDSON OF PIERRE-AUGUSTE RENOIR) Two autograph notes signed (“Marc Chagall”) [painter, 1887-1985]. First note dated August 14, 1970, reads: Dear Mr. Renoir, I thank you for your loving invitation that I found when entering my house today after taken a couple days of vacation. I regret not being able to attend the opening of the exhibition, Kind regards, Marc Chagall. Accompanied by a second note dated August 14, 1971, reads: Dear Mr. Renoir, I received your book and I thank you. I am touched that you thought of me. Sincerely yours, Marc Chagall

Estimate: $6,000-$8,000

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89079 RENOIR CATALOG, “SI RENOIR M’ETAIT CONTÉ...” BY GRANDSON PAUL RENOIR Catalog Paul Renoir edited for the Galerie Philippe Fryns which includes (1) several loose vintage silver gelatin prints, [some photographs are from Renoir family photo albums, others from glass plate negatives] and (2) original glass plate negative photograph of Renoir at the age of 30 years old, in the oval; (3) family photograph c. 1901; (4) Renoir seated, c. 1903; (5) Henri Matisse, Albert André, c. 1919; and others.

Estimate: $2,000-$3,000

50 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

Renoir: THE Artist

89080 RENOIR’S PERSONAL NOTEBOOK OF CRITICS’ REVIEWS Renoir’s gilt embossed, leather japonesque “Exposition A. Renoir, Mai 1892” personal notebook of critics’ reviews consisting of thirty-three pages of newspaper clippings written about his works and exhibitions, some of which are supplemented by Renoir’s handwritten reactions to the critiques in the margins; accompanied by a Galeries Durand-Ruel Exposition A. Renoir, May 1892 catalogue containing three etchings and inscribed by Arsène Alexandre to Renoir on the front cover.

Estimate: $3,000-$5,000

52 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89081 A LETTER FROM FRENCH PAINTER, CLAUDE MONET (1840-1926) TO RENOIR Autograph letter signed, two pages [one sheet, front and back], written on black bordered Giverny par Vernon Eure stationary, dated 16 February 1914, located in Giverny that reads, My dear Renoir, Thank you for your note. I see your long-standing affection in it. My poor Jean - it’s a merciful release. All the same it is a terrible blow to me and my poor wife. My affection to your wife and those around you. Your old friend, Claude Monet.; accompanied by a second, blank sheet of Giverny par Vernon Eure stationary.

Estimate: $7,000-$9,000

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89082 A LETTER FROM FRENCH PAINTER, ÉDOUARD MANET (1832-1883) TO RENOIR Autograph letter signed, four pages [one sheet folded], written on brown paper, dated 31 December, located in Paris that begins, My dear Renoir, Your letter brought me great happiness- you are so lucky to be in the sun, here there is a dreadful fog and you will without a doubt bring us back [a variety of] personal and interesting studies. In fact, a new minister just gave ... to Cabanel and other school teachers, he closes the ateliers and ... the flow of idle young that ... the taxes of the state ... He came during the day of the year to [decorate] ... myself and others ... and I hope that he will [return with] enough time ... to give you the compliment ... I think of the brave ... that I have not spoken of, however, but if one succeeds he will learn and not have ... of the success nor of the unpleasant aftertaste of defeat. I hear of how you are from Dendon Jaupaur (?) very loving and he had a letter for you. Best regards my dear Renoir, and bring back many paintings, Ed Manet.

Estimate: $7,000-$9,000

54 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89083 A POSTCARD WITH SMALL FLOWER STILL LIFE DRAWING AND A LETTER FROM FRENCH PAINTER, GEORGES D’ESPAGNAT TO RENOIR Autograph postcard signed with a centered ink drawing of a floral still life, addressed to Mr. Renoir, Cagnes Alpes-Maritimes. Reads: Dear Mr. Renoir, Give me some of your news when you are in literary vein. I hope all is well. Cordially, Georges d’Espagnat; accompanied by an autograph letter signed, four pages [one sheet, folded] dated Friday 14, concerning a delivery of oranges to d’Espagnat from Renoir, for which d’Espagnat expresses his gratitude and hopes they were picked from Renoir’s garden.

Georges also inquires about Renoir’s health and the sale of Germain’s collection, containing one of Renoir’s portraits.

Estimate: $3,000-$4,000

89084 A LETTER FROM THE SECRETARY OF THE BEAUX-ARTS TO RENOIR Autograph letter signed, three pages [one sheet, folded] on letterhead, dated December 1914, in which the Secretary asks Renoir to join a list of famous artists to help spread awareness of what is happening in the war. He relays having received reports about the bombardment of the Reims cathedral and vandalism against art masterpieces, and that an official report has been drawn and is in print to save our civilization and protect our treasures. The list of those willing to help includes: Auguste Rodin (1840-1917), Edgar Degas (1834-1917), Claude Monet (1840-1926), Claude Debussy (1862-1918), Georges “The Tiger” Clemenceau (18411929), and Mme. Anna de Noailles (1876-1933). He writes, It is important that the world knows about those attacks, so that foreign people (in the arts) stand up and protest so we prevent recurrence of these disgraceful and disastrous acts. I have fond memories of the visit I had with dear ... when I saw you. I learned that your son Pierre has been wounded in battle; I hope with all my heart that he will recuperate soon. Dear and great master please accept my respectful sentiments of profound admiration. Sincerely, de Bouhelies (?). P.S. If you would like for me to send you the results of the report, that is by the way bulky, I will hastily do so.

Estimate: $2,000-$3,000

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89085 RENOIR’S AMERICAN MEDAL OF HONOR Dated 1830. Awarded to Pierre Auguste Renoir at the 1883 Foreign Exhibition. Labeled Bostonia 1830, with plaques of Europe, Asia, Africa and America separated by four crests, suspended on a red, white and blue grosgrain ribbon, in a hinged leather case labeled Henry Mitchell, Boston, Mass, USA. NOTE: Renoir was awarded this medal for exhibiting his paintings at the Boston 1883 Foreign Exhibition alongside fellow Impressionist painters Monet, Pissarro, Sisley and Manet.

Estimate: $6,000-$9,000

89086 RENOIR’S “LEGION D’HONNEUR CHEVALIER” MEDAL Dated 1870. Suspended on a grosgrain ribbon, in leather hinged case labeled Quizille Lemoine Fils Rue de Castiglione 10, Paris.

NOTE: Renoir was promoted the rank of Chevalier de la Légion d’honneur on 17 June 1900 and later Commandeur de la Légion d’honneur on 19 February 1919. The honor was followed by the Louvre finally accepting and exhibiting one of his paintings, Portrait of Mrs. Charpentier. Four months prior to his death and before he left Paris for the last time to return to Cagnes, Renoir expressed interest in seeing his painting in the Louvre.

Special arrangements were made to accommodate the old master’s request with a private tour “opened for him alone”. Renoir was carried through the gallery in his sedan chair accompanied by his long-time friend, Albert André, Paul Léon, Beaux-Arts director and his chauffeur, Baptistin. [J. Renoir, Renoir, Boston, 1958, p. 457.]

Estimate: $6,000-$9,000 56 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89088 RENOIR GALLERY EXHIBITION PHOTOGRAPHS Sixteen silver gelatin prints of Renoir’s Impressionists exhibition in New York. Four photographs imprinted Durand-Ruel & Fils, Editeurs, Paris-New York, 7 1/4” x 9 1/4” . Paintings depicted in photographs include those by Manet, Monet, Pissarro, Renoir, Sisley, André, and d’Espagnat, together with four black and white photographs of Panneau d’Exposition “Renoir Portraitiste” 1938, with Galerie Bernheim-Jeune stamp.

Estimate: $1,500-$2,000

89087 RENOIR’S “LEGION D’HONNEUR OFFICER” MEDAL Dated 1870. Suspended on a red grosgrain ribbon, in a hinged leather box labeled Louis Aucoc Fils, George Aucoc Succr, Fabricant Joaillier Bijoutier, 9 Rue de 4 Septembre, Paris.

NOTE: Renoir was awarded this honor in 1911.

Estimate: $6,000-$9,000

89089 RENOIR WIRE SERVICE REVIEWS Two notebooks of approximately one hundred ninety newspaper reviews of Renoir’s international art exhibitions from the 1890s through the early 1900s furnished by Le Lynx clipping service. Some include photographic reproductions of his works, others accompanied by the original reviews.

Estimate: $2,000-$3,000

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89090 PIERRE-AUGUSTE RENOIR (French, 1841-1919) Small Sketch of a Woman Charcoal on paper 1-1/2 x 1-1/4 inches (3.8 x 3.3 cm) (sheet)

Estimate: $2,000-$3,000

89091 PIERRE-AUGUSTE RENOIR (1841-1919) Sketch of a Woman Charcoal on paper 3-1/4 x 2-5/8 inches (8.3 x 6.7 cm) (sheet)

Estimate: $2,000-$3,000

58 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89092 PIERRE-AUGUSTE RENOIR (French, 1841-1919) Les Bécasses (The Woodcocks), 1919 Oil on canvas 5-3/4 x 7-7/8 inches (14.5 x 20.1 cm) Signed lower right (usual apocryphal signature in red): Renoir PROVENANCE: The artist’s collection, Les Collettes, Cagnes, France, 1919-1922; By descent from the artist to his son, Claude Renoir, Cagnes-sur-Mer, France, 1922-1969 (P.A. Renoir estate inv. no. 411 label verso); By descent from the above to his son, and grandson of the artist, Paul Renoir, Cagnes-sur-Mer, France, 1969 (stamps verso); Watine-Arnault Scp., Paris, France, Arte Moderne et Contemporain, May 30, 1990, lot 28; Artcurial Deauville, Deauville, France, Tableaux Anciens et Modernes, Mobilier et Objets d’Arte, May 27, 2012, lot 23A. NOTE: We would like to thank renowned Renoir specialist, Virginie Journiac for authenticating this work, which will be included in her forthcoming book, Auguste Renoir.

This small picture seems to be the last painting Renoir created, on December 2nd, 1919, just several hours before his death. In its agony, Renoir evoked this painting, as Félix Fénéon, witness to the last moments of the master’s life along with his two doctors, Dr. Prat and Dr. Duthil recounts: Dr Duthil had killed two woodcocks and had told the master his exploit. In his frenzy, these birds returned stubbornly and, associated to ideas of painting, were his last concern. “Give me my pallet ... These two woodcocks ... Turn left the woodcock ... Return me back my pallet ... I cannot paint this beak ... Hurry up, my colors ... Change the place of these woodcocks.” He died at two o’clock in the morning Wednesday, December 3rd, 1919.

Estimate: $80,000-$120,000

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89093 PIERRE-AUGUSTE RENOIR (French, 1841-1919) Hommage Aux Collettes, Early 20th Century Etching 6 x 4-1/2 inches (15.2 x 11.4 cm) (image) Ed. 194/500 Signed and inscribed in plate Signed, numbered, and inscribed in pencil in bottom margin

Estimate: $4,000-$6,000

89094 RENOIR DEALER BERNHEIM-JEUNE CORRESPONDENCE AND RENOIR ACCOUNT LEDGER Correspondence includes three autograph letters signed (1) dated 3 January 1914, located Paris; (2), dated 23 June 1915, located Paris; (3) 2 November 1915, located Paris; (4) one typed letter signed (carbon copy) dated 31 December 1915, located Paris; (5) one typed letter signed, dated 28 January 1948, located Paris, announcing the reopening of their gallery after the war, Together With (6) one autograph letter signed from Suzanne Bernheim, dated Tuesday, December 9, located Paris. This lot also contains (7) one Autograph document signed, Renoir’s Bernheim-Jeune account ledger, dated 31 December 1915, showing account transactions from October 1914 - December 1915.

NOTE: Bernheim Jeune enjoyed a long-standing dealer relationship with Renoir, later with Claude Sr. and Paul Renoir.

Estimate: $5,000-$7,000

60 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89095 RENOIR DEALER DURAND-RUEL CORRESPONDENCE AND RENOIR ACCOUNT LEDGERS Correspondence includes seven autograph letters signed, one typed letter signed (1903-1918), three Renoir account ledgers and one warehouse receipt.

Letters include discussions about various aspects of Durand-Ruel’s (and other dealers) pricing and sales of Renoirs’ and other artists’ pictures and actual payments to the artists-which reveal questionable business practices. (1) Autograph letter signed (“Durand-Ruel”), two pages [one sheet folded, two pages blank], dated March 1903, located Paris; (2) Autograph letter signed (“Durand- Ruel”), three pages [one sheet folded one page blank], written on Durand-Ruel letterhead, dated December 22 1908, located Paris; I don’t understand Monet but don’t reproach him. He was certainly fooled...

Don’t repeat anything to anyone... Pissaro, things turned out poorly for him. After selling several paintings for a high sum, they let the rest go for prices too cheap and Pissaro almost became unmarketable. They’re business people without any conscience. Monet will see this for himself very soon... (3) autograph letter signed (“Joseph Durand-Ruel”), four pages [one sheet folded], written on Durand- Ruel letterhead, dated 2 February, 1912, located New York; (4) autograph letter signed (“Durand-Ruel”), one page [one sheet folded, three pages blank] written on Durand-Ruel letterhead, dated 6 January 1915, located Paris, I did not have the pleasure of seeing you like my son, but I had you good news and the confirmation of your inalterable courage in tolerating your suffering. What I can wish you the most for this New Year is that all these suffering diminish and you might get back to you favorite work with great earnestness. Please give my best wishes to Madame Renoir and your sons and believe in my devoted affection. Durand-Ruel; (5) autograph letter signed (“Durand-Ruel”), three pages [one sheet folded, one page blank], dated 28 December 1913, located New York; (6) autograph letter signed (“Joseph Durand-Ruel”), three pages [one sheet folded, one page blank], written on Durand- Ruel letterhead, dated 27 May 1912, located Paris, I’ve found four small canvases of yours - unsigned sketches. They come from a transaction made with you a year or two ago. I’m going to send them to you.

If you could, please oblige me by signing them although they are of lesser importance...Here we are very busy. The Dollfus sale took place Saturday. We are going to push the prices on your canvases higher, in accordance with those of other colleagues. The Corot (paintings) are going to reach very high figures. From Munich we’ve sent your works to Berlin where they are being exhibited at this time. My brother is also doing an exhibition of your works in New York. You see that we are not staying still with our arms folded”...(7) Autograph letter signed (“Joseph Durand-Ruel”), two pages [one sheet folded, two pages blank], written on Durand-Ruel letterhead, dated 6 June 1914, located Paris, Yesterday morning I received your letter on the subject of your paintings and will follow your advice in their regard. One of my clients who owns a floral painting of yours (15 in height) asked me to ask you if sometime you could make him a matching one. He would especially like some red and darker red carnations in a white or blue porcelain vase. I warned him that his wish was unlikely to be realized, but he insists that I make it known to you. I do so without great hopes. Be assured, my dear Monsieur Renoir, with all my wishes for a prompt cure for you and good health all the others, of my devoted sentiments. Joseph Durand-Ruel; (8) Typed letter signed (“Joseph DurandRuel”), one page, written on Durand-Ruel letterhead, dated 19 April 1918, located Paris. Also included are documents relating to Renoir’s Durand-Ruel accounts, including three autograph documents signed (1) dated 28 December 1915, an accounting of transactions from July - December 1915; (2) dated 9 August 1916, an accounting of transactions from July - August 1916; (3) dated 25 April 1916, an accounting from December 1915 - July 1916.; (4) one typed document signed, Receipt for Renoir’s Works in Warehouse- Without guarantee, as of 14 December 1914, dated 1 September 1914, (5) Tableaux ledger, dated 1882-1885, no location, ledger of works sold between 1882-1885, hardbound, with nine pages of transaction entries, 6 3/4” x 4 1/2”.

NOTE: Monet introduced Paul Durand-Ruel to Renoir in 1872 and at that time, Durand-Ruel had galleries in London and Paris. Paul Durand-Ruel was the first dealer to enter Renoir’s life and give him a one-man show. A dealer for the Impressionists (founding members: Renoir, Sisley, Bazille and Monet), DurandRuel, also acted as a patron and exhibition and auction coordinator for the Impressionist painters. In the 1870’s a new dealer-critic system emerged to compete with the old academic Salon system and independent dealers and journal critics. “While the academic system was geared to evaluate individual canvases, award prizes, exhibit and purchase works for the state, the dealer-critic system was based on the notion that the career of an artist should be handled by a benevolent dealer, who would provide visibility publicity, purchases, loans, advances and social support.” Barbara Erlich White. Renoir His Life Art and Letters. New York: Harry N. Abrams, Inc. 1984, p. 51 and 45, and White and White, Canvases and Careers, p. 124, 150-51, 155-61. One of Paul Durand-Ruel’s son, Georges, was Jean Renoir’s godfather.

Estimate: $6,000-$9,000

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89096 A LETTER FROM RENOIR DEALER, JOSEPH HESSEL TO RENOIR Typed document (carbon copy) signed (illegible), one page on Jos Hessel letterheadm dated 2 August 1917, located in Paris that reads: Dear Mister Renoir, As agreed I have deposited to your account at the Société de Marseilles (bank) the sum of 6,000 francs for the two paintings that you wanted to give me.

Estimate: $1,000-$1,500

89097 LETTERS FROM RENOIR’S DEALER, AMBROISE VOLLARD TO RENOIR Letters from Vollard to Renoir include (1) Autograph letter signed, one page, dated 4 July 1917, located in Cagnes that reads: Dear Renoir, Durand-Ruel sent me your letter yesterday: I saw Mr. C this morning who told me he would do immediately what is necessary. With my..., Vollard.

P.S. My portrait has produced an enormous effect., with autograph letter from Claude to Jean verso, dated Friday 7 that reads: My dear Jean, We received this letter from Vollard that [he is handling what needs to be done]. We embrace you, Claude. Our departure is changed to Saturday 8.

(2) Autograph letter signed, two pages [one sheet, folded], dated 25 July 1919, located in Paris that reads: Dear Renoir, I am sending you with the reproduction of the enclosed drawing, an enlargement made from a small sketch of yours which I have; impossible to reproduce but so beautiful that I would be very happy if you could make a sketch of it that I could put in my book..., Vollard, accompanied by a reproduction of the image attached.

NOTE: Letters accompanied by a copy of Ambroise Vollard’s La Vie et l’Oeuvre de Pierre-Auguste, Paris, 1919, inscribed by Vollard “to Claude avec mes mille souvenirs Vollard”, and dedicated to Paul Renoir in gold leaf stamp.

Estimate: $5,000-$7,000 62 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89098 RENOIR DEALER AMBROISE VOLLARD CORRESPONDENCE AND DOCUMENTS TO OTHER FRENCH ARTISTS AND RENOIR FAMILY MEMBERS Documents include (1) Autograph document signed, two pages [one sheet] dated 1907, located 6 rue Laffitte, Inventory of Paintings and art objects of Paul Gaugin on deposit with Monsieur Vollard, lists paintings, ceramics, sculptures; (2) Autograph document signed, one page, dated 21 July 1903, receipt for a painting purchased by Gauguin [Paul Gaugin, 1848-1904, painter] from Vollard; (3) Autograph document signed (“Raoul Dufy” [1877-1953, painter]), two pages [one sheet], dated 7 January 1930, located Paris, ‘The Beautiful Child’ is reaching the end... the book will be comprised of 84 engravings; I hope that you will take into consideration that I have surpassed one quarter of the illustrations... May I ask you to send the last part of the fee which is due me of 20,000 francs at present?; (4) Autograph document signed (“Raoul Dufy”), three pages [one sheet folded, one page blank], dated 8 July 1930, located London, ...I engraved the copper plate ‘Le Belle Enfant’ and I will be at Forst Friday at 2:00 o’clock and within that week I will give him the last. I think that you will have the proofs of ‘la Forêt Normande’ so that we can begin the etchings and lithographs and submit to you the general plan of the bookwhich is this particular one...; (5) Autograph letter signed (“A. Dunoyer de Segonzac“), one page, dated 11 May, located Saint- Tropez, (6) Autograph letter signed (“Maillol“), one page, no date no location, Mr. Vollard, I received the sum of 900 francs from your account; 23 March 1908, Maillol. On your account, you always forget the old account that I _______ and I signed in front of M. de Galea; (7) Autograph letter signed (“Vlaminck“) [Maurice de Vlaminck, 1876- 1958, graphic artist, painter and writer], one page, dated 25 November 1911, no location, requesting payment for services rendered; (8) Autograph letter signed (“E Renoir“) [Edmond Renoir, Renoir’s younger brother who wrote the first article on Renoir, was managing editor and publisher of La Vie Moderne and active in promoting Renoir’s career], one page, dated 19 May 1930, located Vironvay, Dear Mr. Vollard, We have thought and decided to accept your proposition that appears to us more than reasonable. The paintings are at your disposition...; (9) Autograph letter signed (“Pierre Renoir“), one page, no date, no location, requesting money as he is running low on funds; (10) Autograph letter signed (“Trouvu”[?]) [writer?] dated 9 November 1936, located Paris, discussing the production of a book; (11) Document, dated 9 July 1947, located Nice, Ambroise Vollard exhibition invitation to Renoir et l’Art Moderne, Together With an Autograph note signed (“Georges d’Espagnat“), to Isnard(?), one page, dated Friday, located Paris, woodblock on verso.

Estimate: $5,000-$7,000

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89099 GROUP OF THREE DOSSIERS OF RENOIR’S LANDSCAPE PAINTINGS Comprising two notebooks classified Mer, Lacs, Rivières, and a third notebook labeled Paysages Avec Figures, divided into sub-categories Deux Personnes and Plusieurs Personnes, this collection is supplemented by 60 black and white glass plate negatives, which correspond to specific artworks archived within in this category.

NOTE: Approximate number of catalogue entries: 821.

Estimate: $6,000-$8,000

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89100 GROUP OF FIVE DOSSIERS OF RENOIR’S STILL LIFE PAINTINGS Comprising five unlabeled notebooks that archive Renoir’s still life paintings, this collection is supplemented by 17 black and white glass plate negatives which correspond to specific artworks within this category.

NOTE: Approximate number of catalogue entries: 201.

Estimate: $6,000-$8,000

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89101 PAIR OF DOSSIERS OF RENOIR’S NUDE PAINTINGS Comprising two notebooks of Renoir’s nude paintings labeled Nudes: A Droit, Baigneuses and Nudes: Bustes, Nus Debout, Nus Allonge, this collection is supplemented by 23 black and white glass plate negatives, which correspond to specific artworks archived within this category.

NOTE: Approximate number of catalogue entries: 211.

Estimate: $6,000-$8,000

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89102 GROUP OF EIGHT DOSSIERS OF RENOIR’S PORTRAIT PAINTINGS Comprising eight notebooks that archive Renoir’s portrait paintings - a significant genre in the artist’s career not only as the subject for many of Renoir’s most distinguished and revered works, but also for being Renoir’s original source of livelihood (comission) before becoming the master painter we know him as today.. The notebooks are organized by category: Couples - Enfants (femmes et enfants, couples), Fillettes, Garcons, Coco, De Face, Profil Droit, Profil Gauche, 3/4 Droit, 3/4 Gauche, Portrait -Noeuds dans les cheveux, Fleurs dans les cheveux, Accoudées, Liseuses, Femmes cousant, Décolletées, Avec Chapeau Chapeaux, Coiffes, Foulards, En pieds - Debout à l’intérieur, Assises à l’intérieur, Allongées à l’intérieur, Hommes - Autoportraits, Imberbes, Avec moustaches et barbes, En pieds, Deux personnes, Plusieurs personnes, Avec animaux. This collection is supplemented by 80 glass plate negatives, which correspond to specific artworks within this archive.

NOTE: Approximate number of catalogue entries: 821.

Estimate: $8,000-$10,000

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89103 GROUP OF FOUR DOSSIERS OF RENOIR’S SKETCHES & DRAWINGS Comprising one untitled notebook and three notebooks labeled [DRAWINGS], each sorted by category: Chapeaux, Hommes, Femmes, et Enfants, Paysages, and Compositions Etudes.

NOTE: Approximate number of catalogue entries of drawings: 250; and approximate number of catalogue untitled entries of sketches: 59.

Estimate: $6,000-$8,000

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89104 GROUP OF TWELVE DOSSIERS OF RENOIR WORKS IN MUSEUMS, GALLERIES, AND PRIVATE COLLECTIONS Comprising twelve notebooks that archive the ownership of Renoir’s works in private collections in France, Great Britain, Allemagne, Divers Pays, Suisse and the United States, gallery collections in France and the United States, as well as Museums/Foundations in France and the United States. This collection is supplemented by 55 black and white glass plate negatives, which correspond to specific artworks within this archive.

NOTE: Approximate number of letters to/from collectors and/or galleries: 264; approximate number of letters to/from museums: 132.

Estimate: $8,000-$10,000

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89105 DOSSIER OF RENOIR’S UNLISTED PAINTINGS Comprising one large notebook which archives Renoir’s artworks omitted from various reference books and catalogue raisonnés.

Estimate: $6,000-$8,000

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89106 GROUP OF FIVE DOSSIERS OF FAKE RENOIR PAINTINGS Comprising five notebooks of authentication requests from all over the world and other correspondence concerning authenticity issues, supplemented by photographs and additional related material. During his life, Renoir was concerned with forged Renoirs and false signatures on real Renoirs.

Estimate: $6,000-$8,000

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89107 PUBLICATIONS WRITTEN BY FAMED FRENCH JOURNALIST, ART CRITIC, NOVELIST AND PLAYWRIGHT, OCTAVE MIRBEAU ABOUT RENOIR’S WORKS AND EXHIBITIONS Group includes an invitation to the Exposition Renoir du 10 au 29 mars 1913, a portfolio of Renoir’s works published by Bernheim-Jeune in 1913, and an exposition catalogue for Mirbeau’s own collection, Peinture et Sculpture Modernes, dated 24 February 1919, with Renoir as one of the featured artists, accompanied by a handwritten letter from the art critic to Renoir

Estimate: $700-$900

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89108 PIERRE-AUGUSTE RENOIR CAREER COLLATERAL ARCHIVE Includes a massive collection of files and dossiers relating to various aspects of Renoir’s career, exhibitions, dealer relationships, artwork sales and copyright issues following his death. Particularly noteworthy is the extensive collection of S.P.A.D.E.M. “Société de la Propriété Artistique des Dessins et Modèles” [artist-run copyright protection and collection society] material involving copyright payments and lawsuits against Renoir’s (sculptor) assistant, Richard Guino (1890-1973) and François Daulte, for publishing a catalogue raisonné of Renoir’s works without the Renoir family’s permission.

Archive consists of correspondence, legal documents, newspaper and magazine articles, exhibition reviews, gallery and museum correspondence, loose photographs of works by Renoir and other contemporary artists, dated from 1920s-1990s, and other various files.

Estimate: $4,000-$6,000

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89109 COLLECTION OF COPPER PLATES OF RENOIR’S WORKS Fifty-six lithographic copper plates of Renoir’s works, varying in size from 4” x 6” to 8 ½” x 10”, contained in a wooden chest.

Estimate: $50,000-$75,000

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the later years – Renoir, THE SCULPTOR

89110 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Buste de Madame Renoir, 1916 Original plaster 24 inches (61.0 cm) high Guino executed this bust for and under the guidance of Renoir, taking his inspiration from La Maternité (Mother and Child) and from his 1885 painting of his wife. The process was difficult, for Guino had trouble translating Renoir’s wishes into clay form. In the master’s eyes, the sculpture remained too stocky, too heavy and expressionless. Many, many hours and immense cooperative efforts were dedicated to the completion of this masterpiece that we admire today. Renoir ultimately used his own, nearly paralyzed hands to convey in her face the love, compassion, support, comfort, understanding and gentle-heartedness that he felt and saw every time he looked at his wife. A bronze copy of the sculpture was placed in Madame Renoir’s tomb at Essoyes.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 30, no. 18, illustration of another cast pl. XXXV. NOTE: This original foundry plaster is copyright protected and is accompanied by two black and white photographs and one tintype of Aline posing in her floral hat and collared blouse, an original photograph of Renoir’s 1885 painting rested on an easel and one black and white photograph of the bust set in the village garden at Cagnes.

Estimate: $60,000-$80,000

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89111 PIERRE-AUGUSTE RENOIR (French, 1841-1919) Médaillon de Coco Piece Mold & Original Plaster of Relief, 1907 Original plaster 8-1/2 inches (21.6 cm) (relief diameter) 11-1/2 inches (29.2 cm) (diameter with borders) Published by Hodebert, Paris & Flechtheim, Berlin Renoir’s first sculptural work, this medallion and the bust of his youngest son, Claude “Coco” Renoir are the only two sculptures Renoir executed entirely with his own hands. The work was intended to decorate the fireplace in the dining room of Les Collettes at Cagnes, where it was displayed once finished.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 19, no. 1, illustration of another cast pl. III. NOTE: This original foundry plaster is not copyright protected.

Estimate: $20,000-$30,000

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89112 PIERRE-AUGUSTE RENOIR (French, 1841-1919) Buste de Coco, 1907-08 Original plaster 11 inches (27.9 cm) high Published by Hodebert, Paris & Flechtheim, Berlin Coco was born in 1901 when Renoir was 60 years old and already showing signs of physical deterioration. This handsome, young blond child brought new energy to the life of an aging artist, as well as an endless source of inspiration. Coco was constantly at Renoir’s side, and posed for the artist in all manners of dress and attitude. After Aline’s death in 1915, Renoir built a potter’s kiln at his home, Les Collettes to teach the child and his two other sons the art of ceramics. When Renoir passed away, Coco stood alone at his bedside.

Renoir created the Buste de Coco with the hands of a father following a visit from Maillol, a master sculptor to Les Collettes. With love and tenderness, he sculpted the features, the shapes, the volume and the lines of this familiar face; and he accomplished his goal, for this youthful representation of his youngest son seems to evoke in the viewer the same feelings of innocence, curiosity and unconditional affection that inspired the artist almost a century ago.

This bust and the medallion of Claude “Coco” Renoir are the only two sculptures Renoir executed entirely with his own hands, which were already partially paralyzed at the time.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 20, no. 2, illustrations of another cast pls. IV and XXXVI. NOTE: This original foundry plaster is not copyright protected.

Estimate: $30,000-$40,000

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89113 PIERRE-AUGUSTE RENOIR (French, 18411919) and RICHARD GUINO (French, 1890-1973) Maternité (Mother and Child), 1916 Original plaster with patina 22 inches (55.9 cm) high Published by Hodebert, Paris & Flechtheim, Berlin THE RENOIR COLLECTION This group, which Renoir created to honor the memory of his late wife, Aline portrays Madame Renoir nursing her first son, Pierre.

The inimitable connection between mother and child is exemplified in this piece, with Madame Renoir exuding the gratification, serenity, contentment and vigilance of a mother with her child through her relaxed and natural pose. This sculpture was executed by Richard Guino for and under the direction of Renoir, after a painting by Renoir, done in 1885, and a replica made in 1886. It was intended to serve as a study for a large statue to be placed in Madame Renoir’s tomb at Essoyes, which was never fully executed.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 29, no. 17, illustration of another cast pl. XXXII. NOTE: This original foundry plaster is copyright protected.

Estimate: $60,000-$80,000

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89114 PIERRE-AUGUSTE RENOIR (French, 1841-1919) Buste de la Maternité Original terra cotta 8 inches (20.3 cm) high Buste de la Maternité (or Tête Maternité) was rendered from Renoir’s original conception of the mother and child theme, La Maternité.

NOTE: This original terra cotta sculpture is copyright protected.

Estimate: $20,000-$30,000

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89115 PIERRE-AUGUSTE RENOIR (French, 18411919) and RICHARD GUINO (French, 18901973) Grande Vénus victorieuse (Large Venus Victorious), 1914-15 Original plaster 71 inches (180.3 cm) high Published by Vollard, Paris With her weight rested on her right hip, holding a drape in her left hand and the golden apple in her right, this standing female nude is said to be the culmination of Renoir’s sculptural works.

Transforming paradox into perfection, Renoir marries contradictory attributes to personify his idea of female quintessence. Vénus victorieuse the Woman is majestic yet simple, engaged and yet isolated, familiar but also obscure. With this sculpture, Renoir redefines classical theme and form to portray the eternal beauty of Woman - a leitmotiv apparent in much of his work.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 24, no. 6, illustrations of another cast pls.

XIV-XXI. NOTE: This original foundry plaster is not copyright protected.

Estimate: $900,000-$1,000,000

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89116 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Médaillon de Paul Cézanne Piece Mold & Original Plaster of Relief, 1915-17 Original plaster 27 inches (68.6 cm) (relief diameter) 31 inches (78.7 cm) (diameter with borders) Published by Vollard, Paris Inspired by a pastel of Cézanne by Renoir, a bronze reproduction of this work was placed as a memorial on a wall above a fountain in Aix-en-Provence, where Cézanne worked and lived. No one held more esteem for Cézanne, painter of cubes and angles than Renoir, painter of curls and curves.

In 1915 Renoir asked Guino to execute six bronze portrait medallions of French artists past and present who had especially influenced his painting aesthetic: Jean Auguste Dominique Ingres, Eugène Delacroix, Camille Corot, Claude Monet, Paul Cézanne, and Auguste Rodin. Borrowing from classical prototypes, each medallion features the artist’s face and name within a garlanded frame. For the physiognomies of the contemporary artists, Guino utilized Renoir’s own drawings: a now lost drawing of Monet in old age, an 1881 pastel of Cézanne made for the art collector Victor Chocquet, and a 1914 drawing of Rodin commissioned by Galerie Bernheim-Jeune.

Guino based the images of Ingres and Corot on photographs and the image of Delacroix on a self-portrait. A seventh medallion, of the composer Richard Wagner, was never completed.

Because of the large scale and intricate details of the bronze medallions, Guino and the foundry utilized the ancient piece-mold casting process, a modification of the lost-wax technique, which had been revived during the Renaissance. Lost-wax, or direct, casting involved the “loss” of the original wax model during heating, as bronze, infused into the mold, replaced this original model; piece-mold, or indirect, casting melted out not the original wax model, but rather a wax cast, or intermodel, formed from a piece mold taken from the original model. Although more complicated, the piece-mold technique, by not destroying the original model or the piece mold, allowed for the production of multiple copies of a given sculpture, a significant innovation.

The steps for creating the medallions through the piece-mold process were painstaking and required great skill: first, Guino, directed by Renoir, made an original clay model, which he then coated with small sections of plaster, precisely fitted next to one another like a giant jigsaw puzzle. These plaster pieces were then carefully pulled off of the model, which could be set aside for future use, and reassembled piece by piece to form the mold. In order to create a plaster cast, as in the present examples, the piece mold was first dampened (to prevent sticking) and filled with plaster, which, after hardening, was removed from the mold as a replica of the original. In order to create a bronze cast, the piece mold was dampened and filled with wax to form a replica of the original (intermodel). After extracting from the mold this wax intermodel, the founder added to it wax rods, called sprues, which served as channels for the molten bronze to flow. The now tree-like intermodel was covered with a thin layer of clay and a thicker clay outer shell (the final casting mold), held together with bronze pins. Inverted and heated in a kiln, the encased wax intermodel melted out, leaving a space for the liquid bronze, poured via the sprues. Once the bronze had cooled, the foundry team hammered open the clay shell and removed the sculpture.

Finishing involved sawing off the sprues, in-filling any imperfections, and burnishing.

This current lot is an exceptional plaster cast of the Cézanne medallion, additionally noteworthy in that it is accompanied by its completely intact piece mold.

Indeed, Renoir had long admired Cézanne, whom he befriended during the early days of Impressionism and later visited in 1882 in Aixen-Provence, particularly favoring Cézanne’s emphasis on the three-dimensionality, or solidity, of painted forms. Describing Renoir’s portrait medallion of Cézanne in Renoir Sculptor, Paul Haesaerts writes, “Paul Cézanne shows a bare scalp. He has tufts of hair behind the ears, and a short goatee. No one had more esteem for Cézanne, the painter of cubes and angles, than Renoir, the painter of curls and curves.”1 According to Haesaerts, a bronze copy of one of Renoir’s Cézanne medallions hung on a wall above a fountain in Aix-enProvence as a memorial tribute to the great Post-Impressionist.2 1P. Haesaerts, Renoir Sculptor, New York, 1947, p. 28.

2Ibid., p. 41.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 28, no. 16, illustration of another cast pl. XXVI. NOTE: This original foundry plaster is copyright protected. The pair contains one of two surviving original piece molds.

Estimate: $150,000-$200,000

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89117 A LETTER FROM FRENCH SCULPTOR, AUGUSTE RODIN (1840-1917) TO RENOIR Handwritten letter signed, two pages [one sheet folded], dated 19 June 1906, located 182 Rue de l’Université that reads, Mr. Vollard told me that you would like to see me at Caulaincourt (Paris), in regard to a portrait you are doing of me. I will be very happy to come see you next Saturday around 10 AM. I will pose for you if you want. Sincerely, Aug Rodin.

Estimate: $7,000-$9,000

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89118 A LETTER FROM FRENCH SCULPTOR, AUGUSTE RODIN (1840-1917) TO RENOIR, TOGETHER WITH RODIN’S CALLING CARD Autograph letter signed, two pages [one sheet folded], dated 26 May 1910 that reads, My Dear Master, With all my heart, I thank you for being honored by your greetings, but to greet your great admirer, who is in Brussels where I am and I see a painting of yours, that was a celebration for me. Taglio placed it with all the respect that we bring to you. A. Rodin, accompanied by Rodin’s calling card printed, A. Rodin, 182 rue de l’Université, with a handwritten inscription.

Estimate: $7,000-$9,000

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89119 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Médaillon d’Auguste Rodin Piece Mold & Original Plaster of Relief, 1915-17 Original plaster 27 inches (68.6 cm) (relief diameter) 31 inches (78.7 cm) (diameter with borders) Published by Vollard, Paris A relief of French sculptor, Auguste Rodin framed by a garland of fruit, the pair contains one of only two surviving piece molds. Renoir met Rodin in Paris around 1887 when the two artists, along with Camille Pissaro, Alfred Sisley, and Claude Monet, participated in the group exhibitions at the Galerie Georges Petit. Evidently impressed by Rodin’s career success, in 1906 Renoir invited him to visit his studio in Montmartre, at that time possibly imaging his first portrait of the sculptor. In 1914 Renoir’s dealers, the Bernheim-Jeune brothers, commissioned him to execute a portrait drawing of Rodin, which Guino subsequently utilized as the model for the bronze medallion. About this medallion, Haesaerts writes in Renoir Sculptor, “Finally there is Auguste Rodin, with a great forked beard, almost like the Moses of Michelangelo. His admirers made him a sort of god of sculpture. He came to visit Renoir from time to time, not without a certain degree of pomp.”1 This current lot is an exceptional plaster cast of the Rodin medallion, additionally noteworthy in that it is accompanied by its completely intact piece mold.

1P. Haesaerts, Renoir Sculptor, New York, 1947, p. 28.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 28, no. 12, illustrations of another cast pls. XXVII and XXX. NOTE: This original foundry plaster is not copyright protected.

This lot is accompanied by a copy of Gustave Coquiot’s Rodin, Bernheim-Jeune, Paris: 1915, of which only 600 were printed.

The folio contains 57 of Rodin’s sculptures, as well as a portrait of the artist by Renoir, Rodin en 1914, [drawn in] Sanguine de Renoir (blood of Renoir) on the inside cover. What makes this particular (unnumbered) copy unique is the handwritten inscription from Rodin to Renoir, in which Rodin mistakenly signs “Auguste Renoir” twice before crossing through it and properly signing his own name, “Auguste Rodin 1915”.

Estimate: $150,000-$200,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 87

89120 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Petite Vénus a la Pomme (Small Venus with Apple), 1914 Original plaster 24 inches (61.0 cm) high Published by Vollard, Paris The theme of this sculpture is Venus, or Aphrodite, who is elected more beautiful than her sister goddesses, Hera and Athene by Paris, shepherd son of Priam. Paris awards Venus the golden apple as a symbol of victory.

The manner in which Renoir was able to capture the romance and grace of Greek mythology in this sculpture demonstrates how proverbial the allegories became to the artist. This piece was originally intended to stand on a four-sided base depicting the Petit Judgment de Pâris (Small Judgment of Paris). The supplementary base will also be offered in this auction as lot 89121.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 24, no. 3, illustrations of another cast pls. V-VII. NOTE: This original foundry plaster is copyright protected.

Estimate: $40,000-$60,000

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89121 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Base de Petite Vénus a la Pomme, (Judgment de Pâris), 1914-15 Original plaster 9-1/2 x 9-1/4 x 9 inches (24.1 x 23.5 x 22.9 cm) This composition in bas-relief is both lively and in accordance with strict organization. The handsome Paris, clothed in a pleated rove with a Phrygian bonnet on his abundant hair, kneeling almost in ecstasy, offers the apple of victory to an opulent Aphrodite (Venus, in Roman mythology). On either side of the triumphant goddess, Hera and Athena, her disappointed companions manifest surprise and rebellion. Almost emerging with the Heavens, Hermes of the winged heels, the goddesses’ guide assists at the contest and, with his arm upraised in judgment, seems to be ratifying the verdict. The base was intended to accompany Petite Vénus a la Pomme (Small Venus with Apple), which will also be offered in this auction as lot 89120.

NOTE: This original foundry plaster is copyright protected.

Estimate: $40,000-$60,000

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89122 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Buste de Pâris, barbu (Bust of Paris, bearded), 1915 Original plaster with reddish-brown patina 26 inches (66.0 cm) high Published by Vollard, Paris The mythological theme often inspired Renoir in the later years of his life. As this particular fable goes, Paris, the shepherd depicted in this bust, was instructed by Hermes to designate which of the three goddesses, Hera, Athena and Aphrodite (Venus, in Roman mythology) was the most beautiful by presenting an apple to his victor. In the end, the beauty of Aphrodite, Goddess of Love, won over the heart of Paris.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 27, no. 9, illustrations of another cast pls. XXXIV and XXXVII. NOTE: This original foundry plaster is copyright protected.

Estimate: $80,000-$100,000

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89123 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and LOUIS MOREL (French, 1898-1974) Danseuse au voile (Dancer with a Veil), 1918 Original plaster 25 inches (63.5 cm) high It has been suggested that Dancer with a Veil, formerly in the collection of Paul Renoir, was executed by Maillol or Louis Morel under the direction of Renoir. With that said, the sculpture was most likely a product of the Renoir-Guino collaboration, but was directed so firmly by Renoir that Guino renounced to claim his co-authorship (Tribunal de Grande Instance of Paris, Judgment of 11 January 1971).

NOTE: This original foundry plaster is not copyright protected and is accompanied by five 15.5 x 11.5” prints mounted on board.

Estimate: $80,000-$100,000

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89124 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and LOUIS MOREL (French, 1898-1974) Danseuse au tambourin II (Dancer with a Tambourine II), 1918-19 Original plaster with patina 24 x 17 inches (61.0 x 43.2 cm) (bas-relief) 29 x 22 inches (73.7 x 55.9 cm) (with borders) Published by Renou and Colle, Paris This bas-relief, executed by Louis Morel at Essoyes for and under the direction of Renoir, portrays a nude woman dancing, striking a tambourine with fluted columns to her left and right. The sculpture was inspired by a painting by Renoir done in 1915, which now belongs to the Hodebert Collection in Paris.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 33, no. 23, illustration of terra cotta version pl. XLVI. NOTE: This original foundry plaster is not copyright protected.

Estimate: $30,000-$40,000

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89125 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and LOUIS MOREL (French, 1898-1974) Joueur de flûteau (Pipe Player), 1918-19 Original plaster with patina 24 x 17-1/2 inches (61.0 x 44.5 cm) (bas-relief) 29 x 22 inches (73.7 x 55.9 cm) (with borders) Published by Renou and Colle, Paris This bas-relief original foundry plaster was executed by Louis Morel for and under the direction of Renoir, after a drawing made by Renoir at the time. The work depicts a shepherd with long hair, wearing a cloak, leaning on a tree trunk while playing a pipe, with fluted columns to his left and right.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 33, no. 24, illustration plates of terra cotta version pls. XLV and XLVII. NOTE: This original foundry plaster is not copyright protected.

Estimate: $30,000-$40,000

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89126 PIERRE-AUGUSTE RENOIR (French, 1841-1919) Moyenne Laveuse (Medium Washerwoman), 1915-16 Original plaster 14 inches (35.6 cm) high Signed on right of base: Renoir Published by Vollard, Paris The second of three works of Renoir’s “Washerwoman” series, this sculpture depicts a woman kneeling and washing her linens.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 31, no. 20, illustration of another cast pl. XXIX. NOTE: This original foundry plaster is copyright protected.

Estimate: $30,000-$40,000

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89127 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Petit Forgeron ou Le Feu (Small Blacksmith), 1914-16 Original plaster with patina 11 inches (27.9 cm) high Signed on left of base: Renoir Published by Vollard, Paris Le Forgeron honors the beauty of Cote d’Azur where Renoir had lived and painted tirelessly with great success prior to settling down in Cagnes. Renoir aspired to sculpt two colossal sculptures to decorate the garden at Les Collettes, L’Eau (to represent water or the sea) and Le Feu (to represent fire or the sun). La Laveuse and Le Forgeron are Renoir’s incarnations of these elements. This sculpture was executed by Guino on Vollard’s order, after a sketch by Renoir and under his direction.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 31, no. 19, illustrations of another cast pls. XXVIII and XLIII. NOTE: This original foundry plaster is copyright protected.

Estimate: $30,000-$40,000

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89128 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Tête de la grande Vénus victorieuse (Head of the Large Venus Victorious), 1914-15 Original plaster 18-1/2 inches (47.0 cm) high 10-1/4 inches (26.0 cm) (base diameter) This head mounted on a column is a much smaller, subsidiary product of Renoir’s ultimate and most complex sculptural masterpiece, Vénus victorieuse, in which he fuses contradictory principles to manifest his own idea of perfection. Vénus victorieuse the woman is majestic yet simple, engaged and yet isolated, familiar but also obscure. Again with this sculpture, Renoir redefines classical theme and form to portray the eternal beauty of Woman - a leitmotiv apparent in much of his work.

NOTE: This original foundry plaster is not copyright protected.

Estimate: $30,000-$40,000

96 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89129 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Petite Laveuse ou L’Eau (Small Washerwoman or Water), 1914-16 Original plaster with patina 11 inches (27.9 cm) high Signed on right of base: Renoir Published by Vollard, Paris A smaller adaptation of Renoir’s Moyenne Laveuse (Medium Washerwoman), this sculpture also depicts a nude woman kneeling and washing her linens, with minor alterations to her posture.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 31, no. 20, illustration of another cast pl. XXIX. NOTE: This original foundry plaster is copyright protected.

Estimate: $30,000-$40,000

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89130 PIERRE-AUGUSTE RENOIR (French, 1841-1919) and RICHARD GUINO (French, 1890-1973) Moyen Forgeron (Medium Blacksmith), 1915-16 Original plaster 14 inches (35.6 cm) high Signed on left of base: Renoir Published by Vollard, Paris This sculpture of a young smith with long hair, seated on a stone, holding a hammer in his right hand and dipping the iron into a firepot with his left was executed by Guino on Vollard’s order, after a sketch by Renoir and under his direction.

LITERATURE: P. Haesaerts, Renoir Sculptor, New York, 1947, p. 31, no. 19, illustrations of another cast pls. XXVIII and XLIII. NOTE: This original foundry plaster is copyright protected.

Estimate: $30,000-$40,000

98 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89131 PAIR OF DOSSIERS OF RENOIR’S SCULPTURES Comprising two large notebooks, one with approximately 29 catalogue entries, the other with various correspondence dating 1957 through 1980, as well as a box of approximately 32 loose archives and various photographs of his sculptural works.

Estimate: $6,000-$8,000

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Renoir Family Photo Albums

89132 RENOIR FAMILY CAMERAS Rollieflex twin-lens reflex camera and tan leather handled case, together with Eastman Kodak Jr. No 3A autographic bellows roll film camera (missing lens, losses) and tan leather handled case.

NOTE: It is possible these cameras were used to shoot the images of the original glass negatives in this collection.

Estimate: $1,500-$2,000

89133 COLLECTION OF BLACK AND WHITE GLASS PLATE NEGATIVES OF RENOIR’S FAMILY AND FRIENDS Approximately one hundred fourteen glass plate negatives of the Renoir family and friends primarily between the years 1909-1918, showing images that include but are not limited to: 1) Claude (Coco) 8 years old (1909) at Les Collettes in sailor outfit riding a bicycle; 2) Claude (Coco) sitting on a staircase to a home,16 years old; 3) multiple views of Renoir’s home, Les Collettes; 4) Claude (Coco) in suit standing outside, 16 years old, c. 1917 (in two pieces); 5) Gabrielle with Claude (Coco) sitting on the ground in front of a brick wall; 6) Aline with one of her sons standing outside; 7) Pierre Bonnard [1867-1947, artist] with his dog visiting Les Collettes; 8) Claude (Coco) as a young boy at Les Collettes with two friends [2 similar]; 9) “Fait en glaise”, 1917 original mold for sculpture of Aline and her son Pierre; 10) “Danse Champêtre” [2 plates with double images]; 11) Renoir portrait of his eldest son, Pierre, age 4-5 years; 12) Claude (Coco) dressed in sports jacket seated in Les Collettes interior; 13) Dining room interior with Albert André, Renoir, Adèle George-Besson and Maleck André, circa 1918; 14) Claude (Coco) on his bicycle, about 9 years old, circa 1910; 15) View of chicken farm and dog kennel behind Les Collettes [double image]; 16) Claude (Coco) leaning on tree in garden at Les Collettes (8-9 years old) [double image]; 17) Claude (Coco) swinging from tree by the farmhouse [double image]; 18) Claude (Coco) in Aline Renoir’s rose garden wearing shirt, tie, knickers and hat (8-9 years old), circa 1910 [broken]; 19) Claude (Coco) reclining on a stone wall at Les Collettes, circa 1910 [double image]; 20) Renoir painting a live model in his garden [double image]; 21) Claude (Coco) and brother (Jean or Pierre) standing in an interior [plate broken in three pieces, loss]; 22) Claude (Coco) sitting on a stone at entrance of Les Collettes, circa 1909 [double image]; 23) Claude (Coco) sitting at the garden entrance to Les Collettes, circa 1916-1917 (15-16 years old) [broken]; 24) Claude (Coco) standing at the entrance to Les Collettes (15-16 years old), circa 1916-1917; 25) Vollard as Toreador [broken]; 26) Aline, Coco and Renoir, at Les Collettes, circa 1912; 27) Renoir sitting in front of his easel [broken, missing half]; 28) Renoir sitting at a table [broken into 2 pieces]; 29) Renoir in dining room, circa 1916-1917 [broken]; 30) Renoir’s paint box; 31) Jean Renoir seated in a chair; 32) Aline and Jean Renoir, circa 1896; 33) Claude (Coco) at Essoyes, 16 years [2 similar plates, one with hat, one without hat]; 34) “Popo” [Claude’s wife] and son, Paul, about 4 months old, outside at Les Collettes; 35) Multiple plates of couples dancing in landscape (and two black and white prints) used for Renoir’s paintings; 36) Claude (Coco) in front of Villa des Thermes [health spa where Renoir was treated for his arthritis] [broken in three pieces]; 37) Paul Renoir in baby carriage [2] and in the arms of Marcelle Briguet (nanny?) [1]; 38) Jean Renoir seated in chair at Essoyes, circa 1896; 39) Claude (Coco) in Tyrolean outfit with two unidentified girls, about 9 years old [broken]; 40) Aline Renoir holding Bébé Cézanne [Aline Renoir was Bébé Cézanne’s godmother], Renée Cézanne, Paul Cézanne, Jr., Coco standing next to Cézanne outside [broken]; 41) Claude (Coco) in Vilo [where Renoir lived with his family before Les Collettes], circa 1908; 42) Claude (Coco) on a two-wheel bicycle, 9 years old, [2]; 43) Claude (Coco) in a Tyrolean outfit outside at Les Collettes, 9 years old, [rare colored glass plate]; 44) Renoir in a wheelchair in his studio with painting in background, circa 1918; 46) Renoir seated before his paintings, circa 1915; 47) Renoir in garden under an umbrella painting at his easel; 48) Aline Renoir holding baby Aline Cézanne, Coco Renoir, Paul Cézanne, Jr.; Renée Cézanne (standing behind Coco), painter Paul Cézanne’s wife (65 years old); 49) Renoir self portrait [loss-1/3 plate]; 50) Bronze bust of Aline at Les Collettes (Buste de Madame Renoir) [4 negatives and one positive]; 51) La Maternité [Aline and son, Pierre], [one negative, one positive]; 52) Baby Paul Renoir, Claude (Coco) son, in baby carriage at Les Collettes; 53) Paul Renoir as young boy with a dog; 54) Painting portrait of Coco wearing a sailor suit; 55) George Besson, Albert André, Matisse, Andrée Heuschling (Catherine Hessling will be later her pseudonym for cinema) and Renoir [horizontal break at bottom of image]; 56) Painting of Baby Jean, Renoir’s son, circa 1896; together with various images of unidentified landscapes, buildings, groups of people, etc.

NOTE: Many of these were taken by family friend Konrad von Freyhold who was in a unique position to capture on film some images of Renoir’s life and include rare images of the family.

Estimate: $10,000-$15,000

102 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

89134 APPROXIMATELY ONE HUNDRED SIXTY-FIVE LOOSE PHOTOGRAPHS OF RENOIR’S FRIENDS, FAMILY AND ARTWORKS Collection of early 1900s vintage silver gelatin contact prints with some original photographs, varying in size and condition, comprising many images of Renoir with friends and family, Renoir’s artworks and the master painting at his home, mostly taken in his later years, including two rare photographs of the bedridden artist the evening before his passing at 2:00 AM on December 3, 1919, taken by his youngest son, Claude “Coco”, the only family member at his bedside. Group also contains images of the Renoir family’s Bugattis together with the original 1920 invoice, and a large number of photographs of Claude “Coco” Renoir [as a young boy as well as an adult], his wife, Paulette “Popo” Renoir and their son, Paul Renoir growing up at Les Collettes, with friends, Renèe and Paul Cézanne, Jr. and their children, Aline and Jean-Pierre, and Paul with the family goat, “Billie”.

Estimate: $3,000-$5,000

89136 RENOIR FAMILY PHOTO ALBUM Brown embossed leather album containing approximately seventy-eight early 1900s vintage silver gelatin prints, mostly of Claude “Coco” Renoir and his family, along with a family portrait of Renoir, Aline and their three sons, Pierre, Jean and Claude.

Estimate: $4,000-$6,000

89135 RENOIR FAMILY PHOTO ALBUM Burgundy vinyl album with transparent photo pockets containing approximately fourteen vintage, early 1900s silver gelatin contact prints, five commercial post cards (four of Renoir’s home in Cagnes-sur-Mer) and several black and white negatives including images of Paul Renoir and his mother in the family Bugatti, “Nana” and “Popo” at the Renoir family dining table, Paul Cézanne painting a landscape and Coco in Essoyes.

Estimate: $4,000-$6,000

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 103

89137 RENOIR FAMILY PHOTO ALBUM Album with red marble boards and quarter bound faux lizard skin that contains approximately one hundred fifty-three vintage silver gelatin contact prints including (but not limited to) photographs of Renoir, his paintings and sculptures, his sons, Pierre, Jean and Claude, as well as his friends and colleagues such as Henri Matisse [French Fauvist painter and sculptor, 1869-1954], Paul Cézanne [French Post-Impressionist painter, 1839-1906], Ambroise Vollard [Renoir agent and dealer], Pierre Bonnard [French painter and printmaker, 1867-1947], Georges d’Espagnat [French painter, 1870-1950], Louis Valtat [French Fauvist painter and printmaker, 1869-1952] and Maleck André [artist Albert André’s wife].

Estimate: $5,000-$7,000

104 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

Renoir Family Artifacts

89140 FRENCH PAINTED FAIENCE PLATE 8-3/4 inches (22.2 cm) diameter

89138 PAIR OF MINIATURE PORCELAIN SERVICE DE POUPÉE (1) Five-piece painted porcelain tea service with floral decoration and gilt accents, comprising a teapot [approx 1 1/8” tall], handled covered sugar bowl, cream jug and two cups and saucers; (2) Seven-piece porcelain breakfast service, white ground with gilt accents, comprising a coffee pot, cream jug, cup and saucer, covered sugar with undertray and a twohandled oval tray [approx 3 3/4” long], together with two smaller pots for hot or cold water (missing lids).

NOTE: In his book, Renoir’s agent, Vollard, describes seeing a miniature service in Renoir’s dining room: I saw on the sideboard shelf of the dining room, a small coffee service and two candlesticks made out of porcelain, decorated by hand, well applied, as young girls paint. I thought about a gift for a party. Those are the only pieces I still have from my old career as a porcelain decorator’, Renoir told me. Ambroise Vollard, La Vie et l’Oeuvre de Pierre-Auguste. Paris: 1919, p. 13, and Durand-Ruel, Renoir in Time. Paris: 1969, p. 30.

Estimate: $2,000-$3,000

Flower to center within a blue border further set within an olive branch trim.

NOTE: After Renoir had the kiln built at Les Collettes following his wife’s death, he taught his sons, Coco, fourteen, and Jean, twenty-one, (recuperating from wounds suffered in the war), how to decorate plates.

Estimate: $1,000-$1,500

89141 FIVE MINIATURE TOY ANIMALS Four toy teddy bears: two light beige mohair, one tan velvet with black paws, and one midnight blue velvet, together with one pipe cleaner-type dog.

Estimate: $700-$900

89139 FRENCH PORCELAIN TRANSFER-DECORATED PARTIAL CHILD’S TOY DINNER SERVICE Eleven-piece pink and white porcelain partial doll dinner service with pink rose borders, gilt accents; comprising covered tureen, oval platter, square vegetable dish, circular serving bowl, gravy boat and six soup bowls.

Estimate: $2,000-$3,000

89142 THREE FRENCH PAPER CUTOUTS OF RUSSIAN BALLERINAS Two full-figure cutouts, one of Danilova [Alexandra Danilova, 1904-1997] and Petroff [Paul Petroff, 1908-1981], and one fullfigure cutout of both dancers, each monogrammed and titled in pencil P. Lhote [Paul Lhote].

NOTE: These cutouts were made for Maria-Paulette (Paul Renoir’s mother [Maria-Paulette] aka Paulette and Popo) by Paul Lhote who was a longtime family friend and amateur painter. Over the years Lhote modeled for Renoir, two memorable paintings are the Dance at Bougival (Suzanne Valadon and Paul Lhote), 1883, oil on canvas, in the Museum of Fine Arts, Boston, MA and Luncheon on the Boating Party (wearing a pince-nez), oil on canvas, 1880-81, 51” x 68”, Coll: Phillips Collection, Washington, D.C. He also accompanied Renoir on trips to Algiers in 1881 and the Isle of Jersey in 1882.

Estimate: $700-$900

106 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

Renoir Family Reference Library

inscribed by Claude Renoir “I authorize Mr. Alain C. Mazo, bookseller in Paris, to reprint 100 copies of Ambroise Vollard’s book Paintings, Pastels and Drawings of Pierre Auguste Renoir as the edition published

by Ambroise Vollard in 1918 was almost totally destroyed and it was an important resource for the identification of my father’s works. Claude Renoir”. Spine and front soft cover detached and torn.

- Wyzewa, T. de. Les Maîtres Italiens d’Art, inscribed by author to Pierre Auguste Renoir

89143 RENOIR FAMILY REFERENCE LIBRARY The Renoir family reference library is a collection of books relating primarily to art and art reference that date from the mid-1800s throughout the 20th century. Also in the collection, but not itemized in the following list is a large number of catalogues and magazines from museums, galleries and other institutions such as Bernheim-Jeune & Cie, Galeries Durand-Ruel, Galerie Georges Petit, Hôtel Drouot, Musée du Louvre, Musée de Lyon, Musée de l’Orangerie, Musée d’Orsay, The Metropolitan Museum of Art, New York, Christie’s, Sotheby’s, Tableaux Modernes, Vente aux Enchères, and Wildenstein, among many others, as well as approximately 190 general books from the Les Collettes library dating from the late 19th/early 20th centuries, some of which bear Les Collettes bookplates.

HIGHLIGHTS - Cennini, Cennino. le Livre de l’Art, 1911, with a letter from Pierre Auguste Renoir to Victor Mottez.

- Hesse, Raymond. Il n’y a pas sots metiers, inscribed to Auguste Renoir

by Ricardo Flores.

- Roger-Miles, L., Art et Nature, special edition printed for M. (PierreAuguste) Renoir from a limited run of 525, n.d., Librarie Artistique.

- Rouart, Denis. E. Degas: Les Monotypes, Fevrier 1948, limited, 924/1000, 10 hand-colored plates & 30 black and white plates.

- Vollard, Ambroise. Auguste Renoir, 1920.

- Vollard, Ambroise. Renoir. Limited, 145/160, Le Editions G. Crès et Cie, 1920.

- Vollard, Ambroise. Tableaux, Pastels & Dessins de Pierre-Auguste Renoir, 2 vols. Facsimile Limited ed., 72/1,000, Ambroise Vollard, Paris: 1918,

RENOIR - Anderson, Janice. The Life and Works of Renoir.

- André, Albert. Renoir.

- André, Albert. Renoir en Italie et en Algerie, 1955.

- Bailey. Renoir’s Portraits Impressions of an Age. - Barnes, Albert C.. Renoir, The Art of, 1935.

- Baudot, Jeanne. Renoir, ses amis, ses modèles, 1949, dedicated to M. & Mme. Claude Renoir & inscribed by author to Claude.

- Berard, Marie. Renoir à Wargemont, 1938, inscribed by author to Claude.

- Bernheim-Jeune. L’Atelier de Renoir Tome I. Missing spine, pages detached.

- Bernheim-Jeune. L’Atelier de Renoir Tome II. Missing spine, pages detached.

- Bouchardeau, Huguette. La famille Renoir.

- Cogniat, Raymond. Renoir Enfants, 1958.

- Coquiot, Gustave. Renoir, 1925.

- Daulte, François. Renoir Watercolors and Pastels.

- Daulte, François. Renoir, 1958.

- Distel, Anne. Renoir, il faut embellir, 1993.

- Drucker, Michel. Renoir, 1967, inscribed by author to Claude, Sr. - Drucker, Michel. Renoir, 1944.

- Dulout, Stephanie. Renoir.

- Duthuit, George. Renoir, 1923.

- Feist, Peter H. Auguste Renoir.

- Fell, Derek. Renoir’s Garden.

- Fertre, André. Ode aux Oliviers de Renoir, 9 Mai 1956, includes a signed original woodblock print & letter (1961) from author.

- Fezzi, Elda. Renoir, 1968.

- Flammarion. Renoir 1869-1883.

- Florisonne, Michel. Renoir.

- Florisonne, Michel. Renoir (thinner, with dj).

- Fosca, François. Renoir, 1961.

- Frost, Rosamund. Pierre Auguste Renoir.

- Galerie Hopkins-Thomas. Renoir Dessins et Aquarelles.

- Hachette. Grands Peintres, Renoir.

- Haesaerts, Paul. Renoir, Sculptor, 1947.

- Jourdain, Francis. Renoir ‘le Moulin de la Galette.’

- Kunstler, Charles. Renoir, peintre fou de couleur, signed.

- Leymarie, Jean. Renoir.

- Leymarie, Jean. Renoir, 1978.

- Malingue, Daniel. Renoir & XIIe exposition: Maîtres Impressionnistes et Modernes.

- Martini, Alberto. Renoir.

- Meier-Graefe, Julius. Auguste Renoir, 1912.

- Meier-Graefe, Julius. Renoir, 1929. Inscribed from author to Pierre Renoir.

- Neumann, Jaromir. Renoir, Auguste, 1963.

- Pach, Walter. Pierre Auguste Renoir.

- Parsons, Tom. Art for Young People, Pierre Auguste Renoir.

- Perruchot, Henri. Renoir, limited, 6948/10,000, 1964.

- Photiades, Vassily. Renoir Nus, 1960.

- Reiff, Robert F. Renoir (Color Slide Program of the Great Masters), 1968, with 20 color slides.

- Renoir. Sketchbook, facsimile photo offset lithographs, in box.

- Renoir, Claude. Dossier of Guino-Renoir Sculptures.

- Renoir, Edmond. Pierre Auguste Renoir, 1990.

- Renoir, Jean. Renoir My Father.

108 To view full descriptions, enlargeable images and bid online, visit HA.com/5157

- Renoir, Jean. Renoir, 1962.

- Robida, M. Renoir Enfants, 1959.

- Rouart, Denis. Renoir, 1954.

- Schneider, Bruno F. Renoir.

- Skira-Venturi, Rosabianca. A Weekend with Renoir, 1990.

- Terrasse, Charles. Cinquante Portraits de Renoir, 1941.

GENERAL - Alexandre Arsène, La Collection Canonne, Bernheim-Jeune et Renaissance de l’Art, Paris: 1930.

- Ancienne Maison Quantin. Images Enfantines. child’s drawings in pencil on blank pages.

- Benezit, E. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs.

8 vol.

- Bazin, Germain. l’Epoque Impressionniste.

- Beaux Arts Magazine, Hors Serie. Gustave Caillebotte, 1994.

- Belleudy, Jules. J. S. Duplessis, Peintre du Roi, 1725-1802, A Chartres de l’Imprimerie Durand, 1913, limited ed. 121/250.

- Bernheim-Jeune. Monet-Venise, 1912, limited.

- Bernstein, Harry. Samson, inscribed by author to P.A.R. - Bernstein, Harry. Apres Moi, inscribed by author.

- Bomford, David; Kirby, Jo; Leighton, John; Roy, Ashok. Impressionism, Art in the Making.

- Bonnes, J. P. la Passionnante Histoire de la Peinture.

- Bortolatto, L.A. Monet, 1981.

- Bruneau, Alfred. Nais Micoulin, Drame Lyrique en deux actes tiré de la nouvelle d’Emile Zola. Soft cover detached from pages.

- Cassou, Jean. Cézanne, Les Baigneuses, huit aquarelles reproduites en facsimile, limited, 401/500, Editions de Quartre Chimens, 1947.

- Cassou, Jean. Manet, 1954.

- Cassou, Jean. Braque, 1956.

- Champion Jeanne. Suzanne Valadon.

- Chamson, André. Courbet, 1955.

- Clemenceau, Georges. Claude Monet, signed.

- Cogniat, Raymond. Rouault, George, 1930.

- Cogniat, Raymond. Dessins et aquarelles XXe siecle.

- Coquiot, Gustave. Cézanne.

- Crespi, Francesca. A Walk in Monet’s Garden, pop-up, 1992.

- Darragon, Eric. Manet, 1989.

- Dauberville, Henri. La Bataille de l’Impressionnisme, 1970, Japanese ed., inscribed by author to Mr. and Mrs. Paul Renoir that the book is “in kimono”.

- Delteil, Loys. Pissarro, Sisley, Renoir. Softcover detached from text.

- Demuth, Antoinette. de Saint-Tropez a Sainte-Maxime, limited 154/900.

- Denis, Maurice. Nouvelles Théories sur l’Art Moderne et sur l’Art Sacré 1914-21.

- Denis, Maurice. Théories 1890-1910, limited, 1/50.

- Deslandres, Yvonne & Thibaut, Claude. L’Enfant et Son Image, inscribed

by Suzanne de Callias [?] & Yvonne Deslandres.

- Dieterle, Jean. Corot, 1959.

- Doran, P. M. Conversations avec Cézanne.

- Fabris, Jean. Maurice Utrillo, inscribed by author.

- Fils, Alexandre Dumas. Affaire Clemenceau. Text water stained.

- Fletcheim. Der Querschnitt, 1927.

- Gaffé, René. Cagnes et ses Peintres.

- Gaffé, René. Peinture.

- Geffroy, Gustave. Monet, Claude, 1924.

- Girard, Xavier. Matisse Une splendeur inouie.

- Goedarp, Victor. Madame Cresus Enfirmiere, inscribed by author.

- Hazan, Fernand. Le Musée de l’Impressionnisme, 1965.

- Hoog, Michel. Cézanne, 1993.

- Jedlicka, Gotthard. Lautrec, 1960.

- Kjellbeg, Pierre. les bronzes du XIXe siecle.

- Klingsor, T. L. Cézanne.

- Lem, F. H. Paul Cézanne.

- Leymarie, Jean & Melot, Michel. Les Gravures des Impressionnistes.

- L’Illustration. numéro consacré au Maréchal Foch 1851-1929, Missing

back cover, front cover detached.

- L’Illustration. Cyrano de Bergerac. Covers detached.

- Magugliani, Lodovico. La Pittura del Giovanni Canaletto.

- Mallarmé, Stéphane. Vers et Prose. Paper darkened from age.

- Manet, Julie. Journal, 1987.

- Many authors. Maillol, 1946.

- Martinet, L. Reunies. Missing front board and title page, (unsure of title).

- Mauclair, Camille. Les Maîtres de L’Impressionnisme.

- Mauclair, Camille. Claude Monet et l’Impressionnisme.

- Mermillon, Marius. Albert André, 1927, inscribed by author to Claude.

Spine cracked and taped, dj torn and foxed.

- Milner, John. Ateliers d’Artistes.

- Mirbeau, Octave. Cézanne, Bernheim-Jeune, limited. Missing spine.

- Moreau-Melaton, Etienne. Corot, 1913.

- Pillsbury, Edmund. Kimbell Art Museum, In Pursuit of Quality, inscribed by author to Paul - Pirosmanachvili, Niko. [Russian title in Cyrillic], Russian art.

- Pool, Phoëbe. Impressionism.

- Renoir, Jean. Jeanne Baudot Retrospective.

- Rey, Robert. La Renaissance du Sentiment Classique, 1931, inscribed by author. Lacking spine.

- Rivière, Georges. Cézanne. Front softcover & spine detached.

- Rivière, Georges. Mr. Degas, 1938.

- Robida, Michel. Le Salon Charpentier, 1959, inscribed by author to Claude.

- Robiquet, Jean. Impressionnisme vécu, inscribed by author.

- Roger-Marx, Claude. Utrillo, 1953.

- Roger-Marx, Claude. Maître du XIXe Siècle et du XXe. - Rombaldi. Oeuvres Completes de Paul Verlaine. Soft cover torn and taped - Rouart, D., Stevanovic M. Degas und Renoir.

- Rousselot, Jean. La Vie passionnée de Frédéric Chopin.

- Sauvaigo, J. M. La Guerre d’Algérie à coeur, signed manuscript.

- Schweitzer, Albert. Histoires de la forêt vierge. Paper darkened from age.

- Sommer, F. Pourquoi ces bêtes sont-elles sauvages. Soft cover detached from pages.

- Société Paul Cézanne. Tombeau de Cézanne, 1956.

- Solas, Alexandré. Magritte Susse Fondeur. Les Maîtres du Bronze.

- Tante Marie. La Veritable Cuisine de Famille. Boards taped to spine and detached from pages.

- Tapie, Miche. Impressionnistes.

- Thevenin, Leon. Puvis de Chavannes, 1899.

- Tisné, Pierre. Gauguin, 1947.

- Twain, Mark. Exploits de Tom Sawyer détective et autres nouvelles.

Paper darkened from age.

- Venturi, Lionello. de Manet a Lautrec, 1953.

- Vollard, Ambroise. En Ecoutant Cézanne, Degas Renoir, 1956, inscribed by author to Paul Renoir.

- Vollard, Ambroise. Souvenirs d’un Marchand de Tableaux, 1937.

- Waldemar, George. Maillol, 1971, 2 copies.

- Waleffe, Pierre. la Vie des Grands Peintres Impressionnistes et Nabis.

Estimate: $5,000-$7,000

End of Auction

The Unknown Renoir, Auction #5157 | Thursday, September 19, 2013 | 4:00 PM ET 109

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Signature® Auctions and Grand Format Auctions accept bids from the Internet, telephone, fax, or mail first, followed by a floor bidding session; HeritageLive! and real- time telephone bidding are available to registered clients during these auctions.

Bidders: 4. Any person participating or registering for the Auction agrees to be bound by and accepts these Terms and Conditions of Auction (“Bidder(s)”).

5. All Bidders must meet Auctioneer’s qualifications to bid. Any Bidder who is not a client in good standing of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude any person from the auction.

6. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid.

Credit: 7. In order to place bids, Bidders who have not established credit with the Auctioneer must either furnish satisfactory credit information (including two collectibles-related business references) or supply valid credit card information along with a social security number, well in advance of the Auction. Bids placed through our Interactive Internet program will only be accepted from preregistered Bidders. Bidders who are not members of HA.com or affiliates should preregister at least 48 hours before the start of the first session (exclusive of holidays or weekends) to allow adequate time to contact references. Credit will be granted at the discretion of Auctioneer. Additionally Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide their social security number or the last four digits thereof so a credit check may be performed prior to Auctioneer’s acceptance of a bid. Check writing privileges and immediate delivery of merchandise may also be determined by pre-approval of credit based on a combination of criteria: HA.com history, related industry references, bank verification, a credit bureau report and/or a personal guarantee for a corporate or partnership entity in advance of the auction venue.

Bidding Options: 8. Bids in Signature® Auctions or Grand Format Auctions may be placed as set forth in the printed catalog section entitled “Choose your bidding method.” For auctions held solely on the Internet, see the alternatives on HA.com. Review at HA.com/common/howtobid.php.

9. Presentment of Bids: Non-Internet bids (including but not limited to podium, fax, phone and mail bids) are treated similar to floor bids in that they must be on-increment or at a half increment (called a cut bid). Any podium, fax, phone, or mail bids that do not conform to a full or half increment will be rounded up or down to the nearest full or half increment and this revised amount will be considered your high bid.

10. Auctioneer’s Execution of Certain Bids. Auctioneer cannot be responsible for your errors in bidding, so carefully check that every bid is entered correctly. When identical mail or FAX bids are submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business at least two business days before the Auction start. Auctioneer is not responsible for executing mail bids or FAX bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is Auctioneer responsible for proper execution of bids submitted by telephone, mail, FAX, e-mail, Internet, or in person once the Auction begins. Bids placed electronically via the internet may not be withdrawn until your written request is received and acknowledged by Auctioneer (FAX: 214-443-8425); such requests must state the reason, and may constitute grounds for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction unless prearranged.

11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest amount you may bid on a particular lot. Bids greater than one increment over the current bid can be any whole dollar amount. It is possible under several circumstances for winning bids to be between increments, sometimes only $1 above the previous increment. Please see: “How can I lose by less than an increment?” on our website. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted.

The following chart governs current bidding increments for Signature auctions; Internet-only auction bidding increments are approximately half of these amounts (see HA.com/c/ref/web-tips.zx#guidelines-increments).

Current Bid...............Bid Increment Current Bid...............Bid Increment $10,000 - $19,999.....................$1,000 < - $10...............................................$1 $20,000 - $29,999.....................$2,000 $10 - $29...........................................$2 $30,000 - $49,999.....................$2,500 $30 - $49...........................................$3 $50,000 - $99,999.....................$5,000 $50 - $99...........................................$5 $100,000 - $199,999.............. $10,000 $100 - $199.....................................$10 $200,000 - $299,999.............. $20,000 $200 - $299.....................................$20 $300,000 - $499,999.............. $25,000 $300 - $499.....................................$25 $500,000 - $999,999.............. $50,000 $500 - $999.....................................$50 $1,000,000 - $4,999,999...... $100,000 $1,000 - $1,999.............................$100 $5,000,000- $9,999,999....... $250,000 $2,000 - $2,999.............................$200 >$10,000,000........................... $500,000 $3,000 - $4,999.............................$250 $5,000 - $9,999.............................$500 12. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at half of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue to participate only at full increments. Off-increment bids may be accepted by the Auctioneer at Signature® Auctions and Grand Format Auctions. If the Auctioneer solicits bids other than the expected increment, these bids will not be considered Cut Bids.

Conducting the Auction: 13. Notice of the consignor’s liberty to place bids on his lots in the Auction is hereby made in accordance with Article 2 of the Texas Business and Commercial Code. A “Minimum Bid” is an amount below which the lot will not sell. THE CONSIGNOR OF PROPERTY MAY PLACE WRITTEN ”Minimum Bids” ON HIS LOTS IN ADVANCE OF THE AUCTION; ON SUCH LOTS, IF THE HAMMER PRICE DOES NOT MEET THE “Minimum Bid”, THE CONSIGNOR MAY PAY A REDUCED COMMISSION ON THOSE LOTS. ”Minimum Bids” are generally posted online several days prior to the Auction closing. For any successful bid placed by a consignor on his Property on the Auction floor, or by any means during the live session, or after the ”Minimum Bid” for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium and Seller’s Commissions on such lot.

14. The highest qualified Bidder recognized by the Auctioneer shall be the Buyer. In the event of a tie bid, the earliest bid received or recognized wins. In the event of any dispute between any Bidders at an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a competing bid may have been higher. Auctioneer reserves the right after the hammer fall to accept bids and reopen bidding for bids placed through the Internet or otherwise.

15. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, in its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent or irresponsible person, a person under the age of eighteen, or is not supported by satisfactory credit, collectibles references, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any person apparently appearing on the OFAC list is not eligible to bid.

16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, or very nominal advances. If a lot bearing estimates fails to open for 40–60% of the low estimate, the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.

17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50%-60% of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold.

18. All items are to be purchased per lot as numerically indicated and no lots will be broken. Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction.

19. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a warranty, disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, or for any other reason and in Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) and any other damages or expenses pertaining to the lot.

20. Auctioneer occasionally experiences Internet and/or Server service outages, and Auctioneer periodically schedules system downtime for maintenance and other purposes, during which Bidders cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact Client Services at 877-HERITAGE (437-4824).

21. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction, and may bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any such bids at any time prior to the hammer based upon data made known to the Auctioneer or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors.

22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

Payment: 23. All sales are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier checks, travelers checks, eChecks, and bank money orders, and are subject to all reporting requirements). All deliveries are subject to good funds; funds being received in Auctioneer’s account before delivery of the Purchases; and all payments are subject to a clearing period. Auctioneer reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten business day hold, and thirty days when drawn on an international bank. Clients with pre-arranged credit status may receive immediate credit for payments via eCheck, personal or corporate checks. All others will be subject to a hold of 5 days, or more, for the funds to clear prior to releasing merchandise. (ref. T&C item 7 Credit for additional information.) Payments can be made 24-48 hours post auction from the My Orders page of the HA.com website.

24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Auctioneer reserves the right to void an invoice if payment in full is not received within 7 days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot and any other damages pertaining to the lot.

25. Lots delivered to you, or your representative in the States of Texas, California, New York, or other states where the Auction may be held, are subject to all applicable state and local taxes, unless appropriate permits are on file with Auctioneer. (Note: Coins are only subject to sales tax in California on invoices under $1500 and in Texas on invoices under $1000. Check the Web site at: http://coins.ha.com/c/ref/sales-tax.zx for more details.) Bidder agrees to pay Auctioneer the actual amount of tax due in the event that sales tax is not properly collected due to: 1) an expired, inaccurate, inappropriate tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other reason. The appropriate form or certificate must be on file at and verified by Auctioneer five days prior to Auction or tax must be paid; only if such form or certificate is received by Auctioneer within 4 days after the Auction can a refund of tax paid be made. Lots from different Auctions may not be aggregated for sales tax purposes.

26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck and your financial institution denies this transfer from your bank account, or the payment cannot be completed using the selected funding source, you agree to complete payment using your credit card on file.

27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice not paid when due will bear a three percent (3%) late fee on the invoice amount or three percent (3%) of any installment that is past due. If the Auctioneer refers any invoice to an attorney for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer. If Auctioneer assigns collection to its in-house legal staff, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

28. In the event a successful Bidder fails to pay any amounts due, Auctioneer reserves the right to sell the lot(s) securing the invoice to any underbidders in the Auction that the lot(s) appeared, or at subsequent private or public sale, or relist the lot(s) in a future auction conducted by Auctioneer. A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 10% seller’s commission, if consigned to an auction conducted by Auctioneer). The defaulting Bidder is liable to pay any difference between his total original invoice for the lot(s), plus any applicable interest, and the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less the 10% seller’s commissions, if sold at an Auctioneer’s auction.

Terms and Conditions of Auction 29.Auctioneer reserves the right to require payment in full in good funds before delivery of the merchandise.

30. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any Auction invoice or any other amounts due the Auctioneer or affiliates from the buyer. With respect to these lien rights, Auctioneer shall have all the rights of a secured creditor under Article 9 of the Texas Uniform Commercial Code, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the buyer waives any and all rights of offset he might otherwise have against the Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.

31. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the buyer to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

Delivery; Shipping; and Handling Charges: 32. Buyer is liable for shipping and handling. Please refer to Auctioneer’s website www.HA.com/common/ shipping.php for the latest charges or call Auctioneer. Auctioneer is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs. Buyer agrees that Service and Handling charges related to shipping items which are not pre-paid may be charged to the credit card on file with Auctioneer.

33. Successful international Bidders shall provide written shipping instructions, including specified customs declarations, to the Auctioneer for any lots to be delivered outside of the United States.

NOTE: Declaration value shall be the item’(s) hammer price together with its buyer’s premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

34. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk of loss during shipment will be borne by Heritage until the shipping carrier’s confirmation of delivery to the address of record in Auctioneer’s file (carrier’s confirmation is conclusive to prove delivery to Bidder; if the client has a Signature release on file with the carrier, the package is considered delivered without Signature) or delivery by Heritage to Bidder’s selected third-party shipper. On all foreign shipments, any risk of loss during shipment will be borne by the Bidder following Auctioneer’s delivery to the Bidder’s designated common carrier or third-party shipper.

35. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to arrange pick-up and shipping through third-parties; as to such items Auctioneer shall have no liability. Failure to pick-up or arrange shipping in a timely fashion (within ten days) shall subject Lots to storage and moving charges, including a $100 administration fee plus $10 daily storage for larger items and $5.00 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, including a 10% Seller’s Commission.

36A. The laws of various countries regulate the import or export of certain plant and animal properties, including (but not limited to) items made of (or including) ivory, whalebone, turtle shell, coral, crocodile, or other wildlife. Transport of such lots may require special licenses for export, import, or both. Bidder is responsible for: 1) obtaining all information on such restricted items for both export and import; 2) obtaining all such licenses and/or permits. Delay or failure to obtain any such license or permit does not relieve the buyer of timely compliance with standard payment terms.

For further information, please contact Ron Brackemyre at 800- 872-6467 ext. 1312.

36B. Auctioneer shall not be liable for any loss caused by or resulting from: a. Seizure or destruction under quarantine or Customs regulation, or confiscation by order of any Government or public authority, or risks of contraband or illegal transportation of trade, or b. Breakage of statuary, marble, glassware, bric-a-brac, porcelains, jewelry, and similar fragile articles 37. Any request for shipping verification for undelivered packages must be made within 30 days of shipment by Auctioneer.

Cataloging, Warranties and Disclaimers: 38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items or second opine contained in this Auction is for the sole purpose of identifying the items for those Bidders who do not have the opportunity to view the lots prior to bidding, and no description of items has been made part of the basis of the bargain or has created any express warranty that the goods would conform to any description made by Auctioneer. Color variations can be expected in any electronic or printed imaging, and are not grounds for the return of any lot.

NOTE: Auctioneer, in specified auction venues, for example, Fine Art, may have express written warranties and you are referred to those specific terms and conditions. .

39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular purposes. All images, descriptions, sales data, and archival records are the exclusive property of Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any other uses deemed appropriate.

40. Translations of foreign language documents may be provided as a convenience to interested parties. Auctioneer makes no representation as to the accuracy of those translations and will not be held responsible for errors in bidding arising from inaccuracies in translation.

41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any benefit of these Terms and Conditions and any rights, if any, established hereunder are personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion and does not constitute a warranty or representation. No employee of Auctioneer may alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null and void.

42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basis for any claim for return or reduction in purchase price.

Release: 43. In consideration of participation in the Auction and the placing of a bid, Bidder expressly releases Auctioneer, its officers, directors and employees, its affiliates, and its outside experts that provide second opines, from any and all claims, cause of action, chose of action, whether at law or equity or any arbitration or mediation rights existing under the rules of any professional society or affiliation based upon the assigned description, or a derivative theory, breach of warranty express or implied, representation or other matter set forth within these Terms and Conditions of Auction or otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred therein are strictly construed as specifically declared herein; e.g., authenticity, typographical error, etc. and are the exclusive remedy. Bidder, by non-compliance to these express terms of a granted remedy, shall waive any claim against Auctioneer.

44. Notice: Some Property sold by Auctioneer are inherently dangerous e.g. firearms, cannons, and small items that may be swallowed or ingested or may have latent defects all of which may cause harm to a person. Purchaser accepts all risk of loss or damage from its purchase of these items and Auctioneer disclaims any liability whether under contract or tort for damages and losses, direct or inconsequential, and expressly disclaims any warranty as to safety or usage of any lot sold.

Dispute Resolution and Arbitration Provision: 45. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and Conditions of Auction, and specifically agrees to the dispute resolution provided herein. Consumer disputes shall be resolved through court litigation which has an exclusive Dallas, Texas venue clause and jury waiver. Non-consumer dispute shall be determined in binding arbitration which arbitration replaces the right to go to court, including the right to a jury trial.

46. Auctioneer in no event shall be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction of any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title, or other transfer or condition issue is claimed, in such cases the sole remedy shall be limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

47. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation.

48. Dispute Resolution for Consumers and Non-Consumers: Any claim, dispute, or controversy in connection with, relating to and /or arising out of the Auction, participation in the Auction, award of lots, damages of claims to lots, descriptions, condition reports, provenance, estimates, return and warranty rights, any interpretation of these Terms and Conditions, any alleged verbal modification of these Terms and Conditions and/or any purported settlement whether asserted in contract, tort, under Federal or State statute or regulation shall or any other matter: a) if presented by a consumer, be exclusively heard by, and the parties consent to, exclusive in personam jurisdiction in the State District Courts of Dallas County, Texas. THE PARTIES EXPRESSLY WAIVE ANY RIGHT TO TRIAL BY JURY. Any appeals shall be solely pursued in the appellate courts of the State of Texas; or b) for any claimant other than a consumer, the claim shall be presented in confidential binding arbitration before a single arbitrator, that the parties may agree upon, selected from the JAMS list of Texas arbitrators. The case is not to be administrated by JAMS; however, if the parties cannot agree on an arbitrator, then JAMS shall appoint the arbitrator and it shall be conducted under JAMS rules. The locale shall be Dallas Texas. The arbitrator’s award may be enforced in any court of competent jurisdiction. Any party on any claim involving the purchase or sale of numismatic or related items may elect arbitration through binding PNG arbitration. Any claim must be brought within one (1) year of the alleged breach, default or misrepresentation or the claim is waived. This agreement and any claims shall be determined and construed under Texas law. The prevailing party (party that is awarded substantial and material relief on its claim or defense) may be awarded its reasonable attorneys’ fees and costs.

49. No claims of any kind can be considered after the settlements have been made with the consignors.

Any dispute after the settlement date is strictly between the Bidder and consignor without involvement or responsibility of the Auctioneer.

50. In consideration of their participation in or application for the Auction, a person or entity (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment thereof, shall be arbitrated pursuant to the arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall be exclusively in the Courts of the State of Texas, in Dallas County, Texas, and if necessary the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction participant also expressly submits himself to the personal jurisdiction of the State of Texas.

51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot.

Miscellaneous: 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, Auctioneer reserves the right to charge Bidder the applicable Buyer’s Premium and consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.

53. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by Heritage in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. Heritage may from time to time contact Bidder concerning sale, purchase, and auction opportunities available through Heritage and its affiliates and subsidiaries.

54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Terms and Conditions of Auction by these additional rules and shall be construed to give force and effect to the rules in their entirety.

State Notices: Notice as to an Auction in California. Auctioneer has in compliance with Title 2.95 of the California Civil Code as amended October 11, 1993 Sec. 1812.600, posted with the California Secretary of State its bonds for it and its employees, and the auction is being conducted in compliance with Sec. 2338 of the Commercial Code and Sec. 535 of the Penal Code.

Notice as to an Auction in New York City. These Terms and Conditions of Sale are designed to conform to the applicable sections of the New York City Department of Consumer Affairs Rules and Regulations as Amended. This sale is a Public Auction Sale conducted by Heritage Auctioneers & Galleries, Inc. # 41513036. The New York City licensed auctioneers are: Sam Foose, #095260; Kathleen Guzman, #0762165; Nicholas Dawes, #1304724; Ed Beardsley, #1183220; Scott Peterson, #1306933; Andrea Voss, #1320558, who will conduct the Sale on behalf of itself and Heritage Numismatic Auctions, Inc. (for Coins) and Currency Auctions of America, Inc. (for currency). All lots are subject to: the consignor’s rights to bid thereon in accord with these Terms and Conditions of Sale, consignor’s option to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited extended financing to registered bidders, in accord with Auctioneer’s internal credit standards. A registered bidder may inquire whether a lot is subject to an advance or a reserve. Auctioneer has made advances to various consignors in this sale. On lots bearing an estimate, the term refers to a value range placed on an item by the Auctioneer in its sole opinion but the final price is determined by the bidders.

Notice as to an Auction in Texas. In compliance with TDLR rule 67.100(c)(1), notice is hereby provided that this auction is covered by a Recovery Fund administered by the Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711 (512) 463-6599. Any complaints may be directed to the same address.

Notice as to an Auction in Ohio: Auction firm and Auctioneer are licensed by the Dept. of Agriculture, and either the licensee is bonded in favor of the state or an aggrieved person may initiate a claim against the auction recovery fund created in Section 4707.25 of the Revised Code as a result of the licensee’s actions, whichever is applicable.

Rev. 6-18-2013

Terms and Conditions of Auction Additional Terms & Conditions: FINE & DECORATIVE ARTS AUCTIONS FINE AND DECORATIVE ARTS TERM A: LIMITED WARRANTY: Auctioneer warrants authorship, period or culture of each lot sold in this catalog as set out in the BOLD-face type heading in the catalog description of the lot, with the following exclusions. This warranty does not apply to: i. authorship of any paintings, drawings or sculpture created prior to 1870, unless the lot is determined to be a counterfeit which has a value at the date of the claim for rescission which is materially less than the purchase price paid for the lot; or ii. any catalog description where it was specifically mentioned that there is a conflict of specialist opinion on the authorship of a lot; or iii. authorship which on the date of sale was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or iv. the identification of periods or dates of execution which may be proven inaccurate by means of scientific processes not generally accepted for use until after publication of the catalog, or which were unreasonably expensive or impractical to use at the time of publication of the catalog.

The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago with the intent to deceive. The authenticity of signatures, monograms, initials or other similar indications of authorship is expressly excluded as a controlling factor in determining whether a work is a counterfeit under the meaning of these Terms and Conditions of Auction.

FINE AND DECORATIVE ARTS TERM B: GLOSSARY OF TERMS: Terms used in this catalog have the following meanings. Please note that all statements in this catalog, excluding those in BOLD-face type, regarding authorship, attribution, origin, date, age, provenance and condition are statements of opinion and are not treated as a statement of fact.

1. THOMAS MORAN In our opinion, the work is by the artist.

2. ATTRIBUTED TO THOMAS MORAN In our opinion, the work is of the period of the artist which may be whole or in part the work of the artist.

3. STUDIO, (CIRCLE OR WORKSHOP) OF THOMAS MORAN In our opinion, the work is of the period and closely relates to his style.

4. SCHOOL OF THOMAS MORAN In our opinion, the work is by a pupil or a follower of the artist.

5. MANNER OF THOMAS MORAN In our opinion, the work is in the style of the artist and is of a later period.

6. AFTER THOMAS MORAN In our opinion, this work is a copy of the artist.

7. ASCRIBED TO THOMAS MORAN In our opinion, this work is not by the artist, however, previous scholarship has noted this to be a work by the artist.

8. SIGNED (OR DATED) The work has a signature (or date) which is in our opinion is genuine.

9. BEARS SIGNATURE (OR DATE) The work has a signature (or date) which in our opinion is not authentic.

FINE AND DECORATIVE ARTS TERM C: PRESENTMENT: The warranty as to authorship is provided for a period of one (1) year from the date of the auction and is only for the benefit of the original purchaser of record and is not transferable.

FINE AND DECORATIVE ARTS TERM D: The Auction is not on approval. Under extremely limited circumstances (e.g. gross cataloging error), not including attributions in BOLD-face type, which are addressed in Term F below, a purchaser who did not bid from the floor may request Auctioneer to evaluate voiding a sale; such request must be made in writing detailing the alleged gross error, and submission of the lot to Auctioneer must be pre-approved by Auctioneer. A bidder must notify the appropriate department head (check the inside front cover of the catalog or our website for a listing of department heads) in writing of the purchaser’s request within three (3) days of the non-floor bidder’s receipt of the lot. Any lot that is to be evaluated for return must be received in our offices within 40 days after Auction. AFTER THAT 40-DAY PERIOD, NO LOT MAY BE RETURNED FOR ANY REASON. Lots returned must be in the same condition as when sold and must include any Certificate of Authenticity. No lots purchased by floor bidders (including those bidders acting as agents for others) may be returned. Late remittance for purchases may be considered just cause to revoke all return privileges.

FINE AND DECORATIVE ARTS TERM E: The catalog descriptions are provided for identification purposes only. Bidders who intend to challenge a BOLD-face provision in the description of a lot must notify Auctioneer in writing within forty (40) days of the Auction’s conclusion. In the event Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title or the BOLD-face section of description is incorrect, or other transfer or condition issue is claimed, Auctioneer’s liability shall be limited to rescission of sale and refund of purchase price. In no case shall Auctioneer’s maximum liability exceed the successful bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed from the close of the Auction, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

FINE AND DECORATIVE ARTS TERM F: Any claim as to authorship, provenance, authenticity, or other matter under the remedies provided in the Fine Arts Terms and Conditions or otherwise must be first transmitted to Auctioneer by credible and definitive evidence within the applicable claim period. Auctioneer, in processing the written claim, may require the Purchaser to obtain the written opinion of two recognized experts in the field who are mutually accepted by Auctioneer and Purchaser. Upon receipt of the two opinions, Auctioneer shall determine whether to rescind the sale. The Purchaser’s claim must be presented in accord with the remedies provided herein and is subject to the limitations and restrictions provided (including within the described time limitations). Regardless of Purchaser’s submissions there is no assurance after such presentment that Auctioneer will validate the claim. Authentication is not an exact science and contrary opinions may not be recognized by Auctioneer. Even if Auctioneer agrees with the contrary opinion of such authentication and provides a remedy within these Terms and Conditions or otherwise, our liability for reimbursement for bidder’s third party opines shall not exceed $500.

The right of rescission, return, or any other remedy provided in these Terms and Conditions, or any other applicable law, does not extend to authorship of any lot which at the date of Auction was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist, his students, school, workshop or followers. Purchaser by placing a bid expressly waives any claim or damage based on such subsequent information as described herein. It is specifically understood that any refund agreed to by the Auctioneer would be limited to the purchase price.

FINE AND DECORATIVE ARTS TERM G: Provenance and authenticity, excluding attributions in BOLD-face type, are guaranteed by neither the consignor nor Auctioneer. While every effort is made to determine provenance and authenticity, it is the responsibility of the Bidder to arrive at their own conclusion prior to bidding.

FINE AND DECORATIVE ARTS TERM H: On the fall of Auctioneer’s hammer, Buyers of Fine Arts and Decorative Arts lots assumes full risk and responsibility for lot, including shipment by common carrier or third-party shipper, and must provide their own insurance coverage for shipments.

FINE AND DECORATIVE ARTS TERM I: Auctioneer complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A purchaser is required to provide appropriate documents and the payment of associated fees, if any. Purchaser is responsible for providing a shipping address that is suitable for the receipt of a firearm.

FINE AND DECORATIVE ARTS TERM J: Right of Inspection and Return on Certain Lots.

Framed Lots estimated at $1000 or less shall not be unframed for inspection and may not be returned based on condition and are sold “AS IS”.

Heritage Auctions strongly encourages in-person inspection of lots by the Bidder. While Heritage is not obligated to provide a condition report of each lot, Bidders may feel free to contact the department for a Condition Report and Heritage will attempt to furnish one, but shall not be liable for failing to do so. Condition is often detailed online, but is not included in our catalogues. The Bidder should review online descriptions as the descriptions supersede catalog descriptions and those condition reports otherwise provided. Statements by Heritage regarding the condition of objects are for guidance only and should not be relied upon as statements of fact, and do not constitute a representation, warranty, or assumption of liability by Heritage. All lots offered regardless of a condition report are sold “AS IS”.

For wiring instructions call the Credit department at 877-HERITAGE (437-4824) or e-mail: CreditDept@HA.com

New York State Auctions Only

Notice as to an Auction in New York City. These Terms and Conditions of Sale are designed to conform to the applicable sections of the New York City Department of Consumer Affairs Rules and Regulations as Amended. This sale is a Public Auction Sale conducted by Heritage Auctioneers & Galleries, Inc. # 41513036. The New York City licensed auctioneers are: Sam Foose, #095260; Kathleen Guzman, #0762165; Nicholas Dawes, #1304724; Ed Beardsley, #1183220; Scott Peterson, #1306933; Andrea Voss, #1320558, Michael J. Sadler, # 1304630, who will conduct the Sale on behalf of itself and Heritage Numismatic Auctions, Inc. (for Coins) and Currency Auctions of America, Inc. (for currency). All lots are subject to: the consignor’s rights to bid thereon in accord with these Terms and Conditions of Sale, consignor’s option to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited extended financing to registered bidders, in accord with Auctioneer’s internal credit standards.

A registered bidder may inquire whether a lot is subject to an advance or a reserve. Auctioneer has made advances to various consignors in this sale. On lots bearing an estimate, the term refers to a value range placed on an item by the Auctioneer in its sole opinion but the final price is determined by the bidders. Rev 11-19-12 Rev.7-10-2013

How to Ship Your Purchases Heritage Auction Galleries requires “Third Party Shipping” for certain items in this auction not picked up in person by the buyer. It shall be the responsibility of the successful bidder to arrange pick up and shipping through a third party; as to such items auctioneer shall have no liability.

Steps to follow: 1. Select a shipping company from the list below or a company of your choosing which will remain on file and in effect until you advise otherwise in writing.

2. Complete, sign, and return an Agent Shipping Release Authorization form to Heritage (this form will automatically be emailed to you along with your winning bid(s) notice or may be obtained by calling Client Services at 866-835-3243). The completed form may be faxed to 214-409-1425.

3. Heritage Auctions’ shipping department will coordinate with the shipping company you have selected to pick up your purchases.

Agent Shipping Release Authorization form

Shippers that Heritage has used are listed below. However, you are not obligated to choose from the following and may provide Heritage with information of your preferred shipper.

Navis Pack & Ship

The Packing & Moving Center

Craters & Freighters

11009 Shady Trail Dallas, TX 75229 Ph: 972-870-1212 Fax: 214-409-9001 Navis.Dallas@GoNavis.com

2040 E. Arkansas Lane, Ste #222 Arlington, TX 76011 Ph: 817-795-1999 Fax: 214-409-9000 thepackman@sbcglobal.net

2220 Merritt Drive, Suite 200 Garland, TX 75041 Ph: 972-840-8147 Fax: 214-780-5674 dallas@cratersandfreighters.com

• It is the Third Party Shipper’s responsibility to pack (or crate) and ship (or freight) your purchase to you.

Please make all payment arrangements for shipping with your Shipper of choice.

• Any questions concerning Third Party Shipping can be addressed through our Client Services Department at 1-866-835-3243.

• Successful bidders are advised that pick-up or shipping arrangements should be made within ten (10) days of the auction or they may be subject to storage fees as stated in Heritage’s Terms & Conditions of Auction, item 35.

NOTICE of CITES COMPLIANCE; When purchasing items made from protected species.

Any property made of or incorporating endangered or protected species or wildlife may have import and export restrictions established by the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). These items are not available to ship Internationally or in some cases, domestically. By placing a bid the bidder acknowledges that he is aware of the restriction and takes responsibility in obtaining and paying for any license or permits relevant to delivery of the product. Lots containing potentially regulated wildlife material are noted in the description as a convenience to our clients. Heritage Auctions does not accept liability for errors or for failure to mark lots containing protected or regulated species.

rev 3_2013

american art auction

december 4, 2013 | new york | live & online Inquiries: 877-HERITAGE (437-4824) Brian Roughton ext. 1210 BrianR@HA.com Aviva Lehman ext. 1519 AvivaL@HA.com Ariana Hartsock ext. 1283 ArianaH@HA.com

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/ CATL28692 or call 866835-3243 and reference code CATL28692.

ROBERT HENRI | Lucinda, Mexican Girl, 1916 | Oil on canvas | 24 x 20 in. | Estimate: $400,000-$600,000

Annual Sales Exceed $800 Million ❘ 800,000+ Online Bidder-Members 3500 Maple Ave. ❘ Dallas, TX 75219 ❘ 877-HERITAGE (437-4824) ❘ HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Buyer’s Premium 12% – 25%. See HA.com for details. HERITAGE Reg. U.S. Pat & TM Off.

29442

FINE & DECORATIVE ARTS AUCTIONS THE ESTATE AUCTION THE GENTLEMAN COLLECTOR October 5-6 THE RENOIR ESTATE COLLECTION September 19 NATURE & SCIENCE October 20 ILLUSTRATION ART October 26 MODERN & CONTEMPORARY ART FINE PHOTOGRAPHS November 2 FINE SILVER & VERTU November 5 AMERICAN INDIAN ART November 15 WESTERN & CALIFORNIA ART November 16 TEXAS ART November 16 EUROPEAN ART November 16 Lalique & Art Glass December 4 American Art December 4 & 5

GUY ROSE Out to Sea, Point Lobos Oil on canvas, 29-1/2 x 24 in.

Estimate: $200,000 - $300,000 WESTERN & CALIFORNIA ART

We are always accepting consignments in any of our 30+ categories. Visit HA.com for details.

Inquiries: 877-HERITAGE (437-4824), ext. 1444 • FineArt@HA.com For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATJ28692 call 866-835-3243 and reference code CATJ28692.

Annual Sales Exceed $800 Million ❘ 800,000+ Online Bidder-Members 3500 Maple Avenue ❘ Dallas, Texas 75219 ❘ 877-HERITAGE (437-4824) ❘ HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA

TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661.

Buyer’s Premium 12% – 25%. See HA.com for details. HERITAGE Reg. U.S. Pat & TM Off.

28481

european art auction

november 8, 2013 | dallas | live & online Inquiries: 877-HERITAGE (437-4824) Brian Roughton ext. 1210 BrianR@HA.com Marianne Berardi, Ph. D. ext. 1506 MarianneB@HA.com Ariana Hartsock ext. 1283 ArianaH@HA.com

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATD28692 or call 866-835-3243 and reference code CATD28692.

ANDERS LEONARD ZORN | Entering the Cellar, 1916 | Oil on canvas | 38.5 x 29 in.

Estimate: $400,000-$600,000

Annual Sales Exceed $800 Million ❘ 800,000+ Online Bidder-Members 3500 Maple Ave. ❘ Dallas, TX 75219 ❘ 877-HERITAGE (437-4824) ❘ HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Buyer’s Premium 12% – 25%. See HA.com for details. HERITAGE Reg. U.S. Pat & TM Off.

29441

the art of new york auction december 5, 2013 | new york | live & online

GUY CARLETON WIGGINS | The Library, 5th Avenue, circa 1940 | Oil on canvas | 20.25 x 24.25 in. | Estimate: $30,000-$50,000

Inquiries: 877-HERITAGE (437-4824) Brian Roughton | ext. 1210 | BrianR@HA.com Aviva Lehman | ext. 1519 | AvivaL@HA.com Ariana Hartsock | ext. 1283 | ArianaH@HA.com

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATE28692 or call 866-835-3243 and reference code CATE28692.

Annual Sales Exceed $800 Million ❘ 800,000+ Online Bidder-Members 3500 Maple Ave. ❘ Dallas, TX 75219 ❘ 877-HERITAGE (437-4824) ❘ HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Buyer’s Premium 12% – 25%. See HA.com for details. HERITAGE Reg. U.S. Pat & TM Off.

29443

Fine M iner a l s Auc t i o n october 19-20, 2013 | Dallas | Live & Online coming soon: HOPPEL COLLECTION PART II All Specimens at No Reserves

Elbaite Tourmaline on Microcline

Paprok Mine, Afghanistan Overall 5 x 6 inches (12.7 x 15.2 cm); Tourmaline is 4 inches (10.2 cm) tall Estimate: $15,000+

Photography by Mark Mauthner

Inquiries: Craig Kissick 877-HERITAGE (437-4824) x1995 CraigK@HA.com

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATB28692 or call 866-835-3243 and reference code CATB28692.

Proud Sponsor of

Mineral

Annual Sales Exceed $800 Million ❘ 800,000+ Online Bidder-Members 3500 Maple Avenue | Dallas, Texas 75219 | 800-872-6467 | HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA

HA.com/FBNatureandScience HA.com/Twitter TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. HERITAGE Reg. U.S. Pat & TM Off. Buyer’s Premium 12%-25%. See HA.com for details. 29351

Sports Collectibles Auction

World Record Results

The Finest Babe Ruth Single Signed Baseball Known, PSA/ DNA Mint+ 9.5.

The Finest 1927 New York Yankees Team Signed Baseball on Earth.

1926 New York Yankees Team Signed Baseball from The Lou Gehrig Collection, Finest Example Known.

Sold For: $388,375

Sold For: $149,375

Sold For: $131,450

The Finest Known Joe DiMaggio & Marilyn Monroe Signed Baseball.

Sold For: $191,200

The Finest Known Example of a Baseball Signed by The Beatles.

The Finest “Shoeless Joe” Jackson Signed Baseball on Earth.

Sold For: $68,712

Sold For: $77,675

Seeking Consignments • Delivering Results Call 877-HERITAGE (437-4824) to discuss opportunities.

Chris Ivy

derek Grady

Rob Rosen

mark jordan

Mike Gutierrez

Director, Sports Auctions CIvy@HA.com ext. 1319

VP, Sports Auctions DerekG@HA.com ext. 1975

VP, Private Sales & Consignments RRosen@HA.com ext. 1767

Consignment Director MarkJ@HA.com ext. 1187

Consignment Director MikeG@HA.com ext. 1183

Annual Sales E xceed $80 0 Million

| 80 0,0 0 0+ Online Bidder- Members

3500 Maple Avenue | Dallas, Texas 75219 | 877-HERITAGE (437-4824) | HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA

HA.com/FBSports

HA.com/Twitter

TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Buyer’s Premium 19.5%. See HA.com for details.

HERITAGE Reg. U.S. Pat & TM Off. 28374

If You Don’t Wear It You Could Sell It Contact Us to Sell Your Pieces Outright or Auction

Hermès Extraordinary Collection 18cm Diamond Blue Jean Porosus Crocodile Constance with 18K White Gold Hardware Sold for: $50,000

Van Cleef & Arpels Sapphire, Diamond, Platinum Bracelet Sold for: $140,500

J.E. Caldwell Art Deco Natural Fancy Blue Diamond, Diamond, Platinum Ring Sold for: $1,650,500

Hermès 35cm Shiny Blue Electric Porosus Crocodile Birkin Sold for: $61,250

Fine Jewelry

Luxury Accessories

Jill Burgum | 214.409.1697 | JillB@HA.com

Matt Rubinger | 212.486.3519 | Matt@HA.com

Peggy Gottlieb | 310.492.8641 | PGottlieb@HA.com

Caitlin Donovan | 212.486.3682 | CaitlinD@HA.com

Annual Sales Exceed $800 Million ❘ 800,000+ Online Bidder-Members 3500 Maple Ave. ❘ Dallas, TX 75219 ❘ 877-HERITAGE (437-4824) ❘ HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Buyer’s Premium 12%-25%. See HA.com for details. HERITAGE Reg. U.S. Pat & TM Off.

29256

®

FINE & RARE WINE AUCTION FRIDAY, SEPTEMBER 13, 2013 | BEVERLY HILLS

Fine & Rare Wines, with a focus on Blue-Chip Bordeaux, Classic Burgundies, Cult California and fine selections from Italy, the Rhône and the New World Free consolidated shipping to distribution points in New York, Chicago and Hong Kong with prompt invoice settlement Friday, September 13, 6:00 PM PT 9478 W. Olympic Blvd., Beverly Hills, CA 90212 Simultaneous live auction in Hong Kong via Simulcast Saturday, September 14, 10:00 AM in Hong Kong Crown Wine Cellars 18 Deep Water Bay Drive Shouson Hill, Hong Kong Island View Lots & Bid Online at HA.com/5162 Inquiries: Frank Martell 310-492-8616 877-HERITAGE (437-4824),x1753 FrankM@HA.com Poppy Davis 310-492-8619 877-HERITAGE (437-4824),x1559 PoppyD@HA.com

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATA28692 or call 866-835-3243 and reference code CATA28692.

Annual Sales Exceed $800 Million ❘ 800,000+ Online Bidder-Members 9478 West Olympic Blvd. ❘ Beverly Hills, CA 90212 ❘ 877-HERITAGE (437-4824) ❘ HA.com DALLAS ❘ NEW YORK ❘ BEVERLY HILLS ❘ SAN FRANCISCO ❘ HOUSTON ❘ PARIS ❘ GENEVA TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Buyer’s Premium 22%. HERITAGE Reg. U.S. Pat & TM Off.

HA.com/FBWine

HA.com/Twitter 29352

Department Specialists For the extensions below, please dial 877-HERITAGE (437-4824)

Comics & Comic Art

HA.com/Comics Ed Jaster, Ext. 1288 • EdJ@HA.com Lon Allen, Ext. 1261 • LonA@HA.com Steve Borock, Ext. 1337 • SteveB@HA.com Barry Sandoval, Ext. 1377 • BarryS@HA.com Todd Hignite, Ext. 1790 • ToddH@HA.com

Animation Art Jim Lentz, Ext. 1991 • JimL@HA.com

Entertainment & Music Memorabilia HA.com/Entertainment

Margaret Barrett, Ext. 1912 • MargaretB@HA.com ** John Hickey, Ext. 1264 • JohnH@HA.com Garry Shrum, Ext. 1585 • GarryS@HA.com

Vintage Guitars & Musical Instruments HA.com/Guitar Mike Gutierrez, Ext. 1183 • MikeG@HA.com Isaiah Evans, Ext. 1201 • IsaiahE@HA.com

Fine Art

American Indian Art HA.com/AmericanIndian Delia Sullivan, Ext. 1343 • DeliaS@HA.com

Silver & Vertu

HA.com/Silver Karen Rigdon, Ext. 1723 • KarenR@HA.com

Texas Art

HA.com/TexasArt Atlee Phillips, Ext. 1786 • AtleeP@HA.com

Handbags & Luxury Accessories HA.com/Luxury Matt Rubinger, Ext. 1419 • Matt@HA.com Caitlin Donovan, Ext. 1478 • CaitlinD@HA.com

Historical Americana & Political HA.com/Historical Tom Slater, Ext. 1441 • TomS@HA.com John Hickey, Ext. 1264 • JohnH@HA.com Michael Riley, Ext. 1467 • MichaelR@HA.com Don Ackerman, Ext. 1736 • DonA@HA.com

Arms & Armor HA.com/Arms Cliff Chappell, Ext. 1887 • CliffordC@HA.com *** David Carde, Ext. 1881 • DavidC@HA.com ***

Civil War & Militaria

American, Western & European Art

HA.com/CivilWar David Carde, Ext. 1881 • DavidC@HA.com

Ed Jaster, Ext. 1288 • EdJ@HA.com * Brian Roughton, Ext. 1210 • BrianR@HA.com Marianne Berardi, Ph.D., Ext. 1506 • MarianneB@HA.com Ariana Hartsock, Ext. 1283 • ArianaH@HA.com Kirsty Buchanan, Ext. 1741 • KirstyB@HA.com Aviva Lehmann, Ext. 1519 • AvivaL@HA.com *

Historical Manuscripts

HA.com/FineArt

HA.com/Manuscripts Sandra Palomino, Ext. 1107 • SandraP@HA.com

Rare Books

California Art

HA.com/Books James Gannon, Ext. 1609 • JamesG@HA.com Joe Fay, Ext. 1544 • JoeF@HA.com

Alissa Ford, Ext. 1926 • AlissaF@HA.com ***

Space Exploration

HA.com/FineArt

Decorative Arts & Design

HA.com/Decorative Karen Rigdon, Ext. 1723 • KarenR@HA.com Carolyn Mani, Ext. 1677 • CarolynM@HA.com **

Illustration Art HA.com/Illustration

Ed Jaster, Ext. 1288 • EdJ@HA.com * Todd Hignite, Ext. 1790 • ToddH@HA.com

Lalique & Art Glass HA.com/Design

Nicholas Dawes, Ext. 1605 • NickD@HA.com *

Modern & Contemporary Art HA.com/Modern

Frank Hettig, Ext. 1157 • FrankH@HA.com Brandon Kennedy, Ext. 1965 • BrandonK@HA.com

Photographs

HA.com/Photographs Ed Jaster, Ext. 1288 • EdJ@HA.com Rachel Peart, Ext. 1625 • RPeart@HA.com

HA.com/Space John Hickey, Ext. 1264 • JohnH@HA.com Michael Riley, Ext. 1467 • MichaelR@HA.com

Texana HA.com/Historical Sandra Palomino, Ext. 1107 • SandraP@HA.com

Intellectual Property HA.com/IntellectualProperty Aron Meystedt, Ext. 1362 • AronM@HA.com

Jewelry HA.com/Jewelry Jill Burgum, Ext. 1697 • JillB@HA.com Peggy Gottlieb, Ext. 1847 • PGottlieb@HA.com **

Luxury Real Estate HA.com/LuxuryRealEstate Nate Schar, Ext. 1457 • NateS@HA.com Scott Foerst, Ext. 1521 • ScottF@HA.com

Movie Posters

Timepieces

HA.com/MoviePosters Grey Smith, Ext. 1367 • GreySm@HA.com Bruce Carteron, Ext. 1551 • BruceC@HA.com

HA.com/Timepieces Jim Wolf, Ext. 1659 • JWolf@HA.com

Nature & Science HA.com/NatureAndScience

Jim Walker, Ext. 1869 • JimW@HA.com Mary Fong/Walker, Ext. 1870 • MaryW@HA.com Craig Kissick, Ext. 1995 • CraigK@HA.com

Numismatics

Coins – United States HA.com/Coins David Mayfield, Ext. 1277 • DavidM@HA.com Jessica Aylmer, Ext. 1706 • JessicaA@HA.com Win Callender, Ext. 1415 • WinC@HA.com Chris Dykstra, Ext. 1380 • ChrisD@HA.com Mark Feld, Ext. 1321 • MFeld@HA.com Sam Foose, Ext. 1227 • SamF@HA.com Jason Henrichsen, Ext. 1714 • JasonH@HA.com *** Mark Ingold, Ext. 1768 • MarkI@HA.com * Jim Jelinski, Ext. 1257 • JimJ@HA.com Jacob Leudecke, Ext. 1888 • JacobL@HA.com Bob Marino, Ext. 1374 • BobMarino@HA.com Brian Mayfield, Ext. 1668 • BMayfield@HA.com James Mayer, Ext. 1618 • JamesM@HA.com ** Al Pinkall, Ext. 1835 • AlP@HA.com * Robert Powell, Ext. 1837 • RobertP@HA.com Mike Sadler, Ext. 1332 • MikeS@HA.com Beau Streicher, Ext. 1645 • BeauS@HA.com

Rare Currency HA.com/Currency Len Glazer, Ext. 1390 • Len@HA.com Allen Mincho, Ext. 1327 • Allen@HA.com Dustin Johnston, Ext. 1302 • Dustin@HA.com David Liu, Ext. 1584 • DavidL@HA.com Michael Moczalla, Ext. 1481 • MichaelM@HA.com Jason Friedman, Ext. 1582 • JasonF@HA.com

World & Ancient Coins HA.com/WorldCoins Cristiano Bierrenbach, Ext. 1661 • CrisB@HA.com Warren Tucker, Ext. 1287 • WTucker@HA.com David Michaels, Ext. 1606 • DMichaels@HA.com ** Scott Cordry, Ext. 1369 • ScottC@HA.com Matt Orsini, Ext. 1523 • MattO@HA.com Sam Spiegel, Ext. 1524 • SamS@HA.com

Sports Collectibles

HA.com/Sports Chris Ivy, Ext. 1319 • CIvy@HA.com Peter Calderon, Ext. 1789 • PeterC@HA.com Tony Giese, Ext. 1997 • TonyG@HA.com Derek Grady, Ext. 1975 • DerekG@HA.com Mike Gutierrez, Ext. 1183 • MikeG@HA.com Lee Iskowitz, Ext. 1601 • LeeI@HA.com * Mark Jordan, Ext. 1187 • MarkJ@HA.com Chris Nerat, Ext. 1615 • ChrisN@HA.com Rob Rosen, Ext. 1767 • RRosen@HA.com Jonathan Scheier, Ext. 1314 • JonathanS@HA.com

Wine

HA.com/Wine Frank Martell, Ext. 1753 • FrankM@HA.com Poppy Davis, Ext. 1559 • PoppyD@HA.com

Services Appraisal Services

HA.com/Appraisals Meredith Meuwly, Ext. 1631• MeredithM@HA.com

Careers HA.com/Careers

Charity Auctions Jeri Carroll, Ext. 1873 • JeriC@HA.com

Corporate & Institutional Collections/Ventures Erica Smith, Ext. 1828 • EricaS@HA.com Karl Chiao, Ext. 1958 • KarlC@HA.com

Credit Department Marti Korver, Ext. 1248 • Marti@HA.com

Media & Public Relations Noah Fleisher, Ext. 1143 • NoahF@HA.com

Museum Services Erica Denton, Ext. 1828 • EricaS@HA.com

Special Collections Nicholas Dawes, Ext. 1605 • NickD@HA.com *

Trusts & Estates HA.com/Estates Mark Prendergast, Ext. 1632 • MPrendergast@HA.com Karl Chiao, Ext. 1958 • KarlC@HA.com Mimi Kapiloff, Ext. 1681 • MimiK@HA.com * Carolyn Mani, Ext. 1677 • CarolynM@HA.com **

Locations

Dallas (World Headquarters) 214.528.3500 • 877-HERITAGE (437-4824) 3500 Maple Ave. • Dallas, TX 75219 Dallas (Fine & Decorative Arts – Design District Annex) 214.528.3500 • 877-HERITAGE (437-4824) 1518 Slocum St. • Dallas, TX 75207 New York 212.486.3500 445 Park Avenue • New York, NY 10022

Beverly Hills 310.492.8600 9478 W. Olympic Blvd.

Beverly Hills, CA 90212 San Francisco 877-HERITAGE (437-4824) 478 Jackson Street San Francisco, CA 94111

dallas | NEW YORK | SAN FRANCISCO | BEVERLY HILLS | Houston | paris | geneva

Corporate Officers R. Steven Ivy, Co-Chairman James L. Halperin, Co-Chairman Gregory J. Rohan, President Paul Minshull, Chief Operating Officer Todd Imhof, Executive Vice President Kathleen Guzman, Managing Director-New York * Primary office location: New York ** Primary office location: Beverly Hills *** Primary office location: San Francisco

4-24-2013

Location Long Beach New York New York Location Long Beach New York Location Long Beach Orlando Location New York Dallas New York

Auction Dates September 26-29, 2013 November 1-2, 2013 November 15-16, 2013 Auction Dates September 25-30, 2013 January 5-6, 2014 Auction Dates September 25-30, 2013 January 8-11, 2014 Auction Dates September 19, 2013 October 5-6, 2013 October 26, 2013

Consignment Deadline Closed September 18, 2013 Closed Consignment Deadline Closed November 15, 2013 Consignment Deadline Closed November 18, 2013 Consignment Deadline Closed Closed August 19, 2013

Photographs Modern & Contemporary Art Silver & Vertu European Art

Dallas Dallas Dallas Dallas Dallas Dallas Dallas New York New York New York Dallas Location Beverly Hills New York Dallas Dallas Location Dallas Location Beverly Hills Beverly Hills Location Dallas Dallas Location Dallas New York Dallas Dallas Dallas Dallas Dallas Location Dallas Dallas Location Dallas Location Beverly Hills Beverly Hills

November 2, 2013 November 2, 2013 November 5, 2013 November 8, 2013 November 14, 2013 November 15, 2013 November 16, 2013 December 4, 2013 December 4-5, 2013 December 5, 2013 February 22-23, 2014 Auction Dates September 23, 2013 November 22, 2013 December 9, 2012 December 10, 2012 Auction Dates November 16-17, 2013 Auction Dates November 20, 2013 November 21-22, 2013 Auction Dates October 25, 2013 December 6, 2013 Auction Dates September 21, 2013 October 17-18, 2013 November 1, 2013 November 23, 2013 November 24, 2013 December 7, 2013 December 8, 2013 Auction Dates October 24-26, 2013 November 20-22, 2013 Auction Dates October 19-20, 2013 Auction Dates September 13-14, 2013 December 13-14, 2013

August 26, 2013 August 26, 2013 September 2, 2013 September 3, 2013 September 6, 2013 September 8, 2013 September 9, 2013 September 27, 2013 September 27, 2013 September 28, 2013 December 16, 2013 Consignment Deadline Closed September 21, 2013 September 30, 2013 October 9, 2013 Consignment Deadline September 24, 2013 Consignment Deadline October 7, 2013

Western & California Art American Indian Art Texas Art Tiffany, Lalique & Art Glass Fine American Art New York-Themed Fine Art The Estate Auction Jewelry, Timepieces & Luxury Accessory Auctions Jewelry & Luxury Timepieces Fine Jewelry Luxury Accessories Vintage Movie Posters Auctions Vintage Movie Posters Comics Auctions Animation Art Comics & Original Comic Art Entertainment & Music Memorabilia Auctions Vintage Guitars & Musical Instruments Entertainment & Music Memorabilia Historical Grand Format Auctions Legends of the West – McWilliams Texas Ranger Collection Historical Manuscripts + Rare Books Space Exploration Americana Legends of the Wild West Civil War & Militaria Arms & Armor Sports Collectibles Auctions Sports Collectibles Sports Collectibles Nature & Science Auctions Nature & Science Fine & Rare Wine Fine & Rare Wine Fine & Rare Wine

Upcoming Auctions

U.S. Rare Coin Auctions U.S. Rare Coins U.S. Rare Coins The Edward P. Newman Collection Part II World & Ancient Coin Auctions World Coins World Coins Rare Currency Auctions Currency Currency Fine & Decorative Arts Auctions Renoir Estate Auction The Estate Auction Illustration Art

October 8, 2013 Consignment Deadline September 3, 2013 October 15, 2013 Consignment Deadline Closed August 26, 2013 September 10, 2013 October 2, 2013 October 3, 2013 October 16, 2013 October 17, 2013 Consignment Deadline September 2, 2013 September 30, 2013 Consignment Deadline August 25, 2013 Consignment Deadline Closed November 10, 2013 7-30-2013

HA.com/Consign • Consignment Hotline 877-HERITAGE (437-4824) • All dates and auctions subject to change after press time. Go to HA.com for updates.

Heritage Internet-only auctions at 10pm ct: Comics – Sundays Movie Posters - Sundays Sports - Sundays U.S. Coins - Sundays & Tuesdays Currency – Tuesdays Luxury Accessories - Tuesdays

Timepiece & Jewelry – Tuesdays Modern Coins - Thursdays Rare Books & Autographs – Thursdays World Coins - Thursdays Wine - 2nd Thursdays

Auctioneers: Samuel Foose: TX 11727; CA Bond #RSB2004178; FL AU3244; GA AUNR3029; IL 441001482; NC 8373; OH 2006000048; MA 03015; PA AU005443; TN 6093; WI 2230052; NYC 0952360; Denver 1021450; Phoenix 07006332. Robert Korver: TX 13754; CA Bond #RSB2004179; FL AU2916; GA AUNR003023; IL 441001421; MA 03014; NC 8363; OH 2006000049; TN 6439; WI 2412-52; Phoenix 07102049; NYC 1096338; Denver 1021446. Teia Baber: TX 16624; CA Bond #RSB2005525. Ed Beardsley: TX Associate 16632; NYC 1183220. Nicholas Dawes: NYC 1304724. Marsha Dixey: TX 16493. Chris Dykstra: TX 16601; FL AU4069; WI 2566-052; TN 6463; IL 441001788; CA #RSB2005738. Jeff Engelken: CA Bond #RSB2004180. Alissa Ford: CA Bond #RSB2005920. NYC 1094963. Kathleen Guzman: NYC 0762165. Stewart Huckaby: TX 16590. Cindy Isennock, participating auctioneer: Baltimore Auctioneer license #AU10. Carolyn Mani: CA Bond #RSB2005661; Bob Merrill: TX 13408; MA 03022; WI 2557-052; FL AU4043; IL 441001683; CA Bond #RSB2004177.

Cori Mikeals: TX 16582; CA #RSB2005645. Scott Peterson: TX 13256; NYC 1306933; IL 441001659; WI 2431-052; CA Bond #RSB2005395. Michael J. Sadler: TX 16129; FL AU3795; IL 441001478; MA 03021; TN 6487; WI 2581-052; NYC 1304630; CA Bond #RSB2005412. Andrea Voss: TX 16406; FL AU4034; MA 03019; WI 2576-052; CA Bond #RSB2004676; NYC #1320558. Jacob Walker: TX 16413; FL AU4031; WI 2567-052; IL 441001677; CA Bond #RSB2005394. (Rev.7-12)

PRICE • $50

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