American & European Paintings & Prints | Skinner Auction 2507 by Bonhams Skinner

SKINNER J

American & European Paintings & Prints Sale 2507

May 21, 2010

Boston

American & European Paintings & Prints SPECIALISTS IN CHARGE

Robin S. R. Starr Department Director 508.970.3259

Kathy Wong 508.970.3297

Elizabeth C. Haff 508.970.3258

American & European Paintings & Prints Department - 508.970.3206 General Inquiries: paintings@skinnerinc.com

AUCTION 2507 Friday, May 21, 2010 Prints & Photography at 12 noon Paintings & Sculpture at 4 p.m.

63 Park Plaza Boston, Massachusetts

PREVIEW Wednesday, May 19, 2010 Thursday, May 20, 2010 Friday, May 21, 2010

12 to 5 p.m. 12 to 8 p.m. 9 to 10:30 a.m.

ABSENTEE BIDDING Tel: 617.874.4318 Fax: 617.350.5429 Online: www.skinnerinc.com

GENERAL INQUIRIES 617.350.5400 COVER : 535 ( DETAIL ) ; FRONTISPIECE : 81 ( DETAIL ) ; BACK COVER : 548

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TABLE OF CONTENTS 1

Auction & Specialist Information

Web Site & Online Bidding

4-5

Event Announcements

Provenance

Prints & Photography - Lots 1-188

Paintings & Sculpture - Lots 200-580

310

Glossary of Terms

311

Artist Index

314

Conditions of Sale

315

Absentee Bid Form

316

Company Directors & Specialty Departments

317

Administrative Staff & Client Services

318

Map & Driving Directions

319

Catalogue Subscription Form

Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 314 of this catalogue for the full terms and conditions governing your purchase.

SKINNER presents a Fine Art Gallery Walk Presented by Robin Starr, Director of Skinner’s Paintings Department

Thursday, May 20, 2010 5:30 p.m. Reception/6:00 p.m. Gallery Walk

63 Park Plaza Boston, MA R.S.V.P. 617.350.5400 Reservations are Limited

Gallery Walk held in conjunction with a preview of Skinner’s May 21st auction of American & European Paintings & Prints

Upcoming Auction American & European Paintings & Prints September 24th, 2010 Boston, MA

Laura Coombs Hills (American, 1859-1952), Rosy Morns

Edward Hopper (American, 1882-1967), Night Shadows, 1921

Consignment Deadline: June 30th, 2010 For more information please contact our Paintings & Prints department at 508.970.3206 or email paintings@skinnerinc.com

www.skinnerinc.com Dean Cornwell (American, 1892-1960), Portrait of a Young Woman Reading

Provenance

Collection of Melvin B. Nessel, Boston, Massachusetts Lots: 522, 534

Estate of Anne P. Owsley, Delray Beach, Florida, and Isleboro, Maine Lot: 315

Estate of Sir Edwin A.G. Manton Lot: 254A

Estate of Eleanor Kanegis Levin, East Gloucester, Massachusetts Lots: 38, 107, 120, 134, 523

Estate of Joan E. Goody, Boston, Massachusetts Lots: 527, 573, 574

Estate of Mary Lee Ingbar, Cambridge, Massachusetts Lots: 8, 27, 28, 59, 63, 65-67, 75, 78, 81, 89, 98, 103, 117, 135, 140-144, 147-149, 154, 164, 490, 530, 535, 552, 554, 559, 566

Estate of N. David Scotti, Providence, Rhode Island Lots: 201, 223, 243, 330

The Property of Samuel E. Codman, Charles G. Loring House, Prides Crossing, Massachusetts Lot: 321

Through the Collection of Carl Augustus Weyerhaeuser, by family descent Lot: 433

Through the Collection of Henry Lee Higginson, by Higginson family descent Lots: 298, 323, 346, 348

Session I

Prints & Photography Lots 1-188 to be sold Friday, May 21st, 2010 at 12 noon

1. Yaacov Agam (Israeli, b. 1928)

3. Ivan Le Lorraine Albright (American, 1897-1983)

Untitled. Signed “Agam” in blue ink l.r., inscribed and numbered “H.C. 7/25” in blue ink l.l. Color agamograph, sight size 13 1/2 x 13 3/4 in. (34.2 x 34.9 cm), framed. Condition: Not examined out of frame. $600-800

Fleeting Time Thou Hast Left Me Old, 1945, edition of 250, published by Associated American Artists (Grayson, 11). Signed “Ivan Le Lorraine Albright” in pencil l.r., titled in pencil l.l., identified on a label from AAA affixed to the mat. Lithograph on paper, image size 13 3/4 x 9 3/4 in. (34.8 x 24.7 cm), matted, unframed. Condition: Margins 1 inch or more with three edges deckled, unobtrusive toning. $300-500

2. Anni Albers (German, 1899-1994) Fox II, 1972, edition of 150. Signed and dated “Anni Albers 1972” in pencil l.r., titled and numbered “...92/150” in pencil l.l. Screenprint in brown and gray on paper, image size 13 1/4 x 14 3/4 in. (33.7 x 37.4 cm), framed. Condition: Margins over 2 1/2 inches, not examined out of frame. $400-600

4. Niels Yde Andersen (Danish/American, 1888-1952) Lot of Three Images: Steam Pipes and Cat Walks, lithograph; Repairs, etching and aquatint; and The Crossing, etching. Unsigned. Image/plate sizes to 11 7/8 x 9 7/8 in. (30.1 x 25.0 cm), unmatted, unframed. Condition: Most edges deckled, unobtrusive soiling, nicks, tears and creases to some edges, additional handling marks and/or creases. $200-250

5. James Aponovich (American, b. 1948) Still Life with Leeks, edition of 100. Signed “J Aponovich” in pencil l.r., titled in pencil l.c., numbered “41/100” in pencil l.l. Lithograph on paper, image size 18 x 24 in. (45.5 x 61.0 cm), framed. Condition: Not examined out of frame. $200-300

6. Karel Appel (Dutch, 1921-2006)

Untitled (Figure), 1976, edition of 99. Signed and dated “appel 76” in pencil l.r., numbered “97/99” in pencil l.l. Color lithograph on cream paper, image size 23 1/4 x 14 1/2 in. (59.0 x 36.7 cm), framed. Condition: Margins over 1 1/2 inches, subtle toning/staining, not examined out of frame. $500-700

7. Karel Appel (Dutch, 1921-2006)

8. Hans (Jean) Arp (French, 1886-1966)

Untitled (Two Figures), edition of 125. Signed “appel” in pencil l.r., numbered “41/125” in pencil l.l. Color lithograph on cream paper, image size 28 3/8 x 20 7/8 in. (72.0 x 53.0 cm), framed. Condition: Margins 2 inches or more with a deckled upper edge, subtle toning/staining. $500-700

Dreams and Projects, published in 1952 by Curt Valentin, New York, edition of 320, unbound containing two sets of the twenty-eight woodcuts (one printed on Arches, the other on Japan paper). Signed “Arp-” in pencil and numbered “3” on the colophon, signed and numbered “Arp- Arp- 3/25” in pencil on the folder for the set on Japan paper. Sheet sizes 11 1/4 x 9 in. (28.5 x 22.8 cm), presented in the original slipcover. Condition: Extremely subtle toning, minor transfer staining to some of the Arches sheets, ex libris label from Nelson A. Rockefeller to interior folder of slipcase. Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York; purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $2,000-3,000

9. Alexander Archipenko (Ukrainian/American, 1887-1964) Stillleben, from the DIE SCHAFFENDEN Portfolio, 1922, total edition of 125 (Karshan, 28). Signed “Archipenko” in pencil l.r., dry stamped “DIE SCHAFFENDEN” u.l. Lithograph on paper, image size 11 1/2 x 15 in. (29.2 x 38.2 cm), unmatted, unframed. Condition: Margins 1/4 inch or more with deckled edges, unobtrusive toning and foxing. $300-500

10. Alexander Archipenko (Ukrainian/American, 1887-1964)

11. Georg Baselitz (German, b. 1938)

Torso in Space, 1952, edition of 50 (Karshan, 37). Numbered and signed “11/50 Archipenko” in ink l.l. Color screenprint with lithography and embossing on paper, image/sheet size 14 7/8 x 24 in. (37.8 x 61.0 cm), matted, unframed. Condition: Several small deformations to image, masking tape to some edges on the reverse. $3,000-3,500

Head, 1984, edition of 10. Numbered, signed, and dated “8/10 G Baselitz 84” in pencil l.r., identified on a label from The Alpha Gallery, Boston, on the backing. Color woodcut on paper, image size 25 1/2 x 19 5/8 in. (64.6 x 49.7 cm), framed. Condition: Margins 1/2 inch or more, not examined out of frame. $3,500-4,500

12. Leonard Baskin (American, 1922-2000) Lot of Eight Animal Images: Beetle, 1951, printed in red, for the 1961 edition (Fern & O’Sullivan, 100); Crows, 1951 (Fern & O’Sullivan, 103); Flea, 1951, printed in red (Fern & O’Sullivan, 105); Mandrill, 1951 (Fern & O’Sullivan, 111); Still Life/New Year’s Greeting, 1953 (Fern & O’Sullivan, 227); Ex-Libris for Samuel D. Lockshin, 1954, impression outside of the edition with letters, printed in red-orange (Fern & O’Sullivan, 245); Boar, 1957 (Fern & O’Sullivan, 304); and Stag, 1957 (Fern & O’Sullivan, 306). Each signed “Baskin” in pencil l.r. Wood engravings and linocuts on paper, sheet sizes approximately 10 x 12 in. (25.0 x 30.5 cm), unmatted, unframed. Condition: Good. $500-700

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13. Leonard Baskin (American, 1922-2000) Lot of Three Images of Heads: Page Thirty-four, from A POEM CALLED THE TUNING OF ELYNOUR RUMMYNGE, 1953 (Fern & O’Sullivan, 239); Jacques Callot, 1958 (Fern & O’Sullivan, 724); and Bartleby the Scrivener, 1959 (Fern & O’Sullivan, 378). Each signed “Baskin” in pencil l.r. Woodcuts on paper, sheet sizes approximately 10 x 12 in. (25.0 x 30.5 cm), unmatted, unframed. Condition: Good. $250-350

14. Leonard Baskin (American, 1922-2000) William Blake, from ETCHINGS OF TEN FAVORITE ARTISTS, 1962, edition of 50 (Fern & O’Sullivan, 425). Signed “Baskin” in pencil l.r., inscribed “A.P.” in pencil l.l. Etching and aquatint on paper, plate size 17 1/2 x 14 1/2 in. (44.4 x 36.7 cm), framed. Condition: Not examined out of frame. $300-500

15. Leonard Baskin (American, 1922-2000) William Rimmer. Signed “Baskin” in pencil l.r., titled in pencil l.c., inscribed “Monotype - Touched” in pencil l.l. Color monotype with graphite on paper, image size 4 7/8 x 3 7/8 in. (12.3 x 9.7 cm), unmatted, unframed. Condition: Deckled lower edge, hinging residue to upper corners on the reverse. $250-350 15

16. Leonard Baskin (American, 1922-2000) Lot of Two Images: Torso, 1967, edition of 90 (Fern & O’Sullivan, 731), and Death Bearing Angel, 1968, edition of 90 (Fern & O’Sullivan, 732). Both signed “Baskin” in pencil l.r., numbered “...90” in pencil l.l., and signed and dated in the plate. Etchings on paper, plate sizes to 17 3/4 x 11 3/4 in. (44.8 x 29.8 cm), unmatted, unframed. Condition: Very minor handling creases. $250-350

17. Leonard Baskin (American, 1922-2000) Lot of Two Classical Subjects: Aeneas Carrying his Father from the Ruins of Troy, 1971, edition of 160 (Fern & O’Sullivan, 599); and Patriarch/Oedipus at Colonus, 1971, edition of 160 (Fern & O’Sullivan, 603). Both signed “Baskin” in pencil l.r. and numbered “.../160” in pencil l.l. Lithographs on paper, sheet sizes 34 x 24 in. (86.4 x 61.0 cm), unmatted, unframed. Condition: Minor handling creases to edges. $600-800

18. Leonard Baskin (American, 1922-2000)

Lot of Two Standing Figures: Olympus/The Athlete, 1974, edition of 200 (Fern & O’Sullivan, 637); and Universal Man, 1974-1975, edition of 200 (Fern & O’Sullivan, 656). Both signed “Baskin” in pencil l.r. and numbered “.../200” in pencil l.l. Color lithographs on paper, sheet sizes 42 x 29 3/4 in. (106.8 x 75.6 cm), unmatted, unframed. Condition: Deckled edges (some with subtle staining), minor handling creases. $800-1,200

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19. Leonard Baskin (American, 1922-2000)

20. Leonard Baskin (American, 1922-2000)

Indian Faces, 1974, edition of 100 (Fern & O’Sullivan, 642). Signed “Baskin” in pencil l.r., numbered “31/100” in pencil l.l., signed and dated in the matrix, dry stamp l.l. Color lithograph on paper, image size 26 1/2 x 34 3/4 in. (67.0 x 88.4 cm), unmatted, unframed. Condition: Margins over 1 inch with deckled edges, subtle staining to edges, very minor handling creases. $800-1,200

Isaiah, 1976, edition of 100 (Fern & O’Sullivan, 664). Signed “Baskin” in pencil l.r., numbered “89/100” in pencil l.l., signed and dated in the matrix, dry stamp l.l. Color lithograph on paper, image/sheet size 41 3/4 x 29 1/4 in. (106.2 x 74.4 cm), unmatted, unframed. Condition: Deckled edges to all but the right, very minor handling nicks and creases near edges. $700-900

21. Thomas Hart Benton (American, 1889-1975) Jesse James, 1936, final state of two, edition of 100 (Fath, 13). Signed “Benton” in pencil l.r. and in the matrix. Lithograph on paper, image size 16 x 22 in. (40.7 x 56.0 cm), framed. Condition: Unobtrusive toning, subtle mat burn, rippling, not examined out of frame. $1,500-2,500

22. Thomas Hart Benton (American, 1889-1975) The Race, alternatively titled Homeward Bound, 1942, edition of 250, published by Associated American Artists (Fath, 56). Signed “Benton” in pencil l.r. and in the matrix, identified on a label from AAA on the backing. Lithograph on paper, image size 8 7/8 x 13 1/4 in. (22.5 x 33.5 cm), framed. Condition: Unobtrusive toning and mat burn, not examined out of frame. $1,000-1,500

23. Thomas Hart Benton (American, 1889-1975) Night Firing, 1943, edition of 250, published by Associated American Artists (Fath, 57). Signed “Benton” in pencil l.r. and in the matrix. Lithograph on paper, image size 8 5/8 x 13 1/4 in. (22.0 x 33.3 cm), matted, unframed. Condition: Laid down, margins 1 1/4 inches or more with two deckled edges, unobtrusive toning and mat burn, glue/paper residue to margins. $700-900

24. Thomas Hart Benton (American, 1889-1975) After the Blow, 1946, edition of 250, published by Associated American Artists (Fath, 70). Signed “Benton” in pencil l.r. and in the matrix. Lithograph on paper, image size 9 7/8 x 13 7/8 in. (25.0 x 35.3 cm), matted, unframed. Condition: Margins over 1 inch, subtle toning and rippling. $1,000-1,500

25. Richard Bergere (American, b. 1912)

27. Pierre Bonnard (French, 1867-1947)

Twilight Over Brooklyn Bridge, edition of 250, published by Associated American Artists. Signed “Richard Bergere” in pencil l.r., identified on a label from AAA affixed to the frame. Lithograph on paper, image size 9 x 12 5/8 in. (22.7 x 32.0 cm), matted, unframed. Condition: Margins over 1 inch with deckled lower edge, subtle toning. $200-250

Dingo, by Octave Mirbeau, published in 1924 by Ambroise Vollard, Paris, bound with fifty-five etchings, total edition of 370. Identified and numbered “318” on the justification page. Sheet sizes 14 3/4 x 10 3/4 in. (37.4 x 27.2 cm), presented in a brown leather (morocco) binding with stamped decoration signed “FRANZ” and with gilded edges to pages. Condition: Wear to slipcase, ex libris label from Nelson A. Rockefeller to inside cover.

26. Richard Evett Bishop (American, 1887-1975)

Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York; purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $2,000-3,000

Getting Out, 1928. Signed “REBishop” in pencil l.r., titled in pencil l.l., signed and dated within the plate. Etching on paper, plate size 8 3/4 x 14 7/8 in. (22.2 x 37.7 cm), framed. Condition: Unobtrusive mat burn, subtle toning, not examined out of frame. $200-300

28. Georges Braque, illustrator (French, 1882-1963) La Théogonie d’Hésiode, published in 1955 by Maeght, Paris, edition of 150, unbound with twenty etchings. Signed “G Braque” in pencil and numbered “38” on the colophon page. Sheet sizes 17 1/4 x 13 in. (43.7 x 33.0 cm), presented in the artist’s original cover with wrapper and within a collaged slipcase. Condition: Wear to wrapper, ex libris label from Nelson A. Rockefeller to inside cover. Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York; purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. A copy of Derrière le Miroir regarding Théogonie (number 71-72, December 1954-January 1955) accompanies the lot. $7,000-9,000

29. George Elbert Burr (American, 1859-1939) High Street, Oxford (Seeber, 82). Signed “George Elbert Burr” in pencil l.l., monogrammed within the plate, titled in pencil l.r. Etching and drypoint on paper, plate size 9 7/8 x 11 7/8 in. (25.0 x 30.0 cm), framed. Condition: Not examined out of frame. $300-500

30. Alexander Calder (American, 1898-1976)

32. Alexander Calder (American, 1898-1976)

Untitled (Black Sun), 1968. Signed and dated in the matrix. Lithograph in black and red on paper, image size 23 1/4 x 32 in. (59.2 x 81.3 cm), unmatted, unframed. Condition: Nicks and minor tears to edges, handling creases. $400-600

Untitled (Lines and Circles), 1973. Signed and dated in the matrix. Color lithograph on paper, sight size 30 x 22 1/2 in. (76.0 x 57.0 cm), framed. Condition: Subtle toning, not examined out of frame. $600-800

31. Alexander Calder (American, 1898-1976) Lot of Two Images: Untitled (Balloon Forms), 1968; and Untitled (Circles and Lines). The former signed and dated in the matrix, the latter signed “Calder” in pencil l.r. and inscribed “EA” in pencil l.l. Lithographs in black and red (Balloon with orange) on paper, sheet/image sizes to 31 1/4 x 45 in. (79.3 x 114.0 cm), unmatted, unframed. Condition: Staining, toning, nicks to edges, handling marks and creases, Circles with puncture to image l.l. $500-700

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33. Alexander Calder (American, 1898-1976)

34. Alexander Calder (American, 1898-1976)

Untitled (Amorphous Shapes), edition of 100. Signed “Calder” in pencil l.r., numbered “68/100” in pencil l.l. Color lithograph on paper, sight size 22 1/2 x 30 3/4 in. (57.0 x 78.0 cm), framed. Condition: Staining to lower edge, subtle rippling, unobtrusive toning, not examined out of frame. $600-800

Untitled (Pyramid and Disks), edition of 100. Signed “Calder” in pencil l.r., numbered “62/100” in pencil l.l. Color lithograph on paper, sight size 30 x 22 1/2 in. (76.0 x 57.0 cm), framed. Condition: Staining to lower edge, subtle toning, not examined out of frame. $600-800

35. Alexander Calder (American, 1898-1976) Untitled (Spades, Hearts, Diamond and Club). Signed “Calder” in pencil l.r., inscribed “E.A.” in pencil l.l. Color lithograph on cream paper, image size 22 1/2 x 29 3/4 in. (57.0 x 75.5 cm), framed. Condition: Deckled edges, not examined out of frame. $800-1,200

36. Leonetto Cappiello (French, 1875-1942)

37. Clarence Holbrook Carter (American, 1904-2000)

Maurin Quina, 1906. Signed and identified within the matrix. Color lithographic poster, sight size 63 x 46 1/2 in. (160.0 x 118.0 cm), framed. Condition: Subtle toning, pale staining, not examined out of frame. $1,500-2,000

Lot of Two Images: Standing Nude, 1978, edition of 200; and Doorway, 1978, edition of 200. Both signed and dated â&#x20AC;&#x153;Clarence H. Carter 1978â&#x20AC;? in pencil l.r. and numbered in pencil l.l. Color screenprints on paper, image sizes to 35 3/4 x 23 in. (90.7 x 58.0 cm), unmatted, unframed. Condition: Margins 1 1/2 inches or more. $500-700

38. Marc Chagall (Russian/French, 1887-1985) David Before Saul, plate 64 from BIBLE, 1956, total edition of 295 (Cramer, 29). Unsigned, identified on a label from the Retina Gallery, Boston, on the backing. Etching on paper, plate size 12 1/4 x 9 1/4 in. (31.0 x 23.4 cm), framed. Condition: Subtle rippling, margins 1/2 inch or more, not examined out of frame. $400-600

39. Samuel V. Chamberlain (American, 1895-1975)

41. Samuel V. Chamberlain (American, 1895-1975)

Lot of Three Views of Boston: Mount Vernon Street, Boston, c. 1940, proof of the first state of three (Chamberlain & Kingsland, 262); The Tontine Crescent, Franklin Place, Boston, 1928, edition of 100 (Chamberlain & Kingsland, 270); and Doorway of the Harvard Club, Boston, c. 1948, edition of 100 (Chamberlain & Kingsland, 278). The third signed â&#x20AC;&#x153;Samuel Chamberlainâ&#x20AC;? in pencil l.r., each numbered or inscribed in pencil l.l. Drypoints on paper, plate sizes to 8 1/2 x 5 1/2 in. (21.5 x 13.8 cm), matted, unframed. Condition: Margins over 1 inch, Crescent with tear to right margin, tape and losses to corners, and annotations.

Lot of Two Proof Impressions of The Transept of the Cathedral of Notre Dame, Paris, c. 1940, a first and a fourth state impression (Chamberlain & Kingsland, 266). Unsigned, both inscribed with state and numbered in pencil l.l. Drypoint on paper, plate sizes 6 3/4 x 4 1/2 in. (17.0 x 11.3 cm), in a common mat, unframed. Condition: Margins approximately 1 1/4 inches. Provenance: Through the family of the artist. $200-250

Provenance: Through the family of the artist. $200-250

40. Samuel V. Chamberlain (American, 1895-1975) Lot of Two Views of Chartres: Porch of the Virgin of Chartres, A Vista, c. 1940, proof edition (Chamberlain & Kingsland, 263); and The Town of Chartres, c. 1940, proof of the second state (Chamberlain & Kingsland, 265). Unsigned, both inscribed in pencil l.l. Drypoints on paper, plate sizes approximately 6 3/4 x 4 1/2 in. (17.0 x 11.3 cm), matted, unframed. Condition: Margins 1 inch or more. Provenance: Through the family of the artist. $150-200

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42. Samuel V. Chamberlain (American, 1895-1975)

43. Samuel V. Chamberlain (American, 1895-1975)

Lot of Two Proof Impressions of Winter Evening on Beacon Street, Boston, c. 1940, both proofs of the third state (Chamberlain & Kingsland, 269). Unsigned, both inscribed “Third State.../VII” in pencil l.l. Drypoint with aquatint on paper, plate sizes 6 5/8 x 4 1/2 in. (16.8 x 11.4 cm), in a common mat, unframed. Condition: Margins approximately 1 1/4 inches, annotations to lower margins.

Mediterranean Village, Villefranche-sur-Mer, 1939, edition of approximately 300 (Chamberlain & Kingsland, 272). Signed “Samuel Chamberlain” in pencil l.r. Drypoint on paper, plate size 8 1/4 x 11 1/2 in. (20.8 x 29.2 cm), matted, unframed. Condition: Margins over 1 1/4 inches with deckled edges, annotations to lower margin. Provenance: Through the family of the artist.

Provenance: Through the family of the artist.

$150-200 $200-250

44. Samuel V. Chamberlain (American, 1895-1975) Early Morning Market, Senlis, 1939, edition of 300 (Chamberlain & Kingsland, 273). Signed “Samuel Chamberlain” in pencil l.r., inscribed “...WORKING PROOF” on the mat. Drypoint on paper, plate size 9 1/8 x 6 3/4 in. (23.0 x 17.0 cm), matted, unframed. Condition: Margins over 1 1/2 inches, annotations to lower margin. Provenance: Through the family of the artist. $150-200

45. Asa Cheffetz (American, 1897-1965) Lot of Three Landscape Views: Winter in Southampton; Bucolic Farm; and Deserted Farm. Each signed “Asa Cheffetz-” in pencil l.r., the first and last identified on a label from AAA affixed to the mat. Wood engravings on paper, image sizes to 4 3/4 x 10 in. (12.0 x 25.5 cm), matted, unframed. Condition: Margins over 1 inch, subtle toning. $200-300

46. James Coignard (French, 1925-2008) Team, 1986, edition of 75 (Bergström et al., 656). Signed “J. Coignard” in pencil l.r., numbered “59/75” in pencil l.l., identified on a label on the reverse. Color carborundum with collage on heavy paper, plate size 21 x 16 1/2 in. (53.3 x 41.8 cm), framed. Condition: Subtle rippling, not examined out of frame.

N.B. James Coignard lived and worked near Nice, where in 1950 he became friendly with Braque, Matisse, and Chagall. He later befriended the modernist painter, Henri Goetz, who in 1967 invented the carborundum print (silicon carbide engraving). Goetz immediately taught this medium to Coignard, Joan Miró, and Antoni Clavé. Miró had a solo exhibition of his carborundum prints at MoMA in 1970. Coignard, however, was the most compulsive of this group of early experimenters with carborundum, and achieved critical acclaim for creating prints that possessed all of the texture of a painting with heavy impasto. Their painting-like appearance, marked by the deep, heavy texture of a bas-relief was owed, in part, to his thick, handmade papers. Coignard worked in vibrant primary colors— dramatic swashes of blue, red, yellow, green, and black—which are the signature accents of his abstract compositions. $300-350

47. James Coignard (French, 1925-2008) Lot of Two Works: Etude masse bleue, 1988, edition of 95; and Vecteur rouge, 1989, edition of 95. Numbered and signed “65/95 J. Coignard” in pencil l.l. and l.r., respectively, identified on labels on the reverse. Color carborundum on heavy paper, sheet sizes approximately 19 x 26 in. (66.0 x 48.3 cm), framed. Condition: Subtle rippling, not examined out of frames. $500-700

48. James Coignard (French, 1925-2008) Lot of Two Works: Lumiere, 1990, edition of 95; and L’axe blanc, 1994, edition of 95. Both signed “...J. Coignard” in pencil l.r., numbered in pencil l.r. and l.l., respectively, identified on labels on the reverse. Color carborundum on heavy paper, sheet sizes approximately 19 x 26 in. (66.0 x 48.3 cm), framed. Condition: Subtle rippling, not examined out of frames. $500-700

49. James Coignard (French, 1925-2008) Espaces rouges 58, 1994, edition of 95. Signed “J. Coignard” in pencil l.r., numbered “5/95” in pencil l.l., identified on labels on the reverse. Color carborundum on paper, sheet size 26 3/4 x 19 1/2 in. (67.8 x 49.5 cm), framed. Condition: Subtle rippling, not examined out of frame. $300-350

50. Corneille (Belgian, b. 1922)

Le Soleil rouge, 1963, edition of 200 plus proofs. Inscribed, signed, and dated “Epreuve d’essai Corneille 1963 5 couleurs jaune rose gris rouge noir” in pencil l.l., titled in pencil l.r. Color lithograph on BFK Rives paper with partial watermark, image size 25 7/8 x 19 5/8 in. (65.5 x 49.8 cm), framed. Condition: Margins over 2 inches with deckled right edges, toning, staining to edges, handling creases, crease to corner of margin u.l., annotations verso. $250-350

51. Miguel Covarrubias (Mexican, 1904-1957) Tehuantepec River, 1951, edition of 250, published by Associated American Artists. Signed “COVARRUBIAS” in pencil l.r., identified on a label from AAA affixed to the mat. Lithograph on paper, image size 12 1/4 x 9 1/4 in. (31.0 x 23.4 cm), matted, unframed. Condition: Margins over 1 1/4 inches with two deckled edges, unobtrusive toning. $500-700

52. Robert Cottingham (American, b. 1935) Art at the Palace/A Poster, 1984. Identified within the matrix. Color screenprint on paper, sheet size 26 1/4 x 21 1/2 in. (66.5 x 54.5 cm), unmatted, unframed. Condition: Minor handling creases. $250-300

53. John Steuart Curry (American, 1897-1946) John Brown, 1939, edition of 250, published by Associated American Artists (Czestochowski, C35). Signed “John Steuart Curry” in pencil l.r., initialed and dated within the matrix, identified on a label from AAA accompanying the lot. Lithograph on paper, image size 14 3/4 x 11 in. (37.4 x 27.9 cm), matted, unframed. Condition: Toning, brown paper tape to edges on the reverse. $1,200-1,800

54. Salvador Dalí (Spanish, 1904-1989) Statue of Liberty, from the NEW YORK CITY Suite, 1964, edition of 155 plus proofs (Field, 64-3D). Signed and dated “Dalí/1964” in pencil l.r., numbered “21/125” in pencil l.l. Etching and engraving in red and brown on paper, plate size 25 x 17 in. (63.4 x 43.1 cm), framed. Condition: Not examined out of frame. $1,000-1,500

55. Salvador Dalí (Spanish, 1904-1989) Frontispiece for TRISTAN ET ISEULT, 1970 (Field, 70-10A). Signed “Dalí” in pencil l.r., inscribed “E.A.” in pencil l.l. Color etching on Japan paper, plate size 15 5/8 x 10 5/8 in. (39.7 x 27.0 cm), framed. Condition: Several fox marks, not examined out of frame. $300-500

56. Salvador Dalí (Spanish, 1904-1989) The Menorah, 1980. Signed “Salvador Dalí” within the matrix on the base, stamped “160/250...ISRAEL 50 c VAP” on the base. Gilt metal, approximately 17 1/4 x 12 x 2 1/4 in. (43.8 x 30.5 x 5.7 cm), mounted to a marble plinth. Condition: Minor corrosion/oxidation. Literature: Descharnes, Robert and Nicholas, Dali: The Hard and the Soft, Spells for the Magic of Form, Sculptures & Objects (Azay-leRideau: Eccart, 2004), p. 268, no. 688. $5,000-7,000

57. Ten Works + Ten Painters/A Portfolio Stuart Davis (American, 1892-1964), Robert Indiana (American, b. 1928), Ellsworth Kelly (American, b. 1923), Roy Lichtenstein (American, 1923-1997), Robert Motherwell (American, 19151991), George Earl Ortman (American, b. 1926), Larry (Lawrence) Poons (American, b. 1937), Ad Reinhardt (American, 1913-1967), Frank Stella (American, b. 1936), and Andy Warhol (American, 1928-1987), 1964, edition of 500, published by the Wadsworth Atheneum, Hartford, Connecticut. Identified and numbered “36/500” on the colophon page, each print with dry stamp l.r. Screenprints (most in color) on paper, sheet sizes 24 x 20 in. (60.9 x 50.8 cm), presented in their original folders in the original cloth-bound portfolio case. Condition: Minor soiling (primarily to folders and to Motherwell print), Motherwell folder with annotations, soiling and rubs to case. Provenance: A private Massachusetts collection. $15,000-20,000

58. Lot of Two Prints: Edgar Degas (French, 1834-1917), Danseuse mettant son chausson, c. 1892, second (after cancellation) state of two (Delteil, 36); and Pierre-Auguste Renoir (French, 1841-1919), Le chapeau épinglé (la fille de Berthe Morisot et sa cousine), 1894, final state of two (Delteil, 8). Both signed in the plate. Etchings on paper, plate sizes to 7 x 4 1/2 in. (17.7 x 11.3 cm), framed. Condition: Not examined out of frames. $200-300 58

59. Jim Dine, illustrator (American, b. 1935) The Picture of Dorian Gray, written by Oscar Wilde, published in 1968 by Petersburg Press, New York & London, bound book containing twelve lithographs, plus a portfolio of ten prints (six lithograph and four etchings). Signed and numbered “Edition C Jim Dine 40/100” in blue pencil on the colophon page, signed, dated, and numbered “Jim Dine 1968 40/100” in ink on a label affixed to the case, the extra prints each signed in pencil l.r. and stamped and numbered on the reverse. Sheet sizes 17 3/8 x 12 1/4 in. (44.0 x 31.0 cm), in red leather binding and portfolio within cover with raised heart design. Condition: Extremely subtle toning to sheets. Provenance: Purchased from the publisher, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $4,000-6,000

60. Jim Dine (American, b. 1935) Nancy Outside in July X: Young and Blue, 1980, edition of 25 plus proofs (D’Oench & Feinberg, 71). Numbered, signed, and dated “17/25 Jim Dine 1980” in pencil l.l., identified on a label from the Barbara Krakow Gallery, Boston, on the backing. Etching and aquatint in colors on cream paper, plate size 23 1/2 x 19 3/8 in. (59.6 x 49.2 cm), framed. Condition: Margins over 1 inch with deckled edges, not examined out of frame. $1,000-1,500

61. Francisco Dosamantes (Mexican, b. 1911) Women of Oaxaca, 1946, published by Associated American Artists. Signed and dated “F 2Amantes 9/46.” in pencil l.r. Lithograph on paper, image size 12 1/2 x 8 in. (31.7 x 20.3 cm), matted, unframed. Condition: Subtle toning. $200-250

62. Arthur Wesley Dow (American, 1857-1922) Barberries Sketch from Nature, from IPSWICH PRINTS, 1902. Monogrammed and identified in the matrix. Lithograph in three colors on paper, image size 7 1/2 x 6 3/8 in. (19.0 x 16.0 cm), framed. Condition: Unobtrusive toning, not examined out of frame. $300-500

63. Raoul Dufy (French, 1877-1953) La Belle-Enfant ou L’Amour à Quarante Ans, by Eugene Monfort, published in 1930 by Ambroise Vollard, Paris, total edition of 390, unbound, containing sixteen etchings and seventy-eight plates within the text. Numbered “EXEMPLAIRE No 161” opposite title page, labeled “Nelson A. Rockefeller EX LIBRIS” on the inside front cover. Printed on Arches paper, sheet sizes 13 x 10 in. (33.0 x 25.4 cm), in original paper folder, presented in a (later) linen portfolio box. Condition: Subtle toning. Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York; purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts.

N.B. The lot is accompanied by a copy of Monroe Wheeler’s Modern Painters and Sculptors as Illustrators (The Museum of Modern Art: New York, 1936). $2,000-3,000

64. Albrecht Dürer (German, 1471-1528) The Angel with the Key to the Bottomless Pit, from the Apocalypse, Latin edition, 1511 (Meder, 178; Bartsch, 75; Hollstein, 178). Monogrammed in the block. Woodcut on laid paper with sixpetal flower with pendant triangle watermark (Meder, 127), image size 15 1/2 x 11 1/8 in. (39.3 x 28.2 cm), partially matted, unframed. Condition: Thread margins. $1,000-1,500

65. Max Ernst (German, 1891-1976) Histoire Naturelle, with an introduction by Hans Arp, published in 1926 by J. Bucher, Paris, total edition of 306, unbound portfolio of thirty-four collotypes. Signed “Max Ernst” in ink and numbered “293” in pencil on the colophon page. Sheet sizes 19 5/8 x 12 3/4 in. (49.7 x 32.4 cm), in the original portfolio with a (later) portfolio box. Condition: Unobtrusive toning, wear to portfolio. Provenance: Purchased from Lucien Goldschmidt, Inc., New York, 1979; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $3,000-5,000

66. Max Ernst, illustrator (German, 1891-1976) La Brebis Galante, by Benjamin Peret, published in 1949 by Editions Premieres, Paris, edition of 300, containing three etchings plus twenty-one pochoir illustrations. Signed “Max Ernst” in ink and numbered “74” opposite the title page. Sheet sizes 9 1/4 x 7 1/2 in. (23.4 x 19.0 cm), paper bound with cloth covered slipcase. Condition: Very minor wear, staining to edges of pages. Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $2,000-3,000

67. Max Ernst (German, 1891-1976), Joan Miró (Spanish, 1893-1983), and Yves Tanguy (French/American, 19001955), illustrators 66

L’Antitête, by Tristan Tzara, published in three volumes in 1949 by Bordas, Paris, total edition of 200, each volume unbound, one with eight hand-colored etchings by Ernst, one with eight hand-colored etchings by Miró, and one with six hand-colored etchings by Tanguy plus the same number of etchings en suite plus a single cancelled plate by Ernst. Each volume signed by the artist and the author in ink, the Ernst volume with an inscription to Nelson A. Rockefeller in the author’s hand and an inscription in the artist’s hand, each numbered “11” on the justification page. Approximately 5 3/4 x 4 1/2 in. (14.5 x 11.5 cm), in vellum covers and together in a single slipcase. Condition: Wear to slipcase, each inscribed “ex libris Nelson A. Rockefeller” to inside cover. Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York; purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. Tzara was a member of the Dada movement and later joined the Surrealists. L’Antitête was written as three anthologies, and in this second edition of the work, each artist illustrated one volume - Ernst the first, Tanguy the second, and Miró the last. The first edition had a frontispiece by Picasso, but this illustration had only a cursory relationship to the text. In the edition presented here, not only do the illustrations relate directly to the text, but the scale of the publication makes for close reading, both literally and figuratively, allowing for a very intimate relationship between reader and volume. The lot is accompanied by a copy of Eleanor M. Garvey’s The Artist and the Book: 1860-1960 in Western Europe and the United States (Museum of Fine Arts, Boston & Harvard College Library: Cambridge, 1961). $40,000-60,000

68. Richard E. Filipowski (American, 1923-2008) Chicago 49, 1949. Signed and dated “Filipowski 49” in pencil l.r., titled and inscribed “8.12...” in pencil l.l., two dry stamps l.l. Lithograph on paper, image size 16 1/4 x 22 in. (41.3 x 55.7 cm), framed. Condition: Not examined out of frame. $400-600

69. Richard E. Filipowski (American, 1923-2008) Lot of Two Abstract Images, 1949. Both signed and dated “Filip. 49” in pencil l.r. Relief prints on fine paper, image sizes 6 7/8 x 8 in. (17.4 x 20.3 cm), framed. Condition: Both with creases to corner of image l.l., one with staining to right margin, not examined out of frames. $600-800

70. Antonio Frasconi (Argentine, b. 1919) View from Brooklyn, edition of 25. Signed “Frasconi” in pencil l.r., titled and inscribed “...ed 25” in pencil l.l. Color woodcut on paper, image size 7 x 9 5/8 in. (17.7 x 24.3 cm), unmatted, unframed. Condition: Margins 2 1/4 inches or more. $300-500

71. Antonio Frasconi (Argentine, b. 1919)

73. Jose Francisco de Goya y Lucientes (Spanish, 1746-1828)

Alhambra II, 1962, edition of 18. Signed, dated, and inscribed “Frasconi 62 imp” in pencil l.r., titled and numbered “14/18...” in pencil l.l., identified on a label from the Franklin Siden Gallery, Detroit, on the backing. Color woodcut on paper, image size 19 x 34 1/8 in. (48.3 x 86.5 cm), framed. Condition: Subtle toning and rippling, not examined out of frame. $200-300

Lot of Three Plates from LOS CAPRICHOS: A Caza de Dientes; Al Conde Palatino; and Obsequio a el Maestro; all probably from the eighth edition, 1905-1907 (Harris, 47, 68, and 82). Each titled within the plate. Etchings with aquatint on paper, sight sizes 8 1/8 x 5 7/8 in. (20.5 x 14.8 cm), framed. Condition: Subtle toning, and mat burn, not examined out of frames. $300-500

72. Michiel Theobald Gloeckner (American, 1915-1989) Lot of Two Prints: Untitled (Circle in Square), 1974, edition of 100; and Untitled (Geometric Bust Form), 1974, edition of 110. Both signed and dated “Michiel Gloeckner 1974” in pencil l.r., and numbered in pencil l.l. Color lithographs on paper, image sizes approximately 20 1/2 x 17 in. (52.0 x 43.0 cm), unmatted, unframed. Condition: Margins over 1 inch, subtle toning. $400-600

73A

73A. George Ehrenfried Grosz (German/American, 1893-1959) Storm Clouds, Cape Cod, 1949, edition of 252 plus proofs, published by the Print Club of Cleveland (Duckers, E110). Signed “George GROSZ” in pencil l.r. Lithograph on paper, image size 8 3/4 x 13 in. (22.2 x 33.0 cm), framed. Condition: Scattered foxing, not examined out of frame. $250-300

74. Riva Helfond (American, 1910-2002) Santorini Street, edition of 50. Signed “Riva Helfond” in pencil l.r., titled and numbered “...24/50” in pencil l.l. Color screenprint on paper, image size 17 1/2 x 11 3/4 in. (44.4 x 29.7 cm), framed. Condition: Not examined out of frame. $200-300

75. David Hockney (British, b. 1937) Six Fairy Tales from the Brothers Grimm, published in 1970 by Petersburg Press, New York & London, total edition of 400, bound book containing thirty-nine etchings plus six etchings in a portfolio. Signed and numbered “David Hockney Ed D 17/100” in pencil on the colophon page, each of the six unbound prints signed in pencil l.r. and numbered in ink on the reverse. 17 3/4 x 12 1/4 in. (45.0 x 31.0 cm), in a blue leather binding with slipcase. Condition: Minor wear to case. Provenance: Purchased from the publisher, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. The lot is accompanied by a miniature facsimile of the book and by a copy of Donna Stein’s Contemporary Illustrated Books: Words and Images 1967-1988, (Independent Curators Incorporated: New York, 1989). $7,000-9,000

76. David Hockney (British, b. 1937) Olympic Games, Munich, 1970, edition of 200 (before full text). Numbered, signed, and dated “181/200 David Hockney 70” in pencil l.r., Olympic Rings logo l.l. Color lithographic poster on paper, image size 34 1/2 x 25 1/2 in. (87.5 x 64.8 cm), framed. Condition: Deckled edges, staining (primarily to the right side of the composition), subtle toning. $2,000-3,000

77. Masuo Ikeda (Japanese, 1934-1997) Untitled, edition of 55. Signed “Masuo Ikeda” in pencil l.r., numbered “23/55” in pencil l.l., dry stamps to lower corners. Color lithograph on paper, image/sheet size 26 x 21 in. (66.0 x 53.4 cm), framed. Condition: Unobtrusive creasing along upper edge, not examined out of frame. $400-600

78. Ilia Zdanevich, called Iliazd (Russian, 1894-1975) Ledentu le Phare, published in 1923 by Editions du 41°, Paris, total edition of 530. Identified on title page (in Cyrillic), and in accompanying French pamphlet. Sheet sizes 7 1/2 x 5 1/2 in., paper binding with collaged cover, book and pamphlet presented in a portfolio box. Condition: Very minor wear. Provenance: Purchased from Lucien Goldschmidt, Inc., New York, 1979; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $4,000-6,000

79. Bill Jensen (American, b. 1945) Babylon, 1985-1988, edition of 50, published by Universal Limited Art Editions, Bay Shore, New York. Signed, titled, dated, and numbered “Bill Jensen...25/50” in pencil on the reverse, publisher’s dry stamp l.l. Color etching and aquatint on paper, plate size 10 3/4 x 7 1/2 in. (27.2 x 18.9 cm), framed. Condition: Margins over 3 1/2 inches with deckled edges, hinged at upper corners. $300-500

80. Jasper Johns (American, b. 1930) Cup 2 Picasso, 1973, from the larger edition published for XXe SIECLE. Signed and dated in the matrix. Color offset lithograph on paper, image size 11 3/4 x 10 1/4 in. (29.8 x 26.0 cm), framed. Condition: Not examined out of frame. $300-500

81. Jasper Johns, illustrator (American, b. 1930) Foirades/Fizzles, by Samuel Beckett, published in 1976 by Petersburg Press, London & New York, total edition of 300, containing thirty-three etchings. Signed “Samuel Beckett” and “J Johns” in pencil, numbered “175/250” on page before colophon. 13 x 10 in. (33.0 x 25.4 cm), original paper binding and linen case lined with a Johns lithograph. Condition: Good. Provenance: Purchased from the publisher, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. The lot is accompanied by a copy of Christian Geelhaar’s Jasper Johns Working Proofs (Petersburg Press: London & New York, 1980), and a copy of Riva Castleman’s A Century of Artists Books (Harry N. Abrams, Inc.: New York, 1994). $12,000-18,000 80

82. Mervin Jules (American, b. 1912)

83. Luigi Kasimir (Austrian, 1881-1962)

Octipus [sic]. Signed “JULES” in pencil l.r., titled in pencil l.l. Color screenprint on paper, image size 12 1/8 x 18 1/8 in. (30.7 x 46.0 cm), framed. Condition: Not examined out of frame. $200-300

Lot of Two Views: Boston, State Capital, 1936 (Weiss, 519); and Philadelphia, Independence Hall (Weiss, 522), both possibly later impressions. Both signed “Luigi Kasimir” in pencil l.c. and identified in the plates. Color etchings with aquatint on paper, plate sizes approximately 18 1/4 x 12 1/4 in. (46.3 x 31.1 cm), framed. Condition: Not examined out of frames. $300-500

82A. Wassily Kandinsky (Russian, 1866-1944) La tache noire, 1924, probably published by Maeght. Monogrammed and dated within the matrix. Color lithograph on paper, image size 11 3/8 x 11 in. (28.9 x 27.7 cm), framed. Condition: Trimmed to image, laid down. $200-250

82A 83

84. Luigi Kasimir (Austrian, 1881-1962) New York, Queensborough Bridge, 1936, possibly a later impression (Weiss, 528). Signed “Luigi Kasimir” in pencil l.c. and identified in the plate. Color etching with aquatint on paper, plate size 11 1/2 x 16 7/8 in. (29.2 x 42.9 cm), framed. Condition: Not examined out of frame. $300-350

85. Tanna Kasimir-Hoernes (Austrian, 1887-1972) Lot of Two New York Views: New York, Montaque [sic] Terrace, 1936 (Weiss, 551); and New York, Central Park (Weiss, 554), both possibly later impressions. Both signed “T. K. Hoernes” in pencil l.c. Color etchings with aquatint on paper, plate sizes approximately 15 1/2 x 11 1/2 in. (39.4 x 29.2 cm), framed. Condition: Not examined out of frames. $300-500

86. Kaoru Kawano (Japanese, 1916-1965) Lot of Three Images of Girls: Girls with Doves, Girl with Hair Bow, and Girl with Four Cranes. The first two signed “Kaoru Kawano” in pencil l.l., all three signed with red chop mark l.l. Color woodcuts on paper, sight sizes to 14 3/4 x 9 1/4 in. (37.4 x 23.4 cm), framed. Condition: Not examined out of frames. $500-700 86

88 87

87. Ellsworth Kelly (American, b. 1923) Orange with Blue, 1964-1965, edition of 75 plus proofs (Axsom, 12). Signed “Kelly” in pencil l.r., numbered “19/75” in pencil l.l. Color lithograph on BFK Rives paper with watermark, image size 19 x 15 in. (48.2 x 38.0 cm), unmatted, unframed. Condition: Deckled edges to three sides, subtle toning, staining near edges, minor nicks to edges, hinging residue to verso. $1,200-1,800

88. Marguerite Kirmse (American, 1885-1954) Tiny Tim. Titled and signed “...Marguerite Kirmse” in pencil beneath the image. Etching on paper, plate size 3 1/2 x 2 3/8 in. (8.8 x 5.9 cm), framed. Condition: Scattered foxing, unobtrusive toning, subtle rippling, not examined out of frame. $200-250

89. Oskar Kokoschka, illustrator (Austrian, 1886-1980) Das Chinessische Mauer, written by Karl Kraus, published in 1914 by Karl Wolff Verlag, Leipzig, bound and containing eight lithographs, edition of 200. Identified in the text and numbered “107” in ink. Sheet sizes 19 1/8 x 15 in. (48.5 x 38.0 cm), in a (later) portfolio box. Condition: Unobtrusive toning, minor wear to cover, ex libris label from Nelson A. Rockefeller to first sheet.

Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York; purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $1,000-1,500

90. Max Kuehne (American, 1880-1968) Lower New York from Weehawken. Signed “Max Kuehne” in pencil l.r., titled in pencil l.l., stamped “Kuehne” on the reverse. Etching on paper, plate size 9 5/8 x 14 in. (24.3 x 35.5 cm), framed. Condition: Margins 3/4 inches or more with deckled edges, subtle soiling to margins, not examined out of frame. $200-250

91. Max Kuehne (American, 1880-1968) Lot of Three Views of Spain: The Old Town Cuenca, Cuenca, Spain, and Street Scene with Donkeys - Toledo. The first two signed “Max Kuehne” in pencil l.r., the last stamped “Kuehne” in red on the reverse, each titled in pencil l.l. Etchings on laid paper, plate sizes to 6 7/8 x 9 7/8 in. (17.5 x 25.0 cm), the first two matted, all unframed. Condition: Margins over 2 inches, subtle staining/soiling to edges. $300-500

92. Max Kuehne (American, 1880-1968) Street in Marblehead. Unsigned, titled in pencil l.l. Etching on paper, plate size 8 7/8 x 12 in. (22.5 x 30.4 cm), framed. Condition: Margin over 1 inch with two deckled edges, unobtrusive soiling, not examined out of frame. $150-200

93. Max Kuehne (American, 1880-1968)

95. Jean-Emile Laboureur (French, 1877-1943)

Lot of Three Views of Spain: Basque Fishing Port, Ondarroa, Spain, Street in Toledo, and Puenta San Martin - Toledo. Each unsigned, stamped “Kuehne” in red on the reverse, and titled in pencil l.l. Etchings on laid paper, plate sizes to 6 7/8 x 9 3/4 in. (17.5 x 24.8 cm), unmatted, unframed. Condition: Margins over 2 inches, subtle staining/soiling to edges. $300-500

La Promenade sur le port, 1933, total edition of 250, published by the Print Club of Cleveland (Loyer, 482). Signed “laboureur” in pencil l.l., monogrammed in the plate. Etching and engraving on paper, plate size 8 1/4 x 8 3/4 in. (20.8 x 22.2 cm), framed. Condition: Subtle toning, not examined out of frame. $200-300

94. Yasuo Kuniyoshi (Japanese/American, 1893-1953) Dawn, 1934, edition of 30 (Archives of American Art, L-65; Davis, 65). Signed and dated “Yasuo Kuniyoshi - 34” in pencil l.r., inscribed “30 p” in pencil l.l. Lithograph on paper, image size 9 3/4 x 14 in. (24.9 x 35.5 cm), framed. Condition: Toning, staining to image u.r., not examined out of frame. $700-900

96A

95A

95A. Carl Olof Larsson (Swedish, 1855-1919) Le Modèle pres du poele, 1908, edition of 100, published in the Gazette des Beaux-Arts, 1909 (Brummer, 59). Unsigned. Etching (in sepia) on cream paper, plate size 6 1/2 x 4 5/8 in. (16.4 x 11.6 cm), framed. Condition: Not examined out of frame. $700-900

96. Marie Laurencin (French, 1883-1956) Le Concert, 1926 (Marchesseau, 100). Signed “Marie Laurencin” in pencil l.r., numbered “VI/XX” in pencil l.l. Color lithograph on paper, image size 9 1/8 x 7 1/8 in. (23.0 x 18.0 cm), framed. Condition: Scattered foxing, staining, creases, not examined out of frame. $250-350

96A. After Marie Laurencin (French, 1883-1956) Trois jeunes femmes en buste, edition of 200. Signed “Marie Laurencin” in pencil l.r., numbered “26/200” in pencil l.l. Color etching with aquatint on paper, plate size 13 5/8 x 22 1/4 in. (34.5 x 56.4 cm), framed. Condition: Laid down, partially glued to facing mat (and with glue residue to all margins), unobtrusive toning, horizontal area of fading or cleaning, annotations to lower margin. $1,500-2,000 96

97. Le Corbusier (Swiss/French, 1887-1965)

Femme à la main levée, 1954. Initialed and dated within the matrix, identified on a label from the Obelisk Gallery, Chestnut Hill, on the backing. Color lithograph on paper, image size 42 1/2 x 26 5/8 in. (107.8 x 67.5 cm), framed. Condition: Pale staining to edges, possible subtle fading, not examined out of frame. $500-700

98. Fernand Léger, illustrator (French, 1881-1955) La Fin du monde, by Blaise Cendrars, published in 1919 by Éditions de a Sirène, Paris, total edition of 1225, containing color lithographs. Stamped “816” on colophon. Sheet sizes 12 1/2 x 10 in. (31.7 x 25.3 cm), lithographed paper cover, presented in a later portfolio box. Condition: Toning (primarily to cover). Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. The lot is accompanied by a copy of Robert Flynn Johnson’s Artists’ Books in the Modern Era 1870-2000: The Reva and David Logan Collection of Illustrated Books (Fine Arts Museum of San Francisco: San Francisco, California, 2001). $2,000-3,000

99. Clare Veronica Hope Leighton (Anglo/American, 1901-1989)

Corsican Washer Girl, alternatively titled Corsican Laundress, 1934, total edition of 150 (BPL, 257). Signed “Clare Leighton-” in pencil l.r., numbered and titled “98/126...” in pencil l.l. Woodcut on paper, image size 4 3/4 x 3 in. (12.0 x 7.5 cm), framed. Condition: Not examined out of frame. $200-250

100

101

100. Lucas van Leyden (Dutch, 1494-1533) Lot of Two Images from THE SMALL PASSION, 1521: Christ Crowned with Thorns and The Harrowing of Hell. Both monogrammed and dated in the plates. Engravings on paper, plate sizes approximately 4 3/8 x 3 in. (11.0 x 7.4 cm), unmatted, unframed. Condition: Trimmed to or just within the images, minor toning, hinged to a supporting mat. $400-600

101. Jack Levine, illustrator (American, b. 1915) Facing East, by James A. Michener, published in 1970 by Maecenas Press, New York, unbound with four color lithographs, a woodcut frontispiece plus illustrations within the text, and fifty-four collotypes with pochoir. Numbered and signed “1659/2500 Jack Levine James A. Michener” in ink on the colophon page. Sheet sizes 18 3/4 x 12 3/8 in. (47.5 x 31.3 cm), presented in the original portfolio box with interior folders for the text and the collotype sketchbook. Condition: Good. $250-350

102. Jack Levine (American, b. 1915)

102

Sacrifice of Isaac, 1974, edition of 100 plus proofs (Prescott, 60). Signed “JLevine” in pencil l.r., numbered “13/100” in pencil l.l., dry stamp l.r. Etching with drypoint and engraving on Arches cream paper with watermark, image size 13 3/4 x 10 3/4 in. (34.8 x 27.3 cm), unmatted, unframed. Condition: Margins 2 inches or more with deckled edges, subtle toning. $200-250

105

103

103. Alexander Liberman, illustrator (American, 1912-1999)

104. Roy Lichtenstein (American, 1923-1997)

Nostalgia for the Present, by Andrei Voznesensky, published 1979 by Universal Limited Art Editions, West Islip, New York, edition of 28 plus proofs unbound. Each of the seventeen plates signed and numbered “Andrei Voznesensky (in Cyrillic) 3/28” in pencil l.l., signed and dated “Alexander Liberman 1977-79” in pencil l.r., with publisher’s dry stamp l.l., and with plate number printed on verso, identified on the colophon page. Lithographs on paper, sheet sizes 41 x 28 in. (104.0 x 71.0 cm), presented in the original lacquered folio box. Condition: Minor cockling to edges of sheets, minor soiling/staining to edges of title page.

As I Opened Fire.../A Triptych, 1966 (Corlett, app. 5). Unsigned. Offset color lithographs on paper, each sheet approximately 25 x 20 3/4 in. (63.5 x 52.7 cm), presented in a common frame. Condition: Handling creases, not examined out of frame. $600-800

Provenance: Purchased from the publisher, 1981, to the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $700-900

104

105. Jan Lievens (Dutch, 1607-1674) Large Oriental Head, Bust to Right, an 18th century impression (Rovinski, 13). Signed in the plate. Etching on laid paper, plate size approximately 10 3/4 x 8 7/8 in. (27.0 x 22.3 cm), matted, unframed. Condition: Trimmed to or just within the plate mark, subtle staining (more visible to verso). $250-300

106

108

106. Walter Ronald Locke (American, b. 1883)

108. John Stockton De Martelly (American, 1903-1980)

Peace on the Amelote/A Florida View, 1937, edition of 250, published by Associated American Artists. Signed and dated “W.R. Locke ‘37” in pencil l.r., titled in pencil l.l., identified on a label from AAA on the reverse. Etching on paper, plate size 8 7/8 x 11 7/8 in. (22.4 x 30.0 cm), framed. Condition: Not examined out of frame. $400-600

Chore Boy, 1942, published by Associated American Artists, edition of 250. Signed “John S. de Martelly-” in pencil l.r., titled in pencil l.l., dedicated “To Miss Nellie Fletcher from the de Martellys - 42” in pencil l.c. Lithograph on paper, image size 9 x 12 1/8 in. (22.8 x 30.7 cm), framed. Condition: Subtle toning, not examined out of frame. $300-500

107. Galerie Maeght, editor (French, 20th Century) Lot of Ten Issues of DERRIERE LE MIROIR, featuring Calder, Kelly, and Miró, spanning 1963 to 1968. Each measures 15 x 11 in. (38.1 x 27.9 cm). Condition: Minor wear, soiling and/or handling nicks. $300-500

107

110

109

111

109. Henri Matisse (French, 1869-1954)

110. Michael Mazur (American, 1935-2009)

Nu au bracelet, published by Chalcographie du Louvre, Paris (Duthuit, 725). Unsigned, publisher’s dry stamp l.c. Linocut on paper, image size 9 5/8 x 7 in. (24.2 x 17.6 cm), framed. Condition: Margins approximately 1 1/4 inches with two deckled edges, masking tape to edges, soiling and annotations to lower margin. $800-1,200

Tree, Norfolk, 1963 (Hansen, 116). Signed “Mazur” in pencil l.r., titled and dated “Pines #1 Norfolk - 1963” in pencil l.l., numbered “1/50” in pencil l.c. Etching on heavy cream wove paper, plate size 17 3/4 x 23 5/8 in. (45.1 x 60.2 cm), unmatted, unframed. Condition: Margins approximately 1 1/2 inches, scattered fox marks (primarily to margins and verso), tape residue to upper edge on the reverse, minor nicks and tears to upper edge. $200-300

111. Michael Mazur (American, 1935-2009) Diptych #1 (The Artist), from THE ARTIST AND THE MODEL, 1968, edition of 50 (Hansen, 163). Signed “Mazur” in pencil l.r., titled in pencil l.l., numbered “49/50” in pencil l.c. Etching on paper, image size 22 3/4 x 21 in. (57.7 x 63.4 cm), unmatted, unframed. Condition: Staining near left edge (visible almost exclusively on verso). $600-800

112. Michael Mazur (American, 1935-2009) Confrontation, from THE ARTIST AND THE MODEL, 1968, edition of 50 (Hansen, 165). Signed “Mazur” in pencil l.r., titled in pencil l.l., numbered “46/50” in pencil l.c. Etching on paper, image size 22 7/8 x 18 7/8 in. (58.1 x 47.9 cm), unmatted, unframed. Condition: Minor nicks to edges, subtle handling marks and creases. $600-800

113. Paul Raphael Meltsner (American, 1905-1966) Man + Machinery. Signed “Paul R. Meltsner” in pencil l.r., titled in pencil l.l., inscribed “COLLECTION OF BROOKLYN + BOSTON MUSEUM” in pencil l.c. Lithograph on paper, image size 12 1/4 x 9 5/8 in. (31.2 x 24.5 cm), framed. Condition: Subtle toning, scattered fox marks, not examined out of frame. $200-300

114. Paul Raphael Meltsner (American, 1905-1966) Industrial Landscape. Signed “Paul R. Meltsner” in pencil l.r., titled in pencil l.l., inscribed “COLLECTIONS - BOSTON - BROOKLYN MUSEUM” in pencil l.c. Lithograph on paper, image size 10 1/4 x 14 1/2 in. (26.0 x 36.5 cm), framed. Condition: Subtle toning and mat burn, scattered fox marks, not examined out of frame. $200-300

112

114

113

115

115. Paul Raphael Meltsner (American, 1905-1966)

116. Paul Raphael Meltsner (American, 1905-1966)

Lot of Three Images of Factory Workers: Death of a Striker, The Lockout, and The Outcast. Each signed “Paul R. Meltsner” in pencil l.r. and titled in pencil l.l. Lithographs on paper, image sizes to 10 3/4 x 14 3/8 in. (27.3 x 36.5 cm), unmatted, unframed. Condition: Margins over 1/2 inch, some edges deckled, unobtrusive soiling and toning, some margins with minor nicks to edges. $250-350

Lot of Four Industrial and Train Yard Views: Tank Cars, Excavation, The Iron Horse, and Industrial Center. Each signed “Paul R. Meltsner” in pencil l.r. and titled in pencil l.l. Lithographs on paper, image sizes approximately 10 1/4 x 14 1/2 in. (26.0 x 37.0 cm), unmatted, unframed. Condition: Margins over 1/2 inch, some edges deckled, soiling, toning, some margins with tears or losses (none into the images). $250-350

116

118

117 (2 views)

117. Joan Miró, illustrator (Spanish, 1893-1983)

118. Joan Miró (Spanish, 1893-1983)

La Bague D’Aurore, by René Crevel, published in 1957 by Louis Broder, Paris, total edition of 130, with one drypoint and 5 color aquatints. Signed “Miró” in pencil and numbered “88” on the colophon. Sheet sizes 6 1/2 x 5 1/4 in. (16.5 x 13.4 cm), pages with gilded edges, calf binding with multicolored inlaid panels, signed and dated “P.L. MARTIN 1961,” presented in the binder’s chemise and slipcase. Condition: Minor wear to case.

Ceramiques monumentales de Miró et Artigas, from DERRIERE LE MIROIR, deluxe hard-cover edition, 13 Juin, 1963, number 84, edition of 150. Signed “Miró” in pencil on the colophon page. Sheet sizes 15 x 11 in. (38.0 x 27.8 cm), with slip cover. Condition: Very minor wear to slip cover. $1,000-1,500

Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $8,000-12,000

119

121

119. Joan Miró (Spanish, 1893-1983) La Chasseresse, 1965, edition of 100 (Mourlot, 390). Signed “Miró” in pencil l.r., numbered “28/100” in pencil l.l. Color lithograph on paper, image size 18 1/2 x 13 1/4 in. (47.0 x 33.5 cm), framed. Condition: Toning, subtle fading, not examined out of frame. $1,000-1,500

120. Joan Miró (Spanish, 1893-1983) Midi le trèfle blanc, 1968, edition of 88 plus proofs (Dupin, 455). Signed “Miró” in pencil l.r., inscribed “H.C.” in pencil l.l., identified on a label from the Retina Gallery, Boston, on the backing. Color aquatint with drypoint on paper, sheet size 13 1/4 x 11 7/8 in. (33.5 x 30.0 cm), framed. Condition: Deckled right and lower edges, not examined out of frame. $1,000-1,500

121. Joan Miró (Spanish, 1893-1983) Image from Joan Miró I Catalunya, 1970, edition of 225 (Mourlot, 507). Signed “Miró” in pencil (within the image) l.r., numbered “61/225” in pencil (within the image) l.l. Lithograph on paper, image/sheet size 10 1/2 x 10 1/8 in. (26.5 x 25.5 cm), framed. Condition: Not examined out of frame. $500-700 120

122. No lot.

123

123. Joan Miró (Spanish, 1893-1983)

124. Henry Moore (British, 1898-1986)

Lot of Three Volumes: MIRO LITHOGRAPHS, volumes I, II, and III, by Fernand Mourlot et al., various publishers, 1972, 1975, and 1977, respectively, each with the original color lithographs intact. Sheet sizes 12 3/4 x 10 in. (32.5 x 25.4 cm), with jackets and slip covers, cloth bound. Condition: Wear and annotations to slip covers, soiling to bindings. $2,000-3,000

Group of Reclining Figures from the RECLINING FIGURES Portfolio, 1973, total edition of 80 (Cramer et al., 241). Signed and dated “Moore 73” in pencil l.r., numbered “23/50” in pencil l.l. Color lithograph on paper, image size 18 1/8 x 15 1/2 in. (50.0 x 39.5 cm), framed. Condition: Not examined out of frame. $1,000-1,500

125. Lot of Two Horse Subjects: George Ford Morris (American, 1873-1960), Green Pastures, and Georges Schreiber (American, 1904-1977), Mare and Colt. Both published by Associated American Artists. Both signed in pencil l.r. and identified on a label from AAA affixed to the mat. Lithographs on paper, image sizes approximately 9 x 13 in. (22.5 x 33.0 cm), matted, unframed. Condition: Unobtrusive toning. $200-250

124

125

126. Reuben Nakian (American, 1897-1986) Leda and the Swan, edition of 75. Signed “NAKIAN.” in pencil l.r., numbered “59/75” in pencil l.l., dry stamped “HMK” l.r. Aquatint on chine collé, plate size 13 3/4 x 17 in. (34.9 x 43.1 cm), unmatted, unframed. Condition: Margins over 2 inches with deckled edges. $250-350

126

127. Jackson Lee Nesbitt (American, 1913-2008) November Evening, 1946, edition of 250, published by Associated American Artists (Retif & Salzer, 24). Signed “Jackson Lee Nesbitt” in pencil l.r., titled in pencil l.l., identified on a label from AAA affixed to the mat. Etching on paper, plate size 8 7/8 x 11 7/8 in. (22.4 x 30.2 cm), matted, unframed. Condition: Toning (primarily to verso), margins over 1 1/4 inches with two deckled edges. $300-500

127

128. Ernst Neumann (Canadian, 1907-1956) Lot of Two Landscapes: Church in St. Agatha Ave, 1944 and Stream at St. Agatha Run, 1944. Both signed “Ernst Neumann” in pencil, signed and dated within the plate, and titled in pencil l.l. Etchings on paper, plate sizes approximately 5 x 6 1/2 in. (12.5 x 16.5 cm), framed. Condition: Subtle rippling, not examined out of frames. $300-500

128

129. Jules Olitski (Russian/American, 1922-2007) Untitled, edition of 60. Signed “Jules Olitski” in pencil l.r., numbered “51/60” in pencil l.l., two dry stamps l.c. Color lithograph on paper, image/sheet size 29 3/4 x 21 1/4 in. (75.5 x 54.0 cm), unmatted, unframed. Condition: Deckled edges, annotation to verso. $300-500

130. Roi Partridge (American, 1888-1984) Stand of Pines, 1920. Signed “Roi Partridge.” in pencil l.c., signed and dated in the plate. Etching on paper, plate size 14 7/8 x 11 7/8 in. (37.7 x 30.0 cm), matted, unframed. Condition: Margins 3/4 inches or more with deckled edges, evenly spaced pinholes to margins, scattered fox marks. $400-600

131. Gabor F. Peterdi (American, 1915-2001) 129

Arctic Night I, 1964, edition of 25. Signed, dated, and inscribed “Peterdi 64 Imp” in pencil l.r., titled in pencil l.c., numbered “3-25” in pencil l.l. Color etching and aquatint on paper, plate size 23 7/8 x 35 5/8 in. (60.5 x 90.4 cm), framed. Condition: Not examined out of frame. $200-300

131

130

133

132

132. After Pablo Picasso (Spanish, 1881-1973) Deux arlequins, c. 1920, edition of 100, published by Édition de la Galerie Rosenberg. Signed “Picasso” in pencil l.c., numbered “40/100” in pencil l.l. Color pochoir on paper, image size 10 3/4 x 8 1/2 in. (27.2 x 21.5 cm), framed. Condition: Rippling, not examined out of frame. $4,000-6,000

133. After Pablo Picasso (Spanish, 1881-1973) Deux arlequins attablés, c. 1920, edition of 100, published by Édition de la Galerie Rosenberg. Signed “Picasso” in pencil l.c., numbered “61/100” in pencil l.l. Color pochoir on paper, image size 8 3/8 x 10 1/2 in. (21.0 x 26.5 cm), framed. Condition: Rippling, not examined out of frame. $4,000-6,000

134. Pablo Picasso (Spanish, 1881-1973) Trois acteurs, 1933, from LA SUITE VOLLARD, published 1939 (Geiser, 296; Bloch, 145). Signed “Picasso” in pencil l.r., identified on a label from the Retina Gallery, Boston, on the backing. Etching and drypoint on paper, plate size 11 x 7 1/8 in. (27.8 x 18.0 cm), framed. Condition: Margins 1 inch or more, not examined out of frame. $3,000-5,000

134

135. Pablo Picasso, illustrator (Spanish, 1881-1973) Lysistrata, by Aristophanes, published 1934 by The Limited Editions Club, New York, edition of 1500, including six original etchings. Signed “Picasso” in pencil and numbered “1276” in crayon on the colophon. Sheet sizes 11 1/2 x 9 in. (29.3 x 23.0 cm), original boards and slipcase. Condition: Minor wear to case. Provenance: Purchased from Lucien Goldschmidt, Inc., New York, 1980; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $1,500-2,000

136. After Pablo Picasso (Spanish, 1881-1973) Portrait de Madame Z from LES PEINTRES TÉMOINS DE LEUR TEMPS, 1956, published by Mourlot. Identified in text beneath the image, stamped “192” l.r. Color lithographic poster, sheet size 27 1/4 x 20 1/4 in. (69.1 x 51.4 cm), unmatted, unframed. Condition: Deckled right edge, even toning, subtle staining. $1,200-1,800

137. Pablo Picasso (Spanish, 1881-1973) La Pique I, 1959, edition of 50 (Bloch, 898). Signed “Picasso” in pencil l.r., numbered “33/50” in pencil l.l., dated within the matrix. Lithograph on cream Arches paper with watermark, image size 17 x 22 in. (43.2 x 55.8 cm), unmatted, unframed. Condition: Deckled edges with minor creasing, nicks to edge l.l., loss to u.l. corner, tears to left and right edges (each less than 3/4 inch), subtle toning, hinging residue to the reverse. $1,200-1,800

135

136

137

138

138. Pablo Picasso (Spanish, 1881-1973)

140. Robert Rauschenberg, illustrator (American, 1925-2008)

Portrait de famille, six personnages, 1962, edition of 50 (Bloch, 1031). Signed “Picasso” in green crayon, numbered “17/50” in pencil l.l. Lithograph on paper, image size 18 1/4 x 24 1/2 in. (46.3 x 62.3 cm), framed. Condition: Not examined out of frame. $5,000-7,000

Traces suspectes en surface, by Alain Robbe-Grillet, published in 1978 by Universal Limited Art Editions, Bay Shore, New York, edition of 36 plus proofs, unbound with forty-one color lithographs. Each numbered, signed, and dated “15/36 Robbe-Grillet RAUSCHENBERG 72-78” in pencil l.c., and with publisher’s and pagination dry stamps. 26 1/2 x 20 1/2 in. (67.5 x 52.0 cm), presented in the original cloth-covered folio box. Condition: Good.

139. Scott Prior (American, b. 1949) Tents, 1986, artist’s proof edition of 3. Signed and dated “Scott Prior 1986” in pencil l.r., titled in pencil l.c., inscribed “A.P.” in pencil l.l., identified on a label from The Alpha Gallery, Boston, on the backing. Etching with hand-coloring on paper, plate size 6 x 6 in. (15.2 x 15.2 cm), framed. Condition: Not examined out of frame. $500-700

Provenance: Purchased from the publisher, 1978; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $7,000-9,000

139 140

141. Robert Rauschenberg (American, 1925-2008) Howl, from the SEVEN CHARACTERS Series, 1982, a series of 70 unique collage pieces (Gemini, RR82-10; Old Gemini, 1035). Signed and dated “RAUSCHENBERG 82” in pencil l.r., stamped with Chinese character and “HOWL” on the reverse, stamped “© Gemini G.E.L.” and inscribed “RR82-10” in pencil on the reverse. Cast paper, fabric collage, and mixed media construction, 42 1/2 x 30 1/2 in. (107.8 x 77.4 cm), presented in a Plexiglas box. Condition: Good. Provenance: Purchased from Jacqueline Silverman, Beverly Hills, California, 1983; to the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. Rauschenberg conceived of this series as a collaborative project with China and its artists, using the working title of “China Collage” series, at a time when China was far from open to Westerners. Rauchenberg’s work is highly self-contextualized with elements drawn from his immediate surroundings. While he came to China with a plethora of materials to employ in the project, he found inspiration in the elements he discovered around him. Rauschenberg chose to visit the Anhui province where the famous “1,000 year paper” or Xuan paper is produced. Here he also found the calligraphic symbols - chosen for both their forms and meanings that would be the basis for the series. He was drawn to the silk wedding bed cloths that would evolve into the hanging medallions, and the Chinese propaganda posters that contained the paper collage elements he would ultimately employ. Even the seals he applied upon completion of the collages—those of the paper mill, the artist, and the publisher—came from Chinese antecedents. The result was a group of seventy unique compositions, each with variations in the poster elements, the silk medallions, and the ribbons. By removing these elements from their original contexts through their cutting and reassembly, Rauschenberg created new relationships and contexts. $12,000-18,000

141

142. Emmanuel Radensky, called Man Ray, illustrator (French/American, 1890-1976) Électro-Magie, by Gui Rosej, published in 1969 by Georges Visat, Paris, total edition of 175, unbound, containing six color aquatints. Each print signed “ManRay” in pencil l.r. and numbered “I/XXV” in pencil l.l. Sheet sizes 11 x 9 in. (28.0 x 23.0 cm), presented in a cloth-bound slipcase. Condition: Minor wear to case. Provenance: Purchased from Sergio Tosi Stampatore, Viareggio, Italy, 1982; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $2,500-3,500

142

144

143

143. Emmanuel Radensky, called Man Ray, illustrator (American, 1890-1976) La Logique Assassine, written by Henry Miller, published in 1975 by Luciano Anselmino, Paris, edition of 100 plus proofs, unbound frontispiece plus a multiple titled Enigme III comprised of a flannel blanket tied with twine and presented in a Plexiglas box. Monogrammed “MR” in pencil and numbered “44/100” in pencil l.l. on the frontispiece, identified on the colophon page, text signed “Henry Miller” in ink. 20 5/8 x 14 3/4 in. (52.3 x 37.5 cm), presented in a cloth-covered portfolio box with inset printed panels. Condition: Wear to box. Provenance: Purchased from Sergio Tosi Stampatore, Viareggio, Italy, 1982; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $1,000-1,500

144. Rembrandt van Rijn (Dutch, 1606-1669) The Tribute Money c. 1635, a posthumous printing (Bartsch, 68; Hind, 124; Münz, 200; Hollstein/White & Boon, 68). Unsigned. Etching on paper, sight size 2 3/4 x 4 in. (6.9 x 10.0 cm), framed. Condition: Pale foxing, not examined out of frame. Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $400-600

145. Pierre Auguste Renoir (French, 1841-1919)

145

Louis Valtat, from L’ALBUM DES DOUZE LITHOGRAPHIES ORIGINALES, c. 1904, from the edition of 950 (Stella, 38). Signed in the matrix. Lithograph on paper, image size 11 5/8 x 9 3/8 in. (29.5 x 23.7 cm), framed. Condition: Laid down, deckled edges, mat burn. $1,500-2,000

146

146. Robert Riggs (American, 1896-1970)

147. Larry Rivers, illustrator (American, 1923-2002)

Club Fighter, c. 1933-1934, edition of approximately 50 (Bassham, 35). Signed “Robert Riggs-” in pencil l.r. and within the matrix, titled in pencil l.l., identified on a label from the Discovery Gallery, Inc., Santa Fe, on the backing. Lithograph on paper, image size 14 x 18 1/8 in. (35.5 x 46.0 cm), framed. Condition: Scattered fox marks, rippling, not examined out of frame. $3,000-5,000

Stones, by Frank O’Hara, published in 1959 by Universal Limited Art Editions, New York, total edition of 30, unbound with thirteen lithographs. Each image signed and dated “Rivers ‘5...” in pencil l.r., numbered and signed “XXIV O’HARA” in pencil l.l., and with publisher’s dry stamp, identified and numbered on colophon page and numbered on wrapper. Sheet sizes 18 1/2 x 23 1/2 in. (47.0 x 59.5 cm), in the original folder with interior blue paper wrapper. Condition: Wear to folder. Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $15,000-20,000

147

148

148. Larry Rivers, illustrator (American, 1923-2002) The Donkey and the Darling, by Terry Southern, published in 1977 by Universal Limited Art Editions, Bay Shore, New York, total edition of 44, unbound with fifty-two color lithographs. Each image signed and dated “Larry Rivers ‘68-’77” in pencil l.r., and numbered and signed “Terry Southern XI/XXXV” in pencil l.l. Sheet sizes 17 1/2 x 20 3/4 in. (44.4 x 52.5 cm), presented in the publisher’s green lacquered wood case inset with mirror-backed title under hand-blown glass. Condition: Good. Provenance: Purchased from the publisher, 1979; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $4,000-6,000

149. Georges Rouault (French, 1871-1958) Réincarnations Du Père Ubu, published in 1932 by Ambroise Vollard, Paris, from the edition of 55 published on Montval paper, unbound, containing twenty-two etchings plus 104 wood engravings after Rouault. Signed “Vollard” and “Georges Rouault” in ink on the colophon page, and numbered “44.” Sheet sizes 17 1/4 x 13 1/4 in. (43.7 x 33.5 cm), presented in a (later) portfolio box. Condition: Very minor wear, ex libris label from Nelson A. Rockefeller to first sheet. Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York; purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $8,000-12,000

149

151

150

150. Georges Rouault (French, 1871-1958)

151. Ed Ruscha (American, b. 1937)

Lot of Two Images: Dors, mon amour, 1935, from CIRQUE DE L’ETOILE FILANTE (Wofsy, 335); and Aide-Borreau portant un des bois de la Croix, ves la gauche, 1936, from PASSION (Wofsy, 353). Both initialed and dated within the plates. Color etchings with aquatint on paper, plate sizes approximately 12 x 8 1/2 in. (30.4 x 21.5 cm), framed. Condition: Unobtrusive toning, scattered foxing (primarily to the latter), not examined out of frames. $1,000-1,500

Kansas/Oklahoma, 1978, edition of 35 plus proofs, published by the Hartford Art School (Engberg & Phillpot, 101). Signed and dated “Edward Ruscha 1978” in pencil l.r., inscribed “B.A.T.” in pencil l.l., dry stamps to both of the lower corners, titled within the matrix. Color lithograph on paper, image size 3 1/2 x 27 5/8 in. (8.8 x 70.0 cm), framed. Condition: Minor crease to lower corners, gentle rippling, not examined out of frame. $800-1,200

152. Ed Ruscha (American, b. 1937) Little Connecticut Sleeping House, 1978, edition of 16 plus proofs, published by the Hartford Art School (Engberg & Phillpot, 102). Signed and dated “Edward Ruscha 1978” in pencil l.r., inscribed “B.A.T.” in pencil l.l., two dry stamps l.l., titled within the matrix. Lithograph in blue on paper, image size 6 1/2 x 8 1/8 in. (16.4 x 20.5 cm), framed. Condition: Wide margins, gentle rippling, not examined out of frame. $1,000-1,500

152

153

154

153. Ed Ruscha (American, b. 1937)

154. Toko Shinoda (Japanese, b. 1913)

Kay-Eye-Double-S, 1978, edition of 35 plus proofs, published by the Hartford Art School (Engberg & Phillpot, 103). Signed and dated “Edward Ruscha 1978” in pencil l.r., inscribed “B.A.T.” in pencil l.l., dry stamps to both of the lower corners, titled within the matrix. Color lithograph on paper, image size 6 x 27 1/4 in. (15.2 x 69.1 cm), framed. Condition: Minor handling creases, gentle rippling, not examined out of frame. $800-1,200

Voice of the Moon, edition of 30. Numbered, titled, signed and inscribed “4/30...Toko Shinoda...” in pencil l.l. Color lithograph on paper, image size 22 1/2 x 16 in. (57.0 x 40.5 cm), framed. Condition: Not examined out of frame. Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $700-900

155. John French Sloan (American, 1871-1951) The Donkey Ride, alternatively titled Her Mount Decided to Take to a Gallop..., the frontispiece to THE WORKS OF CHARLES PAUL DE KOCK, published 1903, final state of three editions of 1,000 (Morse, 71). Signed and identified in the plate and on labels on the reverse. Etching on paper, plate size 3 3/4 x 5 1/2 in. (9.4 x 14.0 cm), framed. Condition: Not examined out of frame. $150-200

155

156

156A

156. Raphael Soyer (American, 1899-1987) My Studio, alternatively titled In the Studio, 1944, edition of 250 (Cole, 63). Signed “Raphael Soyer” in pencil l.r. and in the matrix. Lithograph on paper, image size 12 1/8 x 9 1/2 in. (30.7 x 24.0 cm), framed. Condition: Margins 1/2 inch or more, staining, toning, not examined out of frame. $300-500

156A. Benton Murdoch Spruance (American, 1904-1967) Young Lincoln, 1940, edition of 50 (Fine & Looney, 183). Signed “Spruance” in pencil l.r., initialed in the matrix, titled in pencil l.c., inscribed “Ed 50” in pencil l.l. Lithograph in black and tan on paper, image size 18 1/4 x 11 3/8 in. (46.3 x 28.8 cm), framed. Condition: Toning, unobtrusive mat burn, not examined out of frame. $300-500

157. Harry Sternberg (American, 1904-2002) Steel Workers. Signed and dedicated “for Nancy from Harry Sternberg” in pencil l.r., titled and signed within the matrix. Lithograph on paper, image size 11 5/8 x 8 1/8 in. (29.4 x 20.5 cm), unmatted, unframed. Condition: Margins 1 inch or more, soiling. $300-500 157

160 158

158. Andrew Stevovich (American, b. 1948)

160. Andrew Stevovich (American, b. 1948)

Lot of Two Images: Smoker #1, 1981, edition of 25; and Handsome Eddie, 1990, edition of 75. Both signed and dated “Andrew Stevovich 19...” in pencil l.r., titled in pencil l.c., and numbered in pencil l.l. Etchings, the latter with aquatint, on paper, plate sizes to 8 x 9 1/4 in. (20.3 x 23.4 cm), unmatted, unframed. Condition: Margins 2 1/2 inches or more. $200-250

Woman with Suitors #1, 1984, edition of 45. Signed and dated “Andrew Stevovich 1984” in pencil l.r., titled in pencil l.c., numbered “2/45” in pencil l.l. Etching on paper, plate size 11 7/8 x 15 7/8 in. (30.0 x 40.0 cm), unmatted, unframed. Condition: Margins over 3 inches with deckled edges, minute handling marks/creases at upper corners. $200-250

159. Andrew Stevovich (American, b. 1948) Lot of Three Images: Smokers #1, 1981, edition of 25, etching; A Kiss for Nadine, 1989, edition of 100, etching on chine collé; and Annie Smoking, 1989, edition of 50, woodcut. Each signed and dated “Andrew Stevovich...” in pencil l.r., titled in pencil l.c., and numbered in pencil l.l. Image/plate sizes to 8 x 9 1/2 in. (20.3 x 24.0 cm), unmatted, unframed. Condition: Margins over 2 inches with deckled edges. $200-250

159

161. Andrew Stevovich (American, b. 1948) Carnival, 1985, edition of 70. Signed and dated “Andrew. Stevovich 1985” in pencil l.r., titled in pencil l.c., numbered “69/70” in pencil l.l., dry stamp l.r. Color woodcut on cream paper, image size 9 1/4 x 14 7/8 in. (23.4 x 37.5 cm), unmatted, unframed. Condition: Margins 1 1/4 inches or more with two deckled edges, unobtrusive handling creases to margins, nicks/creases to deckling. $250-300

161

162. Andrew Stevovich (American, b. 1948) Lot of Two Portrait Images: Susan, 1985, edition of 50; and Betty, 1985, edition of 50. Both signed and dated “Andrew Stevovich 19...” in pencil l.r., titled in pencil l.c., and numbered in pencil l.l. Etchings with plate tone on paper, plate sizes 7 x 7 in. (17.7 x 17.7 cm), unmatted, unframed. Condition: Margins approximately 2 1/2 inches with deckled edges. $200-250

162

163. Rufino Tamayo (Mexican, 1899-1991) Observador de Pajaros, 1950, total edition of 277 (Pereda, 31). Signed “R. Tamayo” in pencil l.l., numbered “LV/LX” in pencil l.r., and identified on a label on the backing. Lithograph in colors on paper, image size 12 3/4 x 19 3/8 in. (32.3 x 49.1 cm), framed. Condition: Toning, not examined out of frame. $500-700

163

164

164. Yves Tanguy, illustrator (French/American, 1900-1955) Le Grand Passage, by Jean Laude, published in 1954 by Max Clarac-Serou, Paris, total edition of 41, containing three etchings (one with color monotype). Each print signed “YVES TANGUY” in pencil l.r. and numbered l.l., numbered “E” and identified on the title page and its verso, a collage of blue, black, and white paper bound within. Sheet sizes 10 3/4 x 8 1/4 in. (27.3 x 20.8 cm), binding by Leroux, 1958, of white calfskin with inlay of gray wood veneer and black leather, presented with binder’s chemise and slipcase. Condition: Very minor wear. Provenance: Purchased from Lucien Goldschmidt, Inc., New York, 1981; the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $8,000-12,000

165. Albert Urban (German, 1909-1959) Lot of Three Images, 1948. Each signed and dated “Albert Urban 48” in ink beneath the image and with artist’s estate stamp verso. Screenprints in black and tan on paper, image sizes 11 7/8 x 8 1/4 in. (30.0 x 20.8 cm), framed. Condition: Margins over 3 inches, estate stamp visible on recto, not examined out of frames. $400-600

165

166

166. Albert Urban (German, 1909-1959)

168. Victor Vasarely (French, 1908-1997)

Lot of Three Images, 1953. Each signed, dated, and numbered “Albert Urban 53...” in ink within the image. Color screenprints on paper, image sizes 24 1/4 x 30 3/4 in. (61.5 x 78.0 cm), framed. Condition: Not examined out of frames. $600-800

Erebus, edition of 2000. Etched signature “Vasarely-” on the reverse l.r., identified and numbered “...2000/1649” on a label from Rosenthal Studio-linie, Germany, beneath the plinth. Molded crystal, 13 x 9 1/2 x 1 in. (33.0 x 24.1 x 2.5 cm), set in a slotted chrome and wood plinth. Condition: Good.

167. Victor Vasarely (French/Hungarian, 1908-1997)

Provenance: Purchased from Circle Gallery, New York, 1989. $400-600

Untitled (Red, Green, Violet), edition of 125. Signed “Vasarely-” in pencil l.r., numbered “121/125” in pencil l.l., dry stamp l.l. Color screenprint on paper, image size 18 x 18 in. (45.7 x 45.7 cm), unmatted, unframed. Condition: Two edges deckled. $400-600

167

168

169. Esteban Vicente (American, 1903-2001) Untitled, edition of 75. Signed “Esteban Vicente” in pencil l.r., numbered “68/75” in pencil l.l. Color etching and aquatint on paper, plate size 16 3/4 x 12 in. (42.5 x 30.4 cm), framed. Condition: Margins 3/4 inches or more, not examined out of frame. $300-500

170. Jacques Villon (French, 1875-1963) René à bicyclette, alternatively titled Un début, 1906, edition of 50, published by Sagot, Paris (Ginestet & Pouillon, E152). Signed “Jacques Villon” in pencil l.r., signed and dated in the plate, numbered “14/50” in pencil l.l., publisher’s dry stamp l.r. Drypoint and aquatint on paper, plate size 15 3/4 x 11 5/8 in. (39.9 x 29.4 cm), matted, unframed. Condition: Margins 2 inches or more with deckled edges to three sides, even toning, cockling, annotations to margins (recto and verso), hinge and tape residue to some edges. $500-700

171. Maurice de Vlaminck (French, 1876-1958)

169

Marine, l’Eglise, c. 1925, first state of two (Walterkirchen, 182). Signed “Vlaminck” in pencil l.r. Lithograph on paper, image size 8 3/4 x 12 in. (22.2 x 30.4 cm), framed. Condition: Not examined out of frame. $500-700

171

170

172

172. Maurice de Vlaminck (French, 1876-1958)

172A. Andy Warhol (American, 1928-1987)

Le pont sur l’Oise à Méry (I), c. 1925 (Walterkirchen, 187 [I]). Signed “Vlaminck” in pencil l.r., inscribed “Essai” in pencil l.l. Lithograph on paper, image size 9 1/2 x 13 1/2 in. (24.0 x 34.2 cm), framed. Condition: Not examined out of frame. $500-700

Lincoln Center Ticket, 1967, edition of 500 (Feldman & Schellmann, II.19). Unsigned, identified within the matrix. Color screenprint on paper, sight size 44 x 23 3/8 in. (111.8 x 59.4 cm), framed. Condition: Not examined out of frame. $1,000-1,500

173. James Abbott McNeill Whistler (American, 1834-1903) Billingsgate, 1859, final state of eight (Kennedy, 47). Signed and dated in the plate. Etching with drypoint on paper, plate size 6 x 8 7/8 in. (15.2 x 22.5 cm), framed (without glass). Condition: Mat burn, unobtrusive toning and staining. $1,000-1,500

173

172A

174

175

174. Samuel Johnson Woolf (American, 1880-1948) Lot of Two Images: At the Counter and Pushcart Peddler. Both signed “S.J. Woolf.” in pencil l.l. Etchings on paper, plate sizes approximately 7 x 5 in. (17.5 x 12.5 cm), framed. Condition: Not examined out of frames. $250-350

175. Ossip Zadkine (Russian/French, 1890-1967) Girl with Dove, edition of 200. Signed “O.ZADKINE” in pencil l.r., numbered “179/200” in pencil l.l. Color screenprint on paper, image size 22 1/2 x 16 5/8 in. (57.0 x 42.2 cm), unmatted, unframed. Condition: Margins over 2 1/4 inches with deckled edges, minor nicks/creases to deckles. $200-250

176. Anders Zorn (Swedish, 1860-1920) Colonel Lamont III, 1904, final state of four (Asplund, 178). Signed “Zorn” in pencil l.r., signed and dated in the plate. Etching on paper, plate size 7 7/8 x 6 in. (20.0 x 15.0 cm), framed. Condition: Margins 1/2 inch or more, toning, not examined out of frame. $300-500 176

177 179

177. Anders Zorn (Swedish, 1860-1920) Self Portrait 1916, 1916, final state of three (Asplund, 270). Signed “Zorn” in pencil l.r., signed and dated in the plate, label from M. Knoedler & Co., New York, on the backing. Etching on laid paper, plate size 6 7/8 x 4 3/4 in. (17.5 x 12.0 cm), framed. Condition: Margins 1 inch or more, toning, not examined out of frame. $300-500 178. Anders Zorn (Swedish, 1860-1920) Gulli II, 1919, final state of three (Asplund, 280). Signed “Zorn” in pencil l.r., signed and dated in the plate. Etching on paper, plate size 7 3/4 x 5 3/4 in. (19.6 x 14.6 cm), framed. Condition: Margins 1/2 inch or more, toning, unobtrusive mat burn and fox marks, not examined out of frame. $250-350

Photography 178

179. Harold Eugene Edgerton (American, 1903-1990) Basketball Player. Unsigned. Silver gelatin print, sheet size 8 1/8 x 10 in. (20.5 x 25.4 cm), unmatted, unframed. Condition: Minute nicks to edges. $700-900

180

182

181

180. Harold Eugene Edgerton (American, 1903-1990)

182. Sandi Fellman (American, b. 1952)

Basketball Player Dribbling. Unsigned. Silver gelatin print, sheet size 8 1/8 x 10 in. (20.5 x 25.4 cm), unmatted, unframed. Condition: Minute nicks to edges, staining to corner l.l. $700-900

Peonies. Unsigned on recto. Color photograph, sight size 23 3/4 x 20 1/2 in. (60.2 x 52.0 cm), framed. Condition: Not examined out of frame. $600-800

181. Harold Eugene Edgerton (American, 1903-1990) Grand jetĂŠ. Unsigned. Silver gelatin print, sheet size 8 x 10 1/8 in. (20.3 x 25.5 cm), unmatted, unframed. Condition: Minute nicks to edges. $700-900

184

183

185

183. Sandi Fellman (American, b. 1952)

184. John S. Johnston (British/American, born c. 1839-1899)

Flowers and Hands. Unsigned on recto. Color photograph, sight size 23 3/4 x 20 1/2 in. (60.2 x 52.0 cm), framed. Condition: Not examined out of frame. $600-800

Lot of Five Yachting Images: Carmita, Tomahawk, Dungeness, Utowana, and Two-Masted Steam Screw, Possibly the Narwhal. Unsigned, three titled within the image, one identified in an inscription on the reverse. Albumen prints on paper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm), unframed. Condition: Minor wear/nicks to edges, subtle toning, mild rippling. $600-800

185. John S. Johnston (British/American, born c. 1839-1899) Lot of Five Yachting Images: Royal, Ilderim, Neaira, Alicia, and Kanawha. Unsigned, each titled within the image. Albumen prints on paper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm), unframed. Condition: Minor wear/nicks to edges, subtle toning, mild rippling. $600-800

186

186. John S. Johnston (British/American, born c. 1839-1899)

188. O. Winston Link (American, 1914-2001)

Lot of Five Yachting Images: Colonia, Columbia, Jubilee, Alert, and Helen. Each vessel identified within the matrix, Jubilee inscribed â&#x20AC;&#x153;COPYRIGHT 1893, BY J.S. JOHNSTON, N.Y.â&#x20AC;? l.r. Albumen prints on paper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm), unframed. Condition: Minor wear/nicks to edges, unobtrusive toning, mild rippling and handling creases. $700-900

Train 1241 Coming Through the Westbound Montgomery Tunnels, c. 1957, probably a later printing. Purportedly signed on the reverse. Silver gelatin print, sight size 19 1/8 x 15 in. (48.5 x 38.0 cm), framed. Condition: Not examined out of frame. $4,000-6,000

End of Session I 187. O. Winston Link (American, 1914-2001) Main Street, Stanley, Virginia, 1957, probably a later printing. Purportedly signed on the reverse. Silver gelatin print, sight size 15 x 19 in. (38.0 x 48.5 cm), framed. Condition: Not examined out of frame. N.B. The lot is accompanied by an autographed 1998 calendar, Night Train, by O. Winston Link. $4,000-6,000

187

188

Session II

Paintings & Sculpture Lots 200-580 to be sold Friday, May 21st, 2010 at 4 p.m.

200

200. Flemish School, 16th Century Style Madonna and Child Unsigned. Oil and gold leaf on panel in an arched format, 14 1/2 x 10 5/8 in. (36.5 x 27.0 cm), framed. Condition: Craquelure with lifting u.l., small loss of gold leaf in the arch l.c., surface grime. $3,000-4,000

201

201. Italian School, 18th Century Lot of Two Works: Christ at the Marriage at Cana and Christ Healing the Paralytic at the Pool of Bethesda Cana inscribed and dated “NIC DE/FATIO/P/1772” l.l., Pool unsigned. Oil on canvas mounted to Masonite, sizes 14 1/2 x 29 1/2 in. (36.8 x 74.9 cm), framed. Condition: Craquelure, surface grime, retouch. Provenance: Estate of N. David Scotti, Providence, Rhode Island. $300-500

202. Attributed to Cherubino Alberti (Italian, 1553-1615) Seated Figure Under a Baldacchino Unsigned, inscribed “Cherubino Alberti ?/Giovanni ?” in pencil on the back of the mount. Ink with wash and sanguine on paper, sheet size 11 x 6 7/8 in. (28.0 x 17.5 cm), unframed. Condition: Toning, small loss l.r. corner, unobtrusive soiling, mounted to a larger sheet decorated in the manner of a French mat. $500-700

202

203

203. Flemish School, 16th Century The Holy Family with the Infant St. John the Baptist and St. Elizabeth Initialed â&#x20AC;&#x153;AvD I fc...â&#x20AC;? l.r. Graphite and whiting on laid paper, sight size 14 3/4 x 18 in. (37.5 x 45.7 cm), framed. Condition: Laid onto panel, foxing, small tear l.l. corner, restored tear in u.r. quadrant, acid burn. $4,000-6,000

204. Italian School, 16th Century Style Mystic Marriage of Saint Catherine Unsigned. Oil on copper, 6 1/8 x 4 5/8 in. (15.6 x 11.7 cm), framed. Condition: Losses, surface grime. $800-1,200

204

205

205. School of Leonardo Coccorante (Italian, 1700-1750) Landscape with Classical Ruins and Figures Unsigned. Oil on canvas, 29 1/2 x 49 5/8 in. (75.0 x 126.0 cm), unframed. Condition: Lined, canvas deformations in the corners, retouch, yellowed varnish, surface grime, craquelure. $4,000-6,000

206

206. School of Francesco Lazzaro Guardi (Italian, 1712-1793)

207. School of Francesco Lazzaro Guardi (Italian, 1712-1793)

View of the Grand Canal Unsigned. Oil on canvas, 23 1/4 x 29 1/4 in. (59.1 x 74.5 cm), framed. Condition: Surface grime, craquelure. $2,000-3,000

Ponte di Rialto and The Grand Canal Unsigned. Oil on canvas, 23 5/16 x 29 3/8 in. (59.5 x 74.5 cm), framed. Condition: Retouch, possible skinning, craquelure. $2,000-3,000

207

208

208. Dutch School, 17th Century

209. Dutch School, 19th Century

Panoramic River Valley with Wayfarers and Villagers Unsigned. Oil on canvas, 12 7/8 x 17 in. (32.8 x 43.4 cm), framed. Condition: Lined, retouch, craquelure, surface grime.

Animated Shore View with Figures and Windmill Unsigned, inscribed â&#x20AC;&#x153;25 - Ap 6thâ&#x20AC;? in a period hand on the reverse. Watercolor on paper, 7 3/4 x 9 5/8 in. (19.5 x 24.4 cm), framed. Condition: Toning, scattered fox marks, affixed to mat at edges on the reverse. $300-500

$1,500-2,000

209

210

210. Follower of Jacob van Ruisdael (Dutch, c. 1628-1682) Landscape with Dunes and Figures on a Path Unsigned, red wax seals on the reverse. Oil on panel, 20 5/8 x 26 3/4 in. (52.4 x 67.9 cm), framed. Condition: Minor lifting/flaking, abrasions, surface grime, partial split to panel, fine craquelure. Provenance: The estate of Barbara Green, by descent through the family of William Morris Green. N.B. This painting is closely related to Hilly Dunescape, an untraceable painting known only through photographs, attributed to Ruisdael, and included as No. 625 in the Jacob van Ruisdael catalogue raisonnĂŠ. The two landscapes have differing provenances, suggesting that this painting may be a copy or another version made by a follower of Jacob van Ruisdael. $5,000-7,000

211

211. Continental School, 19th Century Dogs Bringing Down a Boar Unsigned. Oil on canvas mounted to a rigid support, 14 7/16 x 16 9/16 in. (36.6 x 42.1 cm), framed. Condition: Lined, retouch, unobtrusive surface grime, craquelure. $1,500-3,000

212. Dutch/Flemish School, 17th Century Style Still Life with Flowers, Fruit, Insects, and Acorns Unsigned. Oil on canvas, 28 x 21 3/8 in. (71.3 x 54.4 cm), framed. Condition: Lined, scattered paint loss, retouch. $1,500-2,500

212

213

213. Manner of Melchior de Hondecoeter (Dutch, 1636-1695) Roosters and Chicks Unsigned. Oil on canvas, 35 x 44 5/8 in. (88.9 x 113.3 cm), framed. Condition: Lined, retouch, craquelure, surface grime. $1,500-2,500

214. No lot.

215. Spanish Colonial School, 19th Century Por Altos Juicios de Dios Soi Condenanado Unsigned, identified within the image and on a label affixed to the frame backing. Oil on canvas mounted on Masonite, 18 7/8 x 14 3/8 in. (48.0 x 36.5 cm), framed. Condition: Retouch, paint losses u.r. and l.l., wear at the corners, surface grime, craquelure. $400-600

215

216. Spanish Colonial School, 19th Century The Scourging of Christ Unsigned. Oil on canvas, 31 x 22 7/8 in. (78.5 x 58.0 cm), unframed. Condition: Lined, losses, retouch, surface grime, craquelure. $800-1,200

216

217

217. Spanish Colonial School, 19th/20th Century Lot of Two Retablos: San Pascual Bailon and San Camilo de Lelis Unsigned. Oil on tin, sizes to 10 x 7 in. (25.4 x 17.8 cm), unframed. Condition: Minor abrasions, losses, rust/corrosion, fine craquelure. N.B. San Camilo de Lelis, the patron saint of the infirm and infirmaries, is also known as the “Red Cross Saint.” His iconography typically includes devils, angels, and a skeleton, as the scene depicts the dying man’s last hour. San Pascual Bailon, the patron saint of cooks and the kitchen, is typically depicted with his cooking accoutrements and cat. $600-800

218

218. William Alexander (British, 1767-1816) Chinese Barges of the Embassy Preparing to Pass Under a Bridge, plate XL from Sir George Staunton’s An Authentic Account of An Embassy from the King of Great Britain to the Emperor of China… Signed and dated “Wm. Alexander f 1793.” l.l., identified on a label on the reverse. Watercolor on paper/board, sight size 11 x 17 3/4 in. (27.9 x 45.1 cm), framed. Condition: Toning, staining, foxing, not examined out of frame. N.B. William Alexander traveled in the first English embassy to China, which was led by George Lord Viscount Macartney. It sailed out of Portsmouth on September 26th, 1792. The secretary to the embassy was Sir George Staunton, who wrote a careful account of the journey that was illustrated by engravings created after Alexander's watercolors. The first version of the Account was published in 1797 in two volumes plus a folio of plates by W. Bulmer & Co. in London. Alexander documented the people, architecture, and customs of all of the cultures encountered during the voyage, although the published plates pertain solely to the Chinese. His drawings, as can be seen here and in lot 219, are highly detailed and his observations of both the Chinese and British in these settings are carefully rendered. $1,000-1,500

219

219. William Alexander (British, 1767-1816) A View of Part of the Great Wall of China, Called by the Natives Van-lee-ching, or Wall of Ten Thousand Lee, Taken Near the Pass of ‘Cou-Pe-Koo,’ plate XXIV from Sir George Staunton’s An Authentic Account of An Embassy... Signed and inscribed “Alexander/delr.” l.r., identified on labels affixed to the reverse. Watercolor on paper/board, sight size 11 x 17 3/4 in. (27.9 x 45.1 cm), framed. Condition: Toning, foxing, light abrasion l.c., not examined out of frame. N.B. The watercolor presented here shows several differences from the published engraving: the horse in the right foreground lacks a rider in the engraved version, and the figures by the base of the near tower are removed in the plate. The description for the plate in Staunton’s Account indicates how amazed the British were with the wall. The folio describes the wall as follows: “At this place the wall is carried over the summits of the highest mountains, some of which are not less than three thousand feet in perpendicular height, and appear to be almost inaccessible... This wall, according to the charts of the empire made from actual surveys, is more the fifteen hundred miles in length, and in many places it is double, and even triple, for the better defence of the passes. The masonry and brickwork in the towers alone exceed those of all London.” (volume I, page xxii). $1,000-1,500

220. Dutch School, 19th Century Portrait of a Young Woman, Possibly a Sea Captainâ&#x20AC;&#x2122;s Wife Unsigned. Oil on canvas, 43 3/4 x 33 3/4 in. (111.2 x 85.6 cm), unframed. Condition: Abrasions and paint losses, lined, canvas deformation to the corners. $1,500-2,000

220

221. Attributed to Thomas Rowlandson (British, 1756-1827) The Proctor Outwitted Unsigned, titled and identified on labels affixed to the backing. Ink, graphite, and wash on paper, sheet size 7 1/2 x 6 1/4 in. (19.1 x 15.9 cm), framed. Condition: Not examined out of frame. $1,000-1,500

221

222. Attributed to Philippe Tidemann (German, 1657-1705), After Gérard de Lairesse (Flemish, 1641-1711) Blindfolded Artist with Muses/Maquette for a Title Page Signed, dated, and inscribed in ink within the composition “...van G. Lairesse/anno 1702” u.r., inscribed on verso in pencil. Ink on paper, 6 1/2 x 5 1/4 in. (16.5 x 13.3 cm), matted, unframed. Condition: Toning, sheet trimmed to the image, staining to the reverse. N.B. This drawing is probably a study for an engraving that was used on the title page of Groot Schilderboek, published in 1712. $500-700

222

223. Anglo/American School, 18/19th Century Portrait of a Young Man in Floral Waistcoat Unsigned. Oil on canvas, 29 1/8 x 24 1/2 in. (74.0 x 62.3 cm), framed. Condition: Retouch, craquelure, surface grime. Provenance: Estate of N. David Scotti, Providence, Rhode Island. $300-500

223

224. Continental School, 19th Century Evening Prayers (possibly Marie Antoinette) Unsigned. Oil on canvas, 19 1/2 x 16 1/2 in. (49.5 x 42.0 cm), framed. Condition: Lined, retouch. $1,500-2,000

224

225. Arthur David McCormick (British, 1860-1943) The Visitor/Lacy Middleton and Lord Nelson Signed â&#x20AC;&#x153;A.D. McCormickâ&#x20AC;? l.r., identified on a label from H. & P. De Casseres, London, on the backing. Oil on canvas, 23 7/8 x 19 in. (60.8 x 48.0 cm), framed. Condition: Lined, retouch, craquelure. $1,800-2,200

225

226

226. Henry Herbert La Thangue, R.A. (British, 1859-1929) Portrait of a Seated Woman Signed “HLa Thangue” u.r., with a canvas stencil from Lechertier Barbe & Co., London, on the reverse. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Retouch, craquelure, alligatoring, surface grime. N.B. The British art materials supplier Lechertier Barbe & Co. operated under this name between 1859-1897.1 1. National Portrait Gallery, “British Artist’s Suppliers, 1650-91950-L,” http://www.npg.org.uk/research/programmes/directory-of-suppliers/l.php

$7,000-9,000

227. Heinrich Hasselhorst (German, 1825-1904) Steep Carriage Ride Unsigned, identified on a partial label “..1872...von Professor Hasselhorst...” affixed to the stretcher, partial label from “GALLERIE GSELL/Wein” on the reverse. Oil on canvas, 14 3/8 x 10 3/4 in. (36.6 x 27.4 cm), framed. Condition: Retouch, craquelure, surface grime. Provenance: Purchased in 1969 from Dora Prowig, Antiquarian, Munich, Germany by Dr. Friedman, Ridgewood, New Jersey. N.B. An envelope containing the purchase receipt, a letter, and a photograph accompanies this lot. $1,500-2,000

228. Jean-Antoine-Simeon Fort (French, 1793-1861) View of the Valley Signed “Simeon Fort.” l.r. Oil on canvas, 10 3/4 x 13 3/4 in. (27.3 x 34.9 cm), framed. Condition: Repair with patch reinforcement, retouch, mild varnish inconsistencies, surface grime. $800-1,200

227

228

229

229. Johannes Josephus Destrée (Belgian/Dutch, 1827-1888) View of the Hofvijver, The Hague Signed, inscribed, and dated “J J Destrée Fct 1841” l.l. Oil on panel, 7 3/4 x 13 1/4 in. (19.7 x 33.7 cm), framed. Condition: Minor abrasions, minor surface grime, alligatoring, subtle craquelure. $2,000-3,000

230

230. Henry Hillier Parker (British, 1858-1930) The Thames Looking Toward Henley Signed “Henry H. Parker” l.r., titled, signed, and inscribed “...Henry H. Parker... 5689” and with a canvas stencil from G. Robertson & Co. Ltd., London, on the reverse. Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), framed. Condition: Craquelure, surface grime. $6,000-8,000

231

231. Constant Troyon (French, 1810-1865) Le Canal, alternatively titled La Petite Écluse Signed and dated “TROYON.1860.” l.l., with a wax seal from Collection Sedelmeyer, Paris, on the stretcher, inscribed “N. 103” on the stretcher, identified in a label from Arthur Tooth and Sons Ltd., London, on the back of the frame. Oil on canvas, 18 1/4 x 22 in. (46.4 x 56.0 cm), framed. Condition: Lined, scattered retouch, craquelure. Provenance: Sedelmeyer, Paris; Weeks, Brookline, Massachusetts; Walter P. Chrysler, Jun..; Hazlitt Gallery, London; Leggatt Brothers, London; The Earl of Inchcape; Artemis Fine Arts (UK) Ltd., London; Edward J. Searles, Toledo, Ohio; by descent in the family to the current owner. Exhibitions: London, Hazlitt Gallery, Barbizon exhibition, 1956, no. 2. N.B. Constant Troyon was born in Sèvres and began his career as a painter of porcelain, following family tradition. By the 1830s he had abandoned this path for a life as a landscape painter, making his debut at the Salon of 1833. Troyon became one of the central artists of the Barbizon school. By 1840 he was painting with Théodore Rousseau and Jules Dupré, and in 1844 he submitted two views of Fontainebleau to the Salon. Troyon enjoyed great success as a painter, winning acceptance into many expositions in France and abroad. In 1847 Troyon made a seminal trip to Holland, which would change the course of his art. Inspired by the Dutch artists, Troyon refocused his work on animals painted in the natural landscape, and he earned renown as an animalier. He was awarded the French Legion of Honor in 1849. He lived mostly in Normandy and Paris, except for short trips to England and the Low Countries, where this scene is located. The painting Le Canal is also described as La Petite Écluse. Constant Troyon died unexpectedly in 1865, and the Salon of 1866 paid tribute to his career. A Certificate of Authenticity from Cabinet Michel Rodrigue accompanies this lot. $20,000-30,000

232. Hendricus Jacobus Burgers (Dutch, 1834-1899) Prayer at the Refugium Peccatorum, Venice, Italy Signed “Burgers” l.r., with a canvas stencil from Lefranc & Cie., Paris, on the reverse. Oil on canvas, 18 1/4 x 12 3/4 in. (46.3 x 32.4 cm), framed (under glass). Condition: Fine craquelure. $1,500-2,500

232

233. Ernest De Nagy (American, 1881-1952) The Young Violinists Signed “Ernest de Nagy” l.l. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Scattered retouch, minor canvas deformation u.r. $800-1,200

233

234. Leon Jean Basile Perrault (French, 1832-1908) Boy with a Violin Signed and dated “- L - Perrault/75” l.l., identified on a presentation plaque. Oil on canvas, 32 x 18 3/8 in. (81.3 x 46.8 cm), framed. Condition: Surface grime, craquelure. $15,000-25,000

234

235. Luigi Bechi (Italian, 1830-1919) Peasant Couple with Donkey on Dirt Road Signed and dated “L. Bechi/1870” l.r., with a label from “Studio di R.W. Spranger... Casa Fauveau” affixed to the frame. Oil on canvas, 43 x 33 1/2 in. (109.3 x 85.1 cm), framed. Condition: Surface grime and accretions. $4,000-6,000

235

236

236. Alfred Arthur Brunel de Neuville (French, 1851-1941) Kittens with a Canary Signed “Brunel Neuville” l.r. Oil on panel, 8 1/2 x 10 5/8 in. (21.6 x 27.0 cm), framed. Condition: Minor surface grime. $800-1,200

237. Continental School, 19th Century Portrait of a Girl with Her Dog Unsigned, inscribed “No. 12/John Kendall Esqr.” on a label affixed to the strainer, with a label from Le Garde Meuble Public, Bedel & Cie, Paris, affixed to the frame on the reverse. Oil on canvas, 26 x 21 1/2 in. (66.0 x 54.6 cm), framed. Condition: Lined, craquelure. $600-800

237

238

238. Philipp Arons (German, 1821-1902) Berry Picking/Portrait of a Mother and Daughter Signed and dated â&#x20AC;&#x153;Ph. Arons/1864â&#x20AC;? l.r. Oil on panel, 24 x 20 in. (61.0 x 50.8 cm), framed. Condition: Losses/lifting, craquelure, skinning, varnish inconsistencies. $1,500-2,000

239

240

239. Hendrick Savry (Dutch, 1823-1907)

240. British School, 19th/20th Century

Cattle Watering Signed â&#x20AC;&#x153;H. Savryâ&#x20AC;? l.l. Oil on canvas, 24 5/8 x 41 7/8 in. (62.5 x 106.3 cm), framed. Condition: Canvas rippling, minor craquelure, surface grime. $1,200-1,800

View with Cattle Grazing Unsigned. Oil on panel, 8 x 16 in. (20.3 x 40.6 cm), framed. Condition: Retouch, surface grime, abrasions, subtle varnish inconsistencies. $1,000-1,500

241

241. Albert Babb Insley (American, 1842-1937) Lady on a Riverbank Signed “ALBERT INSLEY.” l.l. Oil on board, 10 x 14 in. (25.4 x 35.6 cm), framed. Condition: Signature reinforced, scattered surface rubs/losses, break to support l.c. $800-1,200

242. Manner of Jules Dupré (French, 1811-1889) View of Cows at Rest Signed or inscribed “Jules Dupré” l.r., inscribed “469” in pencil on the reverse. Oil on panel, 10 3/4 x 8 in. (27.3 x 20.3 cm), framed. Condition: Retouch, varnish inconsistencies. Provenance: Through a Wellesley, Massachusetts, private collection. $1,000-1,500

242

243

243. Georg Anton Rasmussen (Norwegian, 1842-1914) Panoramic Lake View with Figures and Rowboat Signed and dated â&#x20AC;&#x153;A. Rasmussen 71.â&#x20AC;? l.r. Oil on panel, 11 x 16 in. (27.9 x 40.6 cm), framed. Condition: Retouch, craquelure with scattered alligatoring, surface grime. Provenance: Estate of N. David Scotti, Providence, Rhode Island. $800-1,200

244

244. Attributed to Andries Vermeulen (Dutch, 1763-1814) Winter on the River Signed â&#x20AC;&#x153;A Vermeule...â&#x20AC;? l.r. Oil on panel, 22 x 27 1/2 in. (55.9 x 69.8 cm), framed. Condition: Retouch, varnish inconsistencies, craquelure, scattered surface losses, surface grime. N.B. Andries Vermeulen was born in Dordrecht. He was taught to paint by his father, Cornelis Vermeulen (1732-1813), an art dealer and a painter specializing in copies of old masters. Andries was active in Amsterdam. He painted landscapes emulating the style of 17th century Dutch models, and he is chiefly known for his winter scenes, often based on the compositions of Isack van Ostade. $3,000-5,000

245

245. British School, 19th Century

246. Thomas Bush Hardy (British, 1842-1897)

View of a Fisherman by the Shore Unsigned, with a supplier’s label from G. Rowney & Co., London, on the reverse. Oil on artist board, 6 7/8 x 9 3/4 in. (17.5 x 24.8 cm), framed. Condition: Surface grime.

Shipping off a Pier Signed “T.B. Hardy” l.l., identified on a label affixed to the reverse. Oil on panel, 6 x 8 1/8 in. (15.2 x 20.6 cm), framed. Condition: Retouch, repaired crack to panel, surface grime, abrasions. $1,000-2,000

N.B. G. Rowney & Co. was operating at 51 Rathbone Place between 1817-1862.1 1. National Portrait Gallery. “British artist’s suppliers, 1650-1950 - R (Rob-Row).” http://www.npg.org.uk/research/programmes/directory-of-suppliers/r/british-artists-suppliers1650-1950-r-ro-rz.php

$1,000-1,500

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247

247. William Bradford (American, 1823-1892) The Coast of Labrador Unsigned, identified on a label from William Vareika Fine Arts, Newport, Rhode Island, on the reverse. Oil on canvas, 18 x 30 in. (45.9 x 76.3 cm), framed. Condition: Lined, retouch, craquelure. Provenance: Skinner, Inc. auction #2387 of American & European Paintings & Prints, November 16, 2007, lot 76. N.B. William Bradford, one of the preeminent Marine painters of the 19th century, was born and raised near the harbor town of New Bedford, Massachusetts. Against the wishes of his strict Quaker parents, he pursued a career in painting. Initially self-taught, Bradford began to study with Dutch painter Albert Van Beest in the late 1850s, and the two artists frequently collaborated. Starting in 1861, Bradford made a series of trips to Labrador and the Arctic, where he was profoundly influenced by the bright light and vivid colors of the region. His paintings of the Arctic contain rich detail in sailing vessels and fishermen while at the same time they capture the expressiveness of the clouds, water, and ice formations. This rich scenery and atmospheric light remained a constant source of inspiration for Bradford throughout his career. We wish to thank Richard C. Kugler for his assistance in the cataloging of this work. $25,000-35,000

248

248. Edmund Darch Lewis (American, 1835-1910)

249. George Arthur Hays (American, 1854-1945)

Coastal View Signed and dated “Edmund D Lewis/1907” l.r. Watercolor with whiting on paper/board, sight size 19 1/2 x 23 1/2 in. (49.5 x 59.7 cm), framed. Condition: Toning, not examined out of frame. $1,000-1,500

Lot of Two Landscapes: Lincoln Reservations and At the Maine Coast Both signed “G A HAYS” l.r. or l.l., both titled in a later hand on labels affixed to the reverse, Lincoln dated “July 5, 1923” in a later hand on label affixed to the reverse. Gouaches on paper/board, approximate sight sizes to 9 1/2 x 13 1/2 in. (24.1 x 34.3 cm), framed. Condition: Soiling/staining, craquelure, not examined out of frames. $600-800

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250

250. William Trost Richards (American, 1833-1905) Crashing Breakers Signed and dated â&#x20AC;&#x153;Wm T. Richards.02.â&#x20AC;? l.l. Watercolor on paper, 23 1/8 x 40 1/8 in. (58.8 x 101.8 cm), framed. Condition: Scratches and old repairs, paper is reinforced with another layer of paper, lined with canvas, and tacked to a wooden stretcher. $3,000-5,000

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251. William Formby Halsall (American, 1841-1919) Figures on a Coast, Possibly Highland Lighthouse Signed â&#x20AC;&#x153;W. F. Halsallâ&#x20AC;? l.l. Oil on canvas, 22 x 40 in. (55.9 x 101.6 cm), framed. Condition: Retouch, craquelure, abrasions, surface grime, varnish inconsistencies. $1,500-2,500

252

252. American School, 19th Century View of Boats Along a Rocky Coast/A New England View Monogrammed and dated “18...73” l.l. Oil on canvas, 26 x 36 in. (66.0 x 91.4 cm), framed. Condition: Surface grime, craquelure. $800-1,200

253

253. William Frederick De Haas (American, 1830-1880)

254. Attributed to Harrison Bird Brown (American, 1831-1915)

Stormy Coast, alternatively titled Rocky Shores Signed and dated “William F. de Haas ‘74” l.l., identified on a presentation plaque, inscribed “WILLIAM F. DE HAAS 1874 ROCKY SHORES” in a later hand on the stretcher. Oil on canvas, 22 x 36 in. (55.9 x 91.5 cm), framed, with a Newcomb-Macklin Co. label affixed to the reverse. Condition: Lined, varnish inconsistencies, minor scattered retouch, minor scattered surface losses, light surface abrasions, signature and date pentimento l.l., craquelure. $1,000-1,500

View of Grand Manan Unsigned. Oil (en grisaille) on canvas, 12 x 20 in. (30.5 x 50.8 cm), framed. Condition: Patch reinforcement, retouch, tape to tacking edges, surface rubs, fine scattered craquelure, surface grime. $600-800

254

254A

254A. Gustave Courbet (French, 1819-1877) Waves Crashing on a Rocky Shore/An Artist’s Palette Dedicated and signed “Souvenir d’exil à mon ami Fuchs, G. Courbet” l.l. Oil on panel, 14 1/2 x 26 1/4 in. (36.5 x 67.0 cm), framed (in a shadow box). Condition: Minor retouch, craquelure, minor wear/losses to edges. Literature: Abel Letalle, Palettes d’artistes, Paris, 1912, pp. 37-38 as Marine, executé sur une palette; Robert Fernier, La vie et l’oeuvre de Gustave Courbet: catalogue raisonné, Geneva: Fondation Wildenstein; Lausanne: Bibliotèque des Arts, 1977-1978, v.2 peintures 1866-1877, no. 978. Provenance: Galerie Georges Petit, Paris, 123 palettes d’artistes peintes, June 10, 1911, no. 29; The Estate of Sir Edwin A.G. Manton. N.B. “In the second half of the 19th century in Paris, a fashion appeared for artists to paint an image on a palette, intended as a gift and often so inscribed. It might be said that the responsibility for this taste can be attributed at least in part to the activities of an American man named George Lucas. Lucas lived for many years in Paris, acting as an agent for the many American collectors in the city of that time. He was very successful in bringing artists and patrons together, and the artists often expressed their gratitude in the form of the painted and dedicated palettes—no doubt often encouraged by Lucas to do so. Ultimately his collection held 71 works on palette, now in the collection of the Baltimore Museum of Art. Though Courbet did not have a special relationship to Lucas, he would have been fully aware of the fashion. The inscription on the palette under review includes the phrase “souvenir d’exil.” When Courbet left France for Switzerland in mid-1873, to remain there until his death in 1877, he considered himself to be in exile; not officially so, but self-exiled because he had to escape from the vengeance of the government towards him in the aftermath of the Commune. Thus, though the identity of M. Fuchs is not known, we can be sure that the palette was painted while Courbet was in Switzerland, and most probably given to a fellow exile of some kind, as Switzerland was known at the time as a political haven. The inscription and signature on this painting appear to me to be characteristic of the artist’s style. The painting itself shows under magnification the kind of varied, energetic activity of paint handling that is characteristic of Courbet’s work. He chooses a familiar subject, stormy waves racing in to a rocky shore, but he does not choose familiar composition. Rather than the typical straight-on view which puts the viewer head-on to the waves, he invents a left-to-right composition dominated by high cliffs filling the larger left side of the palette space, while waves and sky fill the narrower space at the right. In short, he used the vagaries of the palette shape to create a new type of composition.” –Sarah Faunce, Courbet Critical Catalogue, New York, April 2010 We wish to thank Sarah Faunce for her assistance with cataloguing this lot. $20,000-30,000

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255. Frederick John Widgery (British, 1861-1942)

256. Robert Douglas Hunter (American, b. 1928)

Lot of Two Views of Bigbury Bay, West Bantham One signed “F J Widgery” in pencil l.l., the other signed “F. J. WIDGERY” l.l., both identified in inscriptions on the reverse. Watercolors on paper, sight sizes to 9 1/2 x 13 3/4 in. (24.1 x 34.9 cm), framed. Condition: Foxing/staining, subtle rippling, one with repaired tear u.l., not examined out of frames. $600-800

Two Landscapes: BIRD SANCTUARY - WELLFLEET MASS. and VIEW FROM THE BIRD SANCTUARY - WELLFLEET MASS. Both signed “HUNTER” l.r., titled on the frame, and dedicated “TO GEORGE AND NANCY/FROM BOB CHRISTMAS 1963” on the backing. Graphite on paper, sight sizes to 3 1/2 x 9 1/4 in. (8.9 x 23.5 cm), framed. Condition: Not examined out of frames. $400-600

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257

257. William Trost Richards (American, 1833-1905) Gathering Sea Weed Signed and dated â&#x20AC;&#x153;Wm. T. Richards 188...â&#x20AC;? l.r., titled on the reverse. Watercolor on paper mounted to board, sheet size 9 3/4 x 13 7/8 in. (24.8 x 35.2 cm), framed. Condition: Toning, subtle mat burn, minor skinning. $1,500-2,500

258

258. Alvan Fisher (American, 1792-1863) Watching the Cattle Unsigned, identified on a label from the Vose Galleries, Boston, affixed to the backing. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Lined, retouch, craquelure. $5,000-7,000

259

259. Attributed to Thomas Hewes Hinckley (American, 1813-1896) Cows Watering Unsigned, identified on a label from the Vose Galleries, Boston, on the backing. Oil on canvas, 21 1/2 x 28 5/8 in. (54.7 x 72.8 cm), framed. Condition: Retouch. $6,000-8,000

260. Arthur Quartley (American, 1839-1886) Punt Under the Moonlight Signed “Quartley” l.r. Oil on canvas, 8 x 10 1/2 in. (20.3 x 26.7 cm), framed. Condition: Minor scattered retouch. $600-800

260

261. Joseph Antonio Hekking (American, 1830-1903) Fishing in a Marsh Signed “J A Hekking” l.r. Oil on canvas, 11 7/8 x 18 1/8 in. (30.2 x 46.0 cm), framed. Condition: Scattered retouch, scattered craquelure with flaking and minor loss u.c., mild wear to edges, surface grime. $700-900

261

262. Henry Ward Ranger (American, 1858-1916) Summer Landscape Signed and ciphered “RANGER NAD D13” l.l., identified on a presentation plaque, inscribed “...REGISTERED BY NATIONAL ACADEMY...” in pencil and identified on a label from David David Inc., Philadelphia, Pennsylvania, on the reverse. Oil on canvas mounted to Masonite, 18 1/4 x 25 3/4 in. (46.3 x 64.1 cm), framed. Condition: Craquelure, retouch, varnish inconsistencies. $2,200-2,800

262

263

263. George M. Hathaway (American, 1852-1903)

264. Milton H. Lowell (American, 1848-1927)

Portrait of a Farm House Signed “G.M. Hathaway” l.l. Oil on board, 6 1/4 x 10 1/2 in. (15.8 x 26.6 cm), framed (under glass). Condition: Subtle surface grime. $700-900

Landscape with House by a Duck Pond Monogrammed signature “MHLOWELL” l.l. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed (under glass). Condition: Surface grime, not examined out of frame. $1,000-1,500

264

265

265. James Fairman (American, 1826-1904)

266. Edwin Graves Champney (American, 1842-1899)

Cows Along the Riverbank at Sunset, a Luminist Landscape Signed “J. FAIRMAN” l.r. Oil on canvas, 19 x 32 in. (48.3 x 81.3 cm), framed. Condition: Retouch, scattered surface losses, craquelure with scattered separating and lifting, surface rubs. $1,000-1,500

View of Cows by a River, Possibly New Hampshire Signed and dated “EG Champney.67” l.c. Oil on canvas, 8 x 14 in. (20.3 x 35.6 cm), framed. Condition: Surface grime, craquelure, subtle pigment fluorescence. $800-1,200

266

267

267. Samuel W. Griggs (American, 1827-1898)

268. C. Myron Clark (American, 1858-1925)

Lake George Signed and dated “SWGriggs 1869” l.l., identified on a presentation plaque and on a label from the Vose Galleries, Boston, affixed to the backing. Oil on canvas, 22 1/4 x 36 in. (56.5 x 91.4 cm), framed. Condition: Retouch, craquelure. $2,000-4,000

Early Morning, Winnipoisett Lake (Long Pond) Signed and dated “C. Myron Clark/07” l.l., titled, inscribed, signed, and dated “Early Morning/.../near Lakeville, Plymouth Co Mass./C. Myron Clark/July 1907” on the reverse. Oil on canvas, 12 1/8 x 16 in. (30.8 x 40.7 cm), framed. Condition: Stretcher marks, old water stain to the reverse of the canvas. $600-800

268

269

269. George Arthur Hays (American, 1854-1934)

270. American School, 19th Century

Cows in a Landscape Signed “G A Hays” l.l. Oil on canvas, 14 x 20 in. (35.6 x 50.8 cm), framed. Condition: Retouch, varnish inconsistencies, surface rubs, scattered craquelure, surface grime. $1,000-1,500

Figure on a Road Overlooking a Cow Pasture Signed and dated “C. A. D. 1875” l.r. Oil on canvas, 26 1/4 x 36 in. (66.2 x 91.2 cm), framed. Condition: Lined, scattered retouch, surface grime, craquelure. $800-1,200

270

271

271. Thomas Hewes Hinckley (American, 1813-1896)

272. Albert Thompson (American, b. 1853)

Pastoral View with Cows Signed and dated “T. H. Hinckley. 1882” l.l., identified on a presentation plaque. Oil on canvas, 22 x 36 in. (55.9 x 91.4 cm), framed. Condition: Lined, retouch, fine craquelure, varnish inconsistencies. $2,500-3,500

Cows Grazing By a River Signed “Albert Thompson” l.r. Oil on canvas, 10 x 14 in. (25.4 x 35.6 cm), framed. Condition: Scattered losses, scattered retouch, fine scattered craquelure with areas of separating. $300-500

272

273

273. George Frank Higgins (American, b. 1850)

274. Attributed to Richard William Hubbard (American, 1816-1888)

Summer on an Oxbow Lake Signed “G.F. Higgins” l.r. Oil on canvas, 30 x 45 in. (76.2 x 114.3 cm), framed. Condition: Lined, retouch, craquelure.

Landscape with Lake and Distant Mountains, Possibly Lake George Unsigned, inscribed “from Hubbard/1876.” in a period hand on the reverse. Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Scattered retouch, fine scattered craquelure, surface grime. $800-1,200

$3,000-5,000

274

275

275. John White Allen Scott (American, 1815-1907)

276. John White Allen Scott (American, 1815-1907)

View from the top of Jackson Falls, N.H. October Morning Monogrammed signature “JWAScott.” l.l., artist’s label affixed to the reverse, titled on a label affixed to the reverse. Oil on canvas, 14 x 20 in. (35.6 x 50.8 cm), framed. Condition: Retouch, minute punctures l.c., craquelure, surface grime. $1,000-1,500

Lake View at Sunset Signed “...Scott” l.l. Oil on canvas, 10 x 14 in. (25.4 x 35.6 cm), framed. Condition: Craquelure, retouch, minor abrasions.

276

$700-900

277. John White Allen Scott (American, 1815-1907) Mt. Washington N.H./An Autumn View Initialed “J.W.S” l.l., titled in the artist’s hand on the reverse, artist’s label affixed to the reverse. Oil on canvas, 12 x 10 in. (30.5 x 25.4 cm), framed. Condition: Punctures c.l., fine craquelure with area of separating l.r., surface grime. $800-1,200

278. Franklin Stanwood (American, 1852-1888) Crawford Notch, New Hampshire Signed and dated “Franklin Stanwood/1884” l.r. and identified on a presentation plaque. Oil on canvas, 40 1/8 x 50 in. (102.0 x 127.0 cm), framed. Condition: Lined, scattered retouch, craquelure, surface grime. $1,000-1,500

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279

279. Levi Wells Prentice (American, 1851-1935) View of the Adirondacks Signed and dated â&#x20AC;&#x153;L. W. Prentice 1877â&#x20AC;? l.r., identified on a label from the Vose Galleries, Boston, on the reverse. Oil on canvas mounted to Masonite, 30 x 48 in. (76.2 x 121.9 cm), framed. Condition: Retouch, skinning, craquelure, surface grime. N.B. Prentice was a self-taught painter who grew up in the Adirondack Mountain region, and was working in Syracuse as a landscape painter by 1872. His work is characterized by small and careful brushwork where, despite pictorial depth, the details of both foreground and background are simultaneously in focus. The autumn scene depicted is meditatively still, and this calm mood is reflected in the stag poised in the foreground. $15,000-25,000

280

280. William Louis Sonntag (American, 1822-1900) Eagle Rock on the Potomac Signed and titled “W. L. Sonntag...” on the reverse, with a stenciled label from Edward Dechaux, New York, on the reverse. Oil on canvas, 11 1/8 x 18 in. (28.3 x 45.8 cm), framed. Condition: Paint loss c.l., minor retouch. N.B. This landscape by William Louis Sonntag was probably painted in the late 1850s. It is unusual insofar as Sonntag titled the painting on the back of the canvas. In his early years, Sonntag painted in the areas of Cincinnati, Ohio, northern Kentucky, and northern West Virginia. There is an Eagle Rock in the Potomac State Forest in western Maryland, which may be the site of this painting. Sonntag was raised in Cincinnati, and, despite his family’s wishes to the contrary, began the study of art in 1842. His career in Cincinnati reached its height in the 1850s, with frequent exhibitions and sales. During this time Sonntag was commissioned by the director of the Baltimore and Ohio railroad to paint the scenery along their new line across the Alleghenies. It is possible that Eagle Rock was accessible to Sonntag via river travel or perhaps via railroad.

281

The composition contains several elements characteristic of Sonntag’s paintings in the 1850s. The spatial organization is typical of the period, with the jutting rock filling the foreground and creating a focal point, while the other side opens up to a wide landscape. Small figures are included, often in pairs, with a touch of red in their jackets or hats. Sonntag typically did not include animals, only an occasional flock of birds, as seen here on the left. We would like to thank Nancy Dustin Wall Moure for her assistance in cataloging this lot. $2,000-3,000

281. American School, 19th Century Plains Indian Encampment Signed indistinctly l.l. Oil on panel, 14 1/2 x 20 7/16 in. (36.8 x 51.9 cm), framed. Condition: Surface irregularities, scattered abrasions, small area of lifting u.l., surface grime. $1,000-1,500

282

282. Alexander Francois Loemans (c. 1816-1898) Lot of Two Landscapes: Vista with Native Americans on an Outcropping and View of the Canadian Rockies at Dusk Native with incised signature “Loemans” l.l., Dusk with incised signature “-Loemans” l.r. Oil on artist board, 17 x 11 in. (43.2 x 27.9 cm), framed (under glass). Condition: Dusk with trimmed edges. $1,200-1,800

283

283. Arthur Fitzwilliam Tait (Anglo/American, 1819-1905) Doe and Fawns in a Landscape Signed “A F Tait” l.r. Oil on canvas, 20 1/4 x 24 1/2 in. (51.4 x 62.2 cm), framed. Condition: Lined, tape to the tacking edge, slight wear to edges, retouch, signature reinforced, craquelure, surface grime. Provenance: By family descent to the present owner. N.B. Arthur Fitzwilliam Tait was born in Liverpool, however, as a child moved to the English countryside near Lancaster where he first became interested in nature, animals, hunting, and fishing. By the 1840s Tait relocated to Manchester where he worked at Agnew’s Repository for the Arts, and discovered the work of Edwin Landseer and John Frederick Herring. Herring’s use of color, in particular, inspired the young artist. In 1850, Tait, after viewing an exhibition of George Catlin’s paintings of the American West, decided to move to America. He settled in New York where he painted views of the surrounding Adirondacks. He purchased a farm in Westchester Country, which offered the opportunity to paint animals in their natural environment. Tait is best known for these realistic, narrative scenes, often featuring animals and huntsmen, using rich natural colors. $8,000-12,000

284. American School, 19th Century The Autumn Harvest Initialed “J.C.W” l.r. Oil on canvas, 12 x 18 in. (30.5 x 45.7 cm), framed. Condition: Detached from tacking margins along left and top edges, loss and tear to canvas u.l., subtle canvas deformations, patch reinforcement, abrasions, surface grime, craquelure. $1,500-2,500

284

285. Joseph H. Greenwood (American, 1857-1927) Haystacks Faintly signed “J H Greenwood” l.l. Oil on canvas, 10 x 13 7/8 in. (25.4 x 35.2 cm), framed. Condition: Skinning/surface rubs, retouch. $1,000-1,500

285

286. American School, 19th/20th Century River View, Possibly the Epte River Near Giverny Unsigned. Oil on canvas, 12 3/4 x 16 in. (32.4 x 40.6 cm), unframed. Condition: Tack holes to corners, flaking, losses, craquelure. $800-1,200

286

288

287

287. American School, 19th Century Lone Tree/A Southern View Unsigned, light pencil sketch verso. Oil on paperboard, 8 3/8 x 5 5/8 in. (21.3 x 14.3 cm), unframed. Condition: Scattered retouch, toning, wear to edges, small tear l.c. (not extending into image), fine scattered craquelure, mild surface grime. $300-500

288. American School, 19th Century Study of a Rocky Ledge Unsigned. Oil on artist board, 6 1/4 x 8 1/2 in. (15.9 x 21.6 cm), framed. Condition: Surface grime. $1,000-1,500

289. William Ongley (American, 1836-1890) Lily Pond in Summer Signed â&#x20AC;&#x153;W. Ongleyâ&#x20AC;? l.l. Oil on canvas, 35 1/4 x 28 in. (89.5 x 71.1 cm), in a period frame. Condition: Surface grime, puncture to l.l., minor abrasions. $800-1,200

289

290

290. Harrison Bird Brown (American, 1831-1915)

291. Attributed to Francis Seth (Shedd) Frost (American, 1825-1902)

View with Cows in a Valley, Possibly New Hampshire Initialed â&#x20AC;&#x153;H.B.B...â&#x20AC;? l.c. beneath frame liner. Oil on canvas, 14 x 23 in. (35.6 x 58.2 cm), framed. Condition: Retouch, subtle canvas deformations, losses to tacking margin, patch reinforcement. $1,500-2,500

Valley Unsigned. Oil on board, oval format, 11 1/4 x 15 1/4 in. (28.7 x 38.7 cm), framed (under glass). Condition: Retouch, scattered losses, wear/losses to edges, craquelure with alligatoring, surface grime, hinged to backing mat at u.r. and u.l. $600-800

291

292. Jonathan Bradley Morse (American, 1834-1898) Woodland Stream Signed â&#x20AC;&#x153;J. B. Morseâ&#x20AC;? l.r., artist identified in a pencil inscription in a later hand on the stretcher. Oil on canvas, 22 x 13 1/2 in. (55.9 x 34.3 cm), framed. Condition: Flaking/losses, retouch, craquelure, subtle canvas deformations, surface grime. $700-900

292

293. American School, 19th Century View with Cows by a Waterfall Unsigned. Oil on canvas, 28 3/4 x 27 in. (73.0 x 68.6 cm), framed. Condition: Lined, retouch, craquelure. $800-1,200

293

294. George Albert Frost (American, 1843-1907) Woodland View Incised signature and date “G.A. Frost/1894” l.l. Oil on canvas, 20 x 14 in. (50.8 x 35.6 cm), framed. Condition: Surface grime. $300-500

294

295. Ernest Walbourn (British, 1872-1927) Dolgoth Falls, North Wales Signed “Ernest Walbourn” l.r., titled on the stretcher, identified on a presentation plaque. Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), framed. Condition: Light retouch/varnish inconsistencies, subtle canvas deformations, scattered craquelure, surface grime. $1,000-1,500

295

296. Charles Warren Eaton (American, 1857-1937) Evening Glow Signed “CHAS WARREN EATON” l.l., titled on the stretcher bar, inscribed “EATON 12 x 16” on the tacking edge. Oil on canvas, 16 x 12 in. (40.6 x 30.5 cm), framed. Condition: Craquelure, varnish inconsistencies, retouch, patch reinforcements. $3,000-5,000

297. Edward Mitchell Bannister (American, 1828-1901) Forest Interior Unsigned, estate stamped on the reverse, incised “G.A. Foster” beneath multiple estate stamps on the reverse. Oil on artist board, 18 3/16 x 12 1/8 in. (46.1 x 31.0 cm), framed. Condition: Wear to edges of artist board, tack hole in each upper corner, minor paint losses along left edge at center, fine craquelure. N.B. Anne Louise Avery, who is preparing the catalogue raisonné of Edward Mitchell Bannister’s paintings and drawings, has written an authentication analysis of Forest Interior. The following information is drawn from her report.

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The forest is a constant in E.M. Bannister’s artistic imagination. The artist was endlessly and passionately inspired by the trees and deep ancient woods of the East Coast. Tree-shaded paths, winding through, entering, or skirting the forest interior, are familiar motifs in Bannister’s work. Often, the pathways are punctuated by bucolic figures, such as a woodcutter or cow herder. Others suggest man’s presence more subtly through built structures such as fences. However, some, such as this forest scene, suggest a human presence only by a man-made path. The composition of Forest Interior, with the strong vertical structure of the dominant oak tree and the curving path drawing the eye into the spatial recesses of the painting, represents a framework typical of Bannister. The small opening of pale blue sky and white clouds, letting light and energy into the work, is very idiosyncratic, both compositionally and symbolically, as is the gently rising bank in the lower right foreground. The distinctive treatment of the grasses is a hallmark of Bannister’s wooded landscapes, and the loose, soft brushwork describing the tree can also be positively matched with a number of Bannister’s works. The execution of the clouds, in particular, is closely comparable with finished oil works from the 1880s and 1890s, while the muted Tonalist palette is typical of Bannister’s color choices in his mature years as an artist. This oil sketch was made on a 1/2 sheet of academy board that bears a partial Frost & Adams label. The light, disposable academy board was popular among professional artists in the late 19th century for rapid oil sketch and studies, particularly for en plein air painting. The majority of works on academy board within Bannister’s oeuvre tend to be loose, compositionally less formal sketches and studies, and the absence of a signature is unsurprising in the case of a plein air oil sketch on academy board. The iconographic and methodological factors discussed above make it extremely likely that the painting was executed between 1881 and 1901, probably in the early 1890s, by Edward Mitchell Bannister. We wish to thank Anne Louise Avery for her assistance in cataloging this lot. $1,500-2,000

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298. John La Farge (American, 1835-1910) Autumn: October. Edge of a Wood, Late Afternoon. Glen Cove, Long Island, 1860 Unsigned, inscribed “Autumn, Edge of Wood-Long Island...For Rich Frame” in pencil and “...La Farge/Lent by H. L. Higginson” in ink on a label from the Museum of Fine Arts, Boston, on the cradle. Oil on unprimed cradled panel, 12 1/2 x 9 1/4 in. (31.8 x 23.5 cm), framed. Condition: Craquelure, minor abrasions beneath frame liner. Provenance: [sale, Leonard’s Gallery, Boston, 18-19 Dec. 1879 (oils, lot 54)]; Henry Lee Higginson, Boston, 1879-1919; then by descent within the family. Literature: “The First Day’s Sale of John La Farge’s Paintings,” Boston Evening Transcript, 19 Dec. 1879, p. 1; “La Farge’s Pictures,” Newport Daily News, 20 Dec. 1879, p. 2; “Art Sale in Boston,” New York Times, 23 Dec. 1879, p. 5. Exhibitions: Leonard’s Gallery, Boston, The Drawings, Water-Colors, and Oil-Paintings by John La Farge. To be Sold at Auction, 18-19 Dec. [1879], lot no. 54 (oils); Museum of Fine Arts, Boston, “La Farge Memorial Exhibition,” 1-31 Jan. 1911 [no catalogue], Museum of Fine Arts, Boston, Paintings Department, Loan Card No. 1785.10 (1910) [unpublished].

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N.B. The work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr. James L. Yarnall for updating and supplementing the information for inclusion in this catalog entry. La Farge moved from New York to Newport in the spring of 1859 to study painting with William Morris Hunt. He nonetheless frequently visited Glen Cove, Long Island, where his family had a large summer property that had been purchased by his father sometime before 1835. The impressive Glen Cove estate, extending over some fifty acres, could be accessed directly by boat from both Hempstead Harbor and Glen Cove Bay. On October 15, 1860, La Farge married Margaret Mason Perry in Newport after a year-long courtship that had been complicated by differences between her Episcopalian faith and his Roman Catholic religion. The couple apparently spent time at Glen Cove after the wedding as a means of reconciling the marriage with La Farge’s mother, who had been widowed in 1858. La Farge painted a handful of small oils during this stay at Glen Cove. They depict the lush woods and rolling hillsides surrounding the La Farge country house. All are small plein-air exercises executed on wood panels (La Farge’s preferred medium at the time). All were intended to capture the light conditions and naturalistic features of the terrain in the spirit of French Realist or Barbizon art. These paintings reflect La Farge’s disenchantment with his training in the studio of William Morris Hunt, where La Farge criticized Hunt’s “formulas” and forged a self-proclaimed “programme” to study “realistic painting” as a fresh start. Exhibited at Leonard’s Gallery in 1879 as “1860. Autumn: October. Edge of a wood, late afternoon. Glen Cove, L.I. Panel. 12 1/2 x 9 1/2,” Higginson evidently purchased the picture at the auction. When Higginson lent this picture in late 1910 to the Museum of Fine Arts, Boston, for the La Farge Memorial Exhibition, he registered it as “Autumn, edge of wood, Long Island,” a title very similar to that assigned by the catalogue of the 1879 Leonard’s Gallery exhibition/auction. A registration photograph taken at the time of the Memorial Exhibition also identifies this as the work loaned by Higginson. A comparable work, Autumn: October. Hillside, Noonday, Glen Cove, Long Island, 1860, is in the permanent collection of the Museum of Fine Arts, Boston, bequeathed by Mrs. Henry Lee (Ida Agassiz) Higginson in 1935. $15,000-25,000

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299. Joseph H. Greenwood (American, 1857-1927) Spring in the Hills Signed and dated “J H Greenwood ‘24” l.r., autumn landscape sketch on the reverse, a label from The Casson Galleries, Boston, affixed to the reverse. Oil on panel, 8 1/2 x 11 1/2 in. (21.6 x 29.2 cm), framed (under glass). Condition: Retouch, surface grime, not examined out of frame. Provenance: Descended within a Massachusetts family. $1,000-1,500

300. Thomas Bowler Norris (American, 1866-1927) Winter Walk Signed and dated “T. B. Norris ‘01” l.r. Oil on board, 12 x 9 in. (30.5 x 22.9 cm), framed. Condition: Retouch, craquelure. $700-900

300

301

301. John Joseph Enneking (American, 1841-1916)

302. Henry Ward Ranger (American, 1858-1916)

Cows Watering at Dusk Signed “Enneking” l.r. Oil on canvas, 9 1/8 x 12 in. (23.2 x 30.5 cm), framed. Condition: Mounted on aluminum, scattered retouch and/or varnish inconsistencies, surface grime.

Woodlands in Spring Estate stamp l.r., identified on a label on the reverse. Oil on artist board, 12 x 16 1/16 in. (30.5 x 40.8 cm), framed. Condition: Minor frame abrasions. $3,000-5,000

N.B. This painting will be included the John Joseph Enneking catalogue raisonné by Patricia Jobe Pierce. $1,500-2,500

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303

303. Frank Clifton Brown (American, 1883-1969)

304. Richard La Barre Goodwin (American, 1840-1910)

Still Life with Peaches Signed “F.C. Brown” l.r. Oil on canvas, 14 1/8 x 18 1/8 (35.8 x 46.0 cm), framed. Condition: Retouch, paint losses, craquelure, varnish inconsistencies, surface grime. $2,500-3,000

Still Life with Peaches, Pears, and Grapes Signed and dated “Richard LaBarre Goodwin 1884” l.r. Oil on artist board, 14 x 17 3/8 in. (35.6 x 44.1 cm), framed. Condition: Scattered retouch, varnish inconsistencies, subtle bowing. $800-1,200

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305. Robert Spear Dunning (American, 1829-1905) Still Life with Fruit Signed, inscribed, and dated â&#x20AC;&#x153;R.S. Dunning pinxt 1866â&#x20AC;? l.l. Oil on canvas, 24 1/2 x 22 in. (62.2 x 55.9 cm), within a frame liner. Condition: Craquelure, subtle varnish inconsistencies, minor abrasion l.r. Provenance: Descended within a southern New England family. N.B. Robert Spear Dunning, co-founder of the Fall River School of still life painting, was raised in Fall River from the age of five. At the young age of fifteen, he apprenticed with James Roberts in Tiverton, Rhode Island, and at the age of twenty, enrolled in the National Academy of Design where he studied with Daniel Huntington. Upon completing his studies, he returned to Fall River in 1852, where he continued to work and support a thriving art community. By 1865, he narrowed his genre to still lifes, specializing in lush and meticulously detailed arrangements, such as in the present work. $50,000-70,000

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306. American School, 19th Century Portrait of a Gentleman Unsigned, with a label from James S. Earle & Sons, Philadelphia, on the reverse. Oil on canvas, 29 3/4 x 25 in. (75.6 x 63.5 cm), in a period frame. Condition: Craquelure, alligatoring, minor abrasions, subtle varnish inconsistencies. $1,000-1,500

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307. Thomas Sully (American, 1783-1872) Portrait of a Gentleman, c. 1825-30 Monogrammed â&#x20AC;&#x153;TSâ&#x20AC;? l.r. Oil on canvas, 29 x 23 3/8 in. (73.7 x 59.3 cm), unframed. Condition: Paint loss, surface grime, stretcher marks, craquelure, yellowed varnish. $3,000-5,000

308. John Bernard Johnston (American, 1847-1886) Portrait of a Terrier Signed “John B. Johnston” l.l. Oil on canvas, 22 x 18 in. (55.9 x 45.7 cm), unframed. Condition: Lined, retouch, tear to u.r. quadrant, losses, abrasions, surface grime. $800-1,200

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309. Marcus A. Waterman (American, 1834-1914) Portrait of a Boy and His Dog Signed “M. Waterman” u.l. Oil on canvas, 20 x 16 1/4 in. (50.8 x 41.3 cm), framed. Condition: Lined, retouch, varnish inconsistencies, craquelure. $800-1,200

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310. Alphonse Jongers (American, 1872-1945) Portrait of a Boston Terrier Signed “Alphonse Jongers-” c.l., identified on a presentation plaque. Oil on artist board, 12 x 9 3/4 in. (30.5 x 24.8 cm), framed in an oval format (under glass). Condition: Not examined out of frame. $500-700

311. Thomas Hewes Hinckley (American, 1813-1896) Pigeon and Nest Signed and dated “T. H. Hinckley 1853” l.l. Oil on canvas, 19 x 16 in. (48.3 x 40.8 cm), framed. Condition: Lined, retouch. $3,000-5,000

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312. Burr H. Nicholls (American, 1848-1915) Crow Among the Fowl/A Barnyard Scene Signed “Burr H. Nicholls” l.r. Oil on canvas, 14 x 10 1/2 in. (35.6 x 26.7 cm), framed. Condition: Lined, retouch, varnish inconsistencies (including area of signature), craquelure. $1,200-1,800

313. John O’Brien Inman (American, 1828-1896) Boy with a Straw Hat Signed “JOB Inman” l.r., a partial gallery label affixed to the reverse. Oil on canvas, 10 1/2 x 7 in. (26.7 x 17.8 cm), framed. Condition: Flaking and losses, surface grime. $400-600

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314. Matilda Browne (American, 1869-1947) The Last Load Signed â&#x20AC;&#x153;Matilda Browneâ&#x20AC;? l.r., identified on a presentation plaque and on a label from the Pan American Exposition on the back of the frame. Oil on canvas, 22 x 32 in. (55.8 x 81.2 cm), framed (in a shadow box). Condition: Canvas rippling, surface grime. Exhibitions: The Exhibition of Fine Arts, Pan-American Exposition, Buffalo, 1901, cat. no. 526. $5,000-7,000

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315. Childe Hassam (American, 1859-1935) At the Grand Prix, c. 1887 Signed “Childe/Hassam” l.r., inscribed “given to me by A.L.A for Victorian Room” on a label from Worth Avenue Gallery, Palm Beach, and with an envelope from Mrs. Maitland Alexander, Sewickley, Pennsylvania, affixed to the backing. Pastel and graphite on paper/board, sight size 11 1/2 x 8 1/4 in. (29.2 x 21.0 cm), framed. Condition: Not examined out of frame. Provenance: Mrs. Eugene Byrnes, New York, until 1948; M. Knoedler & Co., New York, 1948-1949; Worth Avenue Gallery, Palm Beach, Florida, 1949; acquired by either Madelaine Francis (née Laughlin) Alexander (aka Mrs. Maitland Alexander, wife of Reverend Maitland Alexander) originally of Pittsburgh, Pennsylvania, and then by marriage of Poplar Hill, Sewickley Heights, Pennsylvania and Dark Harbor, Maine, or by her son Alexander Laughlin Alexander, Palm Beach, Florida; gift to Anne (née Paul) (Clark) (Alexander) Owsley, Delray Beach, Florida, and Islesboro, Maine (wife of Maitland A. Alexander Jr., M.D.); estate of Anne P. Owsley. N.B. We wish to thank Kathleen M. Burnside for her assistance in cataloging this lot; the work will be included in the forthcoming Childe Hassam catalogue raisonné by Stuart Feld and Kathleen M. Burnside. Frederick Childe Hassam worked in pastel for a brief period in the late 19th century, and was one of the last new members admitted to the Society of Painters in Pastel in 1890.1 Hassam’s earliest known work in pastel dates to 1887 when he was in Paris studying at the Académie Julian, and he is believed to have made approximately eight pastels between 1887 and 1889.2 The present work was likely one of three “very spirited little pictures representing scenes at the Grand Prix de Paris” reviewed in The Art Amateur for the fourth and last exhibit of the Society of Painters in Pastel held May 1890 at the Wunderlich Gallery in New York.3 The existence of two other small pastels of the Grand Prix are known: Watching the Grand Prix, Longchamps, 1889, 14 x 10 in., location unknown, and At the Grand Prix in Paris (Au Grand Prix de Paris), 1887, 18 x 12 in., Corcoran Gallery of Art, Washington D.C. According to Kathleen Burnside, the present work may also have been exhibited at Doll & Richards in Boston, February 1891. The Paris Grand Prix Day parades ushered in the beginning of each horse racing season, and were spectacles of power and elegance. In 1887, Hassam created two, nearly identical large-scale compositions of the Grand Prix procession in oil, one of which was shown at 1888 Paris Salon and described as “a very brilliant picture, full of life and light and movement, and instinct with the gayety of the bright French capital.”4 The two works—at the Museum of Fine Arts Boston and New Britain Museum of American Art, respectively—depict rows of carriages on a boulevard near the Champs-Élysées and couples in fashionable dress, executed with his characteristically tight brushwork and dappled light effects. By contrast, the present work imparts a softer, more relaxed mood, owing largely to the looseness of the medium. The scene depicted as well is more relaxed—the race-goers have finally arrived at the course in the Bois de Boulogne where they are less implicitly “on display” and focused on watching the race from their carriage. In capturing the stray glance of the one young lady in the present work, Hassam creates a sense of intimacy for the viewer and individualizes his subject. 1. Pilgrim, Dianne H., “The Revivals of Pastels in Nineteenth-Century America: The Society of Painters in Pastel,” American Art Journal, Vol. 10, No. 2 (November 1978), p. 60. 2. Conrads, Margaret C., American Paintings and Sculpture at the Sterling and Francine Clark Art Institute, New York: Hudson Hills Press, 1990, p. 60. 3. “The Pastel Exhibition,” The Art Amateur: A Monthly Journal Devoted to Art in the Household, June 1890, p. 4. 4. Hiesinger, Ulrich W., Childe Hassam: American Impressionist, New York: Prestel, 1994, p. 39.

$150,000-200,000

316. Paul Howard Manship (American, 1885-1966) Portrait of the Artist’s Daughter Sarah Jane Signed and dated “PAUL MANSHIP 1929” on the underside. Plaster, 6 x 18 x 9 in. (15.2 x 45.7 x 22.8 cm), in an inscribed wooden crate. Condition: Surface grime, chips to foot joint, abrasions. Provenance: From the artist to his daughter, Sarah Jane Murtha, as stated in his will dated 1965. N.B. Although known for his public monuments such as the Prometheus Fountain in Rockefeller Center, this sculpture of the artist's daughter offers a more intimate view of Manship's work. It was most likely completed shortly after Sarah's birth, on June 19, 1929, in Paris. Throughout his career, Manship was able to seamlessly blend traditional and modern aesthetics. From 1909 to 1911, he studied in Rome where he was exposed to Classical and Archaic sculptures, often directly referencing them in his own works. By the 1920s Manship's style was beginning to change, especially visible in his portraiture. Murtha writes, "over the years the style of Manship's portraits progressed from a formal point of view towards characterization and spontaneity"1 This work, with the pose of the baby and the drapery of the fabric, certainly reflects Manship's shifted emphasis towards realism and the illusion of mass. A reproduction of this work in marble is in the collection of the Smithsonian American Art Museum. 1. Murtha, Edwin, Paul Manship (New York: The Macmillan Company, 1957), p. 15.

$12,000-18,000

316

317. Esther Anna Hunt (American, 1875-1951) Lot of Two Portraits of Chinese Children with Lamp and Parasol Each signed “E. Hunt” l.l. Gouache and watercolor on paper, sight sizes 8 x 5 in. (20.3 x 12.7 cm), framed. Condition: Not examined out of frames. $1,000-1,500

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318. Attributed to Lilian Westcott Hale (American, 1881-1963) Portrait of a Girl Unsigned. Pencil on paper, 22 7/8 x 17 3/8 in. (58.0 x 44.1 cm), framed. Condition: Affixed to window mat with paper tape, toning, acid burn, rippling along lower edge, staining to the reverse. $1,000-1,500

318

319. Sarah De St. Prix Wyman Whitman (American, 1842-1904) Portrait of a Young Girl with a Doll Signed and dated â&#x20AC;&#x153;SW WHITMAN MDCCCLXXXIII [1883]â&#x20AC;? u.l., with a label from J. Eastman Chase, Boston, on the reverse. Oil on canvas, 17 x 13 3/4 in. (43.2 x 34.9 cm), framed. Condition: Patch reinforcement, losses, retouch, surface grime. Provenance: Private Massachusetts collection. $1,500-2,500

319

320

320. Irving Ramsey Wiles (American, 1861-1948)

322. Edwin Austin Abbey (Anglo/American, 1852-1911)

The Sewing Lesson Signed “I.R.Wiles” l.r. Watercolor (en grisaille) and graphite on paper/board, 13 x 21 1/2 in. (33.0 x 54.6 cm), framed. Condition: Glued in margins to window mat, margins over 1/4 in. $3,000-5,000

Young Lady Walking in the Woods, an Illustration for Song: O Roses for the Flush of Youth by Christina Georgina Rossetti Signed and dated “EAAbbey1877” l.l., poem inscribed l.c. Wash, graphite, charcoal, and whiting on paper mounted onto board, sight size 19 3/4 x 13 3/4 in. (50.2 x 34.9 cm), framed. Condition: Losses to support, toning, staining/soiling, surface abrasions/rubs, craquelure with flaking and losses, creases, not examined out of frame. $1,000-1,500

321. Edith Widing Yaffee (American, 1895-1961) Portrait of a Woman Signed, inscribed, and dated “Edith L. Widing...1915” l.r. Graphite on board, 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm), framed. Condition: Staining, toning. Provenance: The property of Samuel E. Codman, Charles G. Loring House, Prides Crossing, Massachusetts. $800-1,200

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323. John Singer Sargent (American, 1856-1925) Portrait of Henry L. Higginson II Signed and dated “John S Sargent Dec 21st 1916” l.c. Charcoal on paper with watermark “L. BERVILLE (France), sheet size 24 3/4 x 18 3/4 in. (63.0 x 46.8 cm), unmatted, unframed. Condition: Sheet is mounted to archival paper to stabilize the margins, subtle rippling, toning, acid burn and foxing in the margins. Provenance: From the estate of Henry Lee Higginson and Ida Agassiz, by descent through the family to the current owner. N.B. John Singer Sargent remained in great demand throughout his career as a portrait artist for the leading individuals of his day. Over time Sargent came to prefer making charcoal drawings of his subjects. He could complete these portraits relatively quickly, often in one sitting, and the medium was very well suited both to his technical virtuosity and his adeptness at capturing his subject. Between 1910 and 1925 Sargent made over 500 such portrait drawings, while limiting his oil portraits to under thirty.1 The subject of this charcoal portrait, Henry Lee Higginson II (1900-1981), was the grandson of Henry Lee Higginson and Ida Agassiz Higginson.2 Henry Lee Higginson was a businessman and philanthropist, the founder of the Boston Symphony Orchestra, and a benefactor of Harvard University. Ida Agassiz Higginson was the daughter of Louis Agassiz and was a founder of Radcliffe College. Sargent’s charcoal portraits of Henry Lee Higginson (done in 1911) and Ida Agassiz Higginson (done in 1917) are in the collection of the Fogg Art Museum at Harvard University. 1. Sargent Portrait Drawings, Forty-two Works by John Singer Sargent, Selected and with an introduction by Trevor J. Fairbrother, Dover Publications, New York, 1983. 2. Descendants of the Reverend Francis Higginson, by Thomas Wentworth Higginson, Privately Printed, 1910.

$50,000-70,000

324

324. American School, 19th/20th Century Park View with Figures Strolling on a Path Signed indistinctly l.r. Oil on canvasboard, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Surface grime. $700-900

325. Frederick Ballard Williams (American, 1871-1956) Idle Hours, alternatively titled Quiet Hour Signed “-Frank Ballard Williams” l.l., titled and signed or inscribed “Quiet Hour/F.B. Williams” on the stretcher, titled on a presentation plaque. Oil on canvas, 24 x 16 in. (61.0 x 40.6 cm), framed. Condition: Puncture u.c., retouch, craquelure, surface grime. $700-900

325

326

326. American School, 20th Century Figures on a Beach Unsigned. Oil on panel, 13 1/2 x 9 7/8 in. (34.3 x 25.1 cm), framed. Condition: Surface grime. $800-1,200

327

327. Charles Courtney Curran (American, 1861-1942) The Sirens Signed and dated “CHARLES C. CURRAN 1893” l.r. Oil on canvas, 18 x 32 in. (45.7 x 106.7 cm), within a probable Stanford White frame. Condition: Lined. Provenance: Purchased from the artist by Stanford White, National Academy of Design Exhibition, 1893; Old and Modern Paintings Belonging to the Estate of the Late Stanford White, American Art Galleries, Mendelssohn Hall, New York, April 11, 1907, lot no. 49; …; gift from an architect to apparel designer Beatrice Donin (1893-1981), c. 1940s-60s, New York City and New Rochelle, New York; by family descent to nephew Ralph Donin, New Rochelle, New York; by family descent to a private New England collection. Literature: Charles Courtney Curran artist record book, no. 141-8; Catalogue of Old and Modern Paintings, Water Colors and Drawings Exclusively the Property of the Estate of the Late Stanford White, New York: American Art Association, 1907 [not illustrated, descriptive text]; Levy, Florence, ed., American Art Annual, Second Edition Including Paintings Sold at Auction, Volume VI, New York: American Art Annual, Inc., 1908, p. 36; “Low Prices Paid for White Pictures,” New York Times, April 12, 1907; Naylor, Maria, The National Academy of Design Exhibition Record, 1861-1900, Volume I, New York: Kennedy Galleries, Inc. 1973, p. 208. Exhibitions: National Academy of Design Exhibition, 1893. N.B. We wish to thank Kaycee Benton for her assistance with cataloguing the lot; the work will be included in her forthcoming catalogue raisonné on Curran. The present work was the Thomas B. Clarke prize winner at the National Academy of Design in 1893, when Stanford White acquired the work. White was a renowned architect but also a “consummate designer, enthusiastic and willing to work in any medium” from metalsmithing to woodworking.1 White’s foray into frame design may have sprung as a diversion from his architectural renderings, but it became an integral part of his interior designing. He sourced Old Master and contemporary paintings for both his own collection and those of his clients. Of the frames that White designed from scratch, there is a “common decorative motif that he enhanced with combinations of different moldings to make frames of different widths.”2 He was also known to make custom frames for particular works of art. The frame on the present work is reminiscent of the Stanford White frame on Portrait of Helen Sears by Abbott Thayer, dated 1892, which shows comparable abutting S-scrolls throughout. The S-scrolls in the present frame, however, are broader and wave-like, to complement the subject of Curran’s work. The cresting wave motif is repeated again in the ornament band surrounding the work. 1. Gray, Nina, “Within Gilded Borders: The Frames of Stanford White,” The Gilded Edge: The Art of the Frame (San Francisco: Chronicle Books, 2000), p. 83. 2. Ibid., p. 86.

$18,000-22,000

328

328. Edward Dufner (American, 1872-1957) Twilight Bather Signed “Edward Dufner N.A.” l.r., signed or inscribed and titled “...by Edward Dufner N.A.” on the reverse. Oil on canvasboard, 24 x 20 in. (61.0 x 50.8 cm), framed. Condition: Minor surface grime. $15,000-20,000

329 330

329. Charles E. Prendergast (American, 1863-1948)

330. Roland Francis Cosimini (American, b. 1898)

Floral and Geometric Motif Arts & Crafts Picture Frame Signed and dated “····Prendergast····/··1907····” on the reverse. Gilt over gesso and red clay bole hand-carved and tooled wood picture frame, rabbet size 18 1/2 x 22 1/2 in. (47.0 x 57.2 cm). Condition: Retouch, minor losses/abrasions, craquelure. $6,000-8,000

The Broken Wing Signed and dated “Roland F. Cosimini/Sept. 2-3-1923” u.l., with a label from the Massachusetts Normal Art School (see below) affixed to the backing. Pastel on paper, 39 1/2 x 29 1/2 in. (100.3 x 74.9 cm), framed. Condition: Not examined out of frame. Provenance: Estate of N. David Scotti, Providence, Rhode Island. Exhibitions: Massachusetts Normal Art School, Alumni Association Annual Exhibition, June 6 to 16, 1924, No. 2. $800-1,200

331. Manner of Charles E. Prendergast (American, 1863-1948) Baroque-style Picture Frame Unsigned, with labels from the Rhode Island School of Design Museum, Providence, and William Macbeth, Inc., New York, affixed to the reverse. Gilt over gesso and red clay bole hand-carved and tooled wood picture frame, rabbet size 25 1/2 x 30 1/4 in. (64.8 x 76.8 cm). Condition: Retouch, losses, abrasions, craquelure. $1,000-1,500

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332. Paul Howard Manship (American, 1885-1966) and Gaston Lachaise (American, 1882-1935) Plaster Sketch-model for a Pediment, c. 1916 Unsigned. Plaster with patina, 15 3/16 x 3 1/2 (at its apex) x 1 5/8 in. (38.6 x 8.9 x 4.2 cm). Provenance: Paul Manship to Herbert Lewis Kammerer, then by descent to the present owner. N.B. The present model represents a proposal for the crowning element of the John Pierpont Morgan Memorial, a commission awarded to Paul Manship in 1914 and partly designed and executed by Gaston Lachaise (Manship’s studio assistant by 1914 until 1921). The model was made by casting a hollow-backed triangular shape in plaster, then carving on the face, in low relief, a border featuring an anthemion with acanthus-scroll ornament and graceful, buoyant figures, and within, a sleeping lion about to awaken to a new dawn—suggesting perpetual renewal. One of many plaster studies for the project, it is the only known example now extant, and it documents the artistic interaction between these sculptors in about 1916, when the memorial’s uppermost component was envisaged as a low-pitched gable. Several of its features—such as the foliate decoration and the levitating figures rendered in Lachaise’s personal style—reappear in the full-scale plaster model, carried out with Lachaise’s significant participation from February 1917 to September 1918 (cover illustration, V. Budny, New York’s Left Bank: Art and Artists off Washington Square North, 1900-1950, New York, 2006), and in turn in the limestone memorial, carved entirely by him during the next two years. Installed in the Metropolitan Museum of Art, New York, in 1920, the work commemorates John Pierpont Morgan (1827-1913), a titan of finance and the museum’s former trustee, benefactor, and president. We are grateful to Virginia Budny for her assistance in preparing the catalog entry for this work. $4,000-6,000

333

333. Anton Otto Fischer (American, 1882-1962) The Young Lady on the Tinker, Marblehead Signed and dated “ANTON OTTO FIS...R ‘24” l.r. Oil on canvas, 20 x 26 in. (50.8 x 66.0 cm), unframed. Condition: Puncture with losses c.r., flaking and losses (including area of signature), surface grime. $1,500-2,000

334. John Butler Yeats (American, 1839-1922) Harriet Bryant Signed and dated “J. B. Yeats/Sept__1910” c.r., inscribed “Harriet Bryant-/by W.B. Yeats’s father- J.B.” on the reverse. Pencil on paper, 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm), framed. Condition: Toning, mild acid burn, repairs at the lower corners. $800-1,200

334

335

335. Irving Ramsey Wiles (American, 1861-1948) A Walk Along the Harbor Shore Signed “Irving R. Wiles” l.r. Oil on canvas, 16 1/8 x 22 in. (41.0 x 55.8 cm), in a frame liner. Condition: Surface grime. Provenance: Descended within a New England family collection. N.B. Irving Ramsey Wiles was born in upstate New York. He was introduced to painting by his father, artist Lemuel Wiles (1826-1905), but it was not until he studied at New York’s Arts Students League that he determined to make his father’s profession his own. It was here that Wiles first met his mentor, William Merritt Chase (1849-1916), and the two remained lifelong friends. After two years at the Arts Students League Wiles went to Paris to study at the Académie Julian, perhaps at the suggestion of another of the League’s teachers, Thomas Wilmer Dewing (18511938). Like many of his late 19th century contemporaries, Wiles used the “new” vitality of the Impressionist brush stroke and palette to express the beauty of the world around him. Not unlike Chase, Wiles was known for his dexterous and energized portraits, which often idealized his subjects by placing them in elegant attire and settings. Wiles often depicted his female subjects in white dresses. Out of doors, they were frequently drenched in warm sunlight and dashed with blue brushstrokes of shadow, a technique regularly employed by Chase, as well as John Singer Sargent (1856-1925) and Frank Weston Benson (1862-1951). Although portraiture was considered his forté, Wiles also painted the hills and shores of Long Island. In the late 1890s Wiles built a studio and cottage on the shores at Peconic, and he summered there regularly with his family. Here he found painting the out-of-doors a pleasant change from the bustle of portrait painting in the city. The work presented here reflects both aspects of his career, as we see an elegant young woman in white strolling the shore, while the breeze and sun of a blustery morning enliven both the figure and her surroundings. $50,000-75,000

336. Irving Ramsey Wiles (American, 1861-1948) The Actor Signed “Ir...g R Wiles” l.r., identified on a period label and two labels from Grand Central Art Galleries, Inc., New York, (see below) affixed to the reverse. Oil on canvas, 34 1/4 x 27 in. (87.0 x 68.6 cm), in a period carved wood frame incised “ALBERT MILCH/CARVED WOOD FRAMES/78 WEST 55. ST N.Y” c.l. Condition: Lined, retouch, varnish inconsistencies, surface rubs, surface grime. Exhibitions: William M. Chase/Robert Henri: Between Two American Masters, Grand Central Art Galleries, Inc., October 25-November 30, 1985. $5,000-7,000

336

337. Eastern European School, 20th Century Portrait of a Girl in a Field of Wildflowers Signed and dated “1910 O. Sitkova” l.r. Oil on canvas, 16 1/2 x 14 1/2 in. (41.9 x 36.8 cm), framed. Condition: Craquelure, canvas deformations, losses. $1,000-1,500

337

338. Elizabeth Grandin (American, 1889-1970) The Sergeant/Portrait of a Gentleman in Uniform Signed and dated “EGrandin 09” u.r., monogrammed “EG,” numbered “#124,” and stamped by the Grandin Library, Clinton, New Jersey, on the reverse, identified on an exhibition label on the frame backing. Oil on canvas, 26 1/8 x 21 3/8 in. (66.5 x 54.2 cm), framed. Condition: Canvas deformation with paint loss u.r. quadrant, retouch, craquelure, stretcher bar marks. Exhibitions: Sunlight and Shadow: American Impressionism, 18851945, Smith Kramer Inc. Fine Art Services, catalogue no. 28. . N.B. Elizabeth Grandin studied art in Paris and Madrid, and also in New York at the Art Students League with Robert Henri. She maintained studios first in Paris and later in New York in the 1920s and 1930s. Grandin was a founding member of The New York Society of Women Artists. She exhibited at the Whitney Museum of American Art, the National Association of Women Artists, the Society of Independent Artists, and the Salons of America. Despite a blossoming career in New York, Grandin returned to her family home in Clinton, New Jersey, to care for a family member. In Clinton she taught painting and was a patroness of the Grandin Library, named for her uncle, Daniel Grandin. She bequeathed her personal estate to the Grandin Library. $1,800-2,200

338

339. Louis Kronberg (American, 1872-1965) The Favorite Signed and dated “Louis Kronberg/-1904.-” l.l., identified on a partial period label on the stretcher, inscribed “LEE.” on the reverse. Oil on canvas, 18 x 12 in. (45.7 x 30.5 cm), framed. Condition: Retouch, small scratch u.r. $1,000-2,000

339

340

340. Karl Heilmayer (German, 1829-1908) View of Venice at Sundown Signed and dated “Karl Heilmayer ‘67” l.r. Oil on cradled panel, 6 7/8 x 9 3/8 in. (17.5 x 23.8 cm), within a frame liner. Condition: Surface abrasions and grime, craquelure. $700-900

341. Continental School, 19th Century Woman in Cairo Unsigned, possibly inscribed indistinctly l.l. Oil on canvas, 14 x 10 in. (35.5 x 25.5 cm), framed. Condition: Small paint loss and lifting u.c., surface grime, retouch and/or varnish inconsistencies. $800-1,200

341

342

342. D. Jerome Elwell (American, 1847-1912) A Dash to the Lido From the Grand Canal, alternatively titled Venice-Morning, 1906 Signed and dated “D. Jerome Elwell 1906” l.r., titled, signed, and dated “...D. Jerome Elwell 6/1906” on the reverse. Oil on canvasboard, 18 x 21 3/4 in. (45.7 x 55.2 cm), unframed. Condition: Bowing to board, surface abrasions, surface grime, alligatoring, varnish inconsistencies. $1,000-1,500

343

343. Lillian Mathilde Genth (American, 1876-1953)

344. Max Kuehne (American, 1880-1968)

Street in Chioggia, Italy Inscribed, dated, and signed “CHIOGGIA 1906 L M Genth” l.r. Oil on canvas, 15 x 18 1/4 in. (38.1 x 46.4 cm), framed. Condition: Lined, retouch, varnish inconsistencies, pentimento in area of signature, craquelure. $1,000-1,500

Hillside Village Signed and dated “Kuehne 20” l.l. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Lined, retouch.

344

$1,200-1,800

345

345. Walter Maclaren (British, fl. circa 1869-1903)

346. Otto Büngner (Brazilian, 19th/20th Century)

Pergola Ana Capri Signed and dated “Walter Maclaren. 1868.” l.r., titled, signed, and dated “...Walter Maclaren./1868” on the reverse. Oil on canvas, 14 1/8 x 18 1/4 in. (35.9 x 46.4 cm), in a frame with a label from John Fisher, Glasgow, affixed to the reverse. Condition: Scattered retouch, varnish inconsistencies, minor scattered losses, craquelure, surface grime. $1,500-2,500

Pedra da Gavea Signed, inscribed, and titled “Otto Büngner-RIO/...-RIO De JANIERO” l.r., inscribed “A Picture of the bay in Brazil where we built an eighteen hole golf course./To Mr. L.S. Taylor with the kindest of wishes/From Virginia and Archie Dick/Chicago, July 1932.” on the supporting board. Watercolor on paper mounted onto board, sight size 10 1/4 x 15 1/2 in. (26.0 x 39.4 cm), framed. Condition: Pale foxing, mild toning, not examined out of frame. $600-800

346

347

347. John La Farge (American, 1835-1910) Stable of the Sacred Horses in the Temple Grounds of Iyeyasu, Nikko, c. 1888 Unsigned. Ink wash on paper, sheet size 8 3/16 x 9 7/8 in. (20.8 x 25.1 cm), unframed. Condition: Glue and cloth tape hinge residue to the reverse, subtle toning, minor foxing. Provenance: Henry Lee Higginson, Boston, until d. 1919; by descent in the Higginson family. Literature: Cook, Clarence, “Paintings, Sketches, and Studies by John La Farge,” Studio n.s. 5, April 26, 1890, pp. 205-206; La Farge, Bancel, “[List of Lenders, Durand-Ruel Exhibition],” New Haven, Connecticut, unpublished manuscript, La Farge Family Papers, 1895; La Farge, Henry A., “Catalogue Raisonné of the Works of John La Farge,” New Haven, Connecticut: Unpublished card file, La Farge Family Papers, c. 1934-74. Exhibitions: Reichard and Co., New York, Catalogue of Drawings, Water Colors, and Paintings by Mr. John La Farge, N.A., 15 Apr.-1 May 1890, no. 12 (under heading “Japanese”); Durand-Ruel Galleries, New York, Paintings, Studies, Sketches and Drawings, Mostly Records of Travel 1886 and 1890-91 by John La Farge, 25 Feb.-25 Mar. 1895, no. 5; Societe Nationale des Beaux-Arts, Paris, France, Études, esquisses, dessins: Souvenirs et notes de voyage (1886 et 1890-91) par John La Farge, 24 Apr.-May 1895, [no. 5]. N.B. The work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr. James L. Yarnall for updating and supplementing the information for inclusion in this catalog entry. Like many of La Farge’s Japanese sketches, this evidently was based upon an as-yet unlocated photograph and was executed around 1888 in preparation for the publication of his travel journals as a series of travel articles in Century Magazine. A wood engraving after this drawing appeared in La Farge’s article “Shrines of Iyeyasu and Iyemitsu in the Holy Mountain of Nikko. An Artist’s Letters from Japan,” Century Magazine, vol. 39 (Apr. 1890), p. 862. It was republished in book form in John La Farge, An Artist’s Letters from Japan (New York: Century Association, 1897), p. 61, and was exhibited at Durand-Ruel in New York in 1895 as Stable of the Sacred Horses in the Temple grounds of Iyeyasu, Nikko. $7,000-9,000

348

348. John La Farge (American, 1835-1910) Himene at Fara. Tahiti. Midday. At the Queen’s Home, 1891 Unsigned, inscribed “Young men playing & singing at Faaa/at...by Marau at her place/they...together so...get the pitch. May 91./...”ufe-potapota” name of flute” in pencil and numbered “180” on a label in the margin l.l., “This face...yellow in value...” in pencil u.r., and “Mr. Henry L. Higginson.” in ink on the reverse. Watercolor and graphite on paper, sheet size 10 15/16 x 12 in. (27.8 x 30.5 cm), unframed. Condition: Acid burn, toning, tape residue. Provenance: Henry Lee Higginson, Boston, c. 1893-d. 1919; by descent in the Higginson family. Literature: “Pictures by John La Farge,” New York Times, Feb. 26, 1895, p. 3; John La Farge, Reminiscences of the South Seas (New York: Doubleday and Company, 1912), ill. opp. p. 86 (as The Flute Player. Samoa); Bancel La Farge, “[List of Lenders, Durand-Ruel Exhibition],” (New Haven, Connecticut: Unpublished Ms., La Farge Family Papers, [1895]), no. 180; Elizabeth Hutcheson Carrell, “John La Farge: Renaissance Spirit in America,” (Austin, Texas: Unpublished M.A. thesis, University of Texas, May 1972), p. 106 (ill. p. 127); Prints and Drawings Department, Loan Card No. 1769.10 (1910); Archives of American Art, Macbeth Papers (not microfilmed), Stockbook 1922-1954, 22 no. 84 (1 Jan. 1943). Exhibitions: Durand-Ruel Galleries, New York, Paintings, Studies, Sketches and Drawings, Mostly Records of Travel 1886 and 1890-91 by John La Farge, 25 Feb.-25 Mar. 1895, no. 180; Societe Nationale des Beaux-Arts, Paris, France, Études, esquisses, dessins: Souvenirs et notes de voyage (1886 et 1890-91) par John La Farge, 24 Apr.-May 1895, no. 179; Museum of Fine Arts, Boston, La Farge Memorial Exhibition, 1-31 Jan. 1911 [no catalogue]. N.B. This work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr. James L. Yarnall for updating and supplementing the information for inclusion in this catalog entry. Exhibited at Durand-Ruel in New York in 1895 as Himene at Fara. Tahiti. Midday. At the queen’s home. 1891. This was followed by the note: “This was a group of young men, a choir, who sang alternately with others, seated on either side of the verandah during our lunch. They are in a faint sunlight, which falls more distinctly in the back-ground.” $25,000-35,000

349

349. Charles Nicolas Sarka (American, 1879-1960)

350. Carel Lodewijk Dake the Younger (Dutch, 1886-1946)

Valley in Moorea Signed and inscribed “SARKA, MOOREA” l.r., inscribed “INLAND RANGES” l.l. (beneath the mat), titled with cancelled inscription “...Fareartri where we lived in Moorea/The island ranges/of/Moorea” in pencil on the reverse. Watercolor on paper, sight size 15 3/4 x 21 1/4 in. (40.0 x 54.0 cm), framed. Condition: Taped to front mat at u.r. and u.l. verso, tape and residue at edges verso. $600-800

Southeast Asian Village Signed “C.L. Dake Jr.” l.r., information regarding the artist’s travels to Asia affixed to the reverse. Oil on panel, 19 1/2 x 32 in. (49.5 x 81.3 cm), framed. Condition: Retouch, splits to panel, surface grime. $1,200-1,800

350

351

351. American School, 20th Century

352. Arthur Merton Hazard (American, 1872-1930)

South Pacific Landscape with Net Menders Unsigned. Oil on canvas tacked onto panel, sight size 35 1/2 x 59 1/2 in. (90.2 x 151.1 cm), in an applied bamboo strip frame. Condition: Retouch, scattered flaking/losses, surface grime. $800-1,200

Cuban Beach, Lucero Cuba Signed â&#x20AC;&#x153;Arthur M. Hazard.â&#x20AC;? l.r., titled on the reverse. Watercolor on paper, sheet size 13 3/4 x 18 in. (34.9 x 45.7 cm), framed. Condition: Taped to front mat u.r. and u.r. verso, toning, light scattered staining. $600-800

352

353

353. Paul Cornoyer (American, 1864-1923)

354. Marcus A. Waterman (American, 1834-1914)

Houses by a Path Incised signature “...OYER” l.r., inscribed “C.R. 4584” and “#4584” in pencil on the reverse. Oil on canvas, 8 x 10 in. (20.3 x 25.4 cm), in a probable CarrigRohane frame. Condition: Surface grime.

Brook Side, New England Unsigned, titled and inscribed “M. Waterman” in a later hand on a label affixed to the stretcher, and identified on a label from the Vose Galleries, Boston, on the backing. Oil on canvas, 16 x 20 1/4 in. (40.6 x 51.4 cm), framed. Condition: Lined, craquelure, minor retouch, varnish inconsistencies.

Provenance: Through the family of Mr. and Mrs. Francis J. Oakes Jr., Brookline, Massachusetts, by family descent. $1,000-1,500

Exhibitions: Sunlight and Shadow: American Impressionism 18851945, Krasl Art Center, Michigan, October 3 to November 21, 1999; Brevard Museum of Art and Science, Florida, December 11, 1999 to January 30, 2000; Tucson Museum of Art, Arizona, February 19 to April 2, 2000). $800-1,200

354

355

355. John Joseph Enneking (American, 1841-1916) New England Wood and Stream, Fall Unsigned. Oil on canvas, 32 x 40 in. (81.3 x 101.6 cm), framed. Condition: Small area of paint loss and accretions l.c., surface grime. Provenance: Enneking estate to Fred Inness of Boston; to Paul Famolari; to Arvest Galleries of Boston; to Gardner Wonson; to a private party. Literature: This work is registered in the catalogue raisonnĂŠ of John J. Enneking by Patricia Jobe Pierce as number IV-B-296. N.B. We thank Patricia Jobe Piece for her assistance with cataloging this lot. $5,000-7,000

356

356. Joseph Eliot Enneking (American, 1881-1942)

357. Wayne Beam Morrell (American, b. 1923)

The Blush of Autumn Signed “J. Eliot Enneking” l.r. and identified on an exhibition label from The Boston Art Club on the reverse and on a label from The Casson Galleries, Boston, affixed to the backing paper. Oil on canvas mounted on paperboard, 14 x 12 in. (35.6 x 30.5 cm), framed (under glass). Condition: Minor paint loss, craquelure, surface grime. $1,000-1,500

Indian Summer by the Sea Dedicated, titled, and signed “TO OUR GOOD FRIEND HENRY ROCK...ROCKPORT/WAYNE MORRELL...SEPT-1980” on a label from The Wayne Morrell Gallery, Rockport, affixed to the backing. Oil on Masonite, 10 x 12 in. (25.4 x 30.5 cm), framed. Condition: Good. $700-900

357

358

358. Robert Emmett Owen (American, 1878-1957)

359. George Victor Grinnell (American, 1878-1946)

Covered Bridge, Autumn Signed “R.Emmett Owen” l.r. Oil on canvas, 26 1/4 x 34 in. (66.7 x 86.4 cm), framed. Condition: Retouch, varnish inconsistencies, pinholes along left edge, mild surface grime. $1,500-2,500

Autumn Tapestry Signed “GRINNELL” l.l., titled in the artist’s hand on the stretcher, signed and inscribed “G, VICTOR GRINNELL/MYSTIC CONN.” on the stretcher. Oil on canvas, 14 x 17 in. (35.6 x 43.2 cm), framed. Condition: Retouch, signature possibly reinforced, varnish inconsistencies (including area of signature), craquelure. $700-900

359

360

360. Wayne Beam Morrell (American, b. 1923)

361. Wayne Beam Morrell (American, b. 1923)

Country Pond Signed “Wayne Morrell” l.r., titled, signed, and dated “‘Country Pond’/.../...1977” on the reverse. Oil on Masonite, 23 7/8 x 36 in. (60.5 x 91.4 cm), framed. Condition: Paint losses c.r. $800-1,200

A Sunny Afternoon-/View of a Pond in Byfield, Massachusetts Signed “WAYNE MORRELL” l.r., identified, dated, signed, and titled “POND IN BYFIELD, MASS./Nov. 10th 1988/by/WAYNE MORRELL/...” on the reverse, dedicated and inscribed “for EDITH ROCK One of my FINEST SPRING SERIES THE BEST EVER/WAYNE MORRELL” on the reverse. Oil on Masonite, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Good. $1,200-1,800

361

362

362. Wayne Beam Morrell (American, b. 1923)

363. Wayne Beam Morrell (American, b. 1923)

Houses Along the River Signed “WAYNE MORRELL” l.l. Oil with tooling on Masonite, 24 x 36 in. (61.0 x 91.4 cm), framed. Condition: Pigment fluorescence. $3,000-5,000

The Lily Pond Signed “WAYNE MORRELL” l.r. Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Good.

363

$600-800

364. Aiden Lassell Ripley (American, 1896-1969) Grouse and Grape Vines Signed “A. Lassell Ripley ©” l.l., titled and signed “...© A. Lasell Ripley” in pencil and identified on a label from The Guild of Boston Artists, Boston, on the backing. Watercolor and graphite on paper, sight size 24 x 20 1/2 in. (61.0 x 52.1 cm), framed. Condition: Not examined out of frame. $10,000-15,000

364

365. Aiden Lassell Ripley (American, 1896-1969) Grouse and Azalea Bud Signed “© A. Lassell Ripley” l.l., titled and signed “...© A. Lassell Ripley” in pencil and identified on a label from The Guild of Boston Artists, Boston, on the backing. Watercolor and graphite on paper, sight size 25 1/2 x 21 in. (64.8 x 53.3 cm), framed. Condition: Not examined out of frame. $10,000-15,000

365

366

366. Aiden Lassell Ripley (American, 1896-1969) Woodcock Hunting and Houses in Summer/A Double-sided Composition Woodcock signed and dated â&#x20AC;&#x153;A. Lassell Ripley 1938â&#x20AC;? l.l., Houses unsigned. Watercolor and graphite on paper, sheet size 20 x 16 1/4 in. (50.8 x 41.3 cm), framed. Condition: Tack holes to edges, brown gummed tape residue to reverse, cloth tape hinged to window mat. $10,000-15,000

367

367. American School, 20th Century

368. Thomas Russell Dunlay (American, b. 1951)

Afternoon Fishing on the Lake Unsigned. Oil on canvas, 25 x 30 1/4 in. (63.5 x 76.8 cm), framed. Condition: Craquelure, tack holes to u.r. and u.l. corners, minor losses, surface abrasions.

Duck Alighting at Sunset Signed â&#x20AC;&#x153;Dunlayâ&#x20AC;? l.l. Oil on canvas, 11 x 14 in. (27.9 x 35.6 cm), framed. Condition: Good.

Provenance: Through a Massachusetts estate. $1,500-2,500

368

$800-1,200

369

369. American School, 20th Century Duck Hunting on the Marsh Unsigned, stamped “BAY STATE STRETCHER/-MADE BY/WADSWORTH HOWLAND & Co. Inc./BOSTON-MASS.” on the stretchers. Oil on canvas, 22 1/8 x 27 in. (56.2 x 68.6 cm), framed. Condition: Losses, craquelure. Provenance: Through a Massachusetts estate. $2,000-4,000

370

370. Attributed to Oscar Fehrer (American, 1872-1958) Cabin in the Valley Unsigned, an article from Antiques and the Arts Weekly dated July 19, 1991, accompanies the work. Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Scattered losses, craquelure, surface grime. $1,500-2,000

371

371. Robert E. Schulz (American, 1928-1978) The Cow Puncher Initialed â&#x20AC;&#x153;RESâ&#x20AC;? l.r., titled on an illustration affixed to the reverse. Oil on Masonite, 24 x 32 in. (61.0 x 81.3 cm), framed. Condition: Alligatoring, varnish inconsistencies. $2,000-3,000

372

372. Svend Svendsen (Norwegian/American, 1864-1930)

373. Sheldon Parsons (American, 1866-1943)

Winter Twilight Signed “Svend Svendsen-” l.r. Oil on canvas, 22 x 30 in. (55.9 x 76.2 cm), framed. Condition: Patch reinforcements to l.r. quadrant, craquelure, retouch, surface grime. $400-600

Snowy Barn Unsigned, inscribed “By Sheldon Parsons Gift of Lois Harris to Mendosa...Nutter 1953.” on the stretcher, inscribed “Gray Blue to trees” on the stretcher. Oil on canvas, 23 7/8 x 32 1/8 in. (60.6 x 81.6 cm), framed. Condition: Scattered retouch, surface grime. $1,500-2,500

373

374

374. Robert Hogg Nisbet (American, 1879-1961)

375. Svend Svendsen (Norwegian/American, 1864-1930)

The Old House Signed “ROBERT H. NISBET” l.r., identified on a label from the New York Watercolor Club affixed to the backing. Watercolor and gouache on paper/board, sight size 23 1/4 x 29 3/8 in. (59.1 x 74.6 cm), framed. Condition: Toning, not examined out of frame. $1,000-1,500

Path to the Mountains Signed “Svend Svendsen-” l.r., with a label from Marshall Field & Company Picture Galleries on the reverse. Oil on canvas, 18 1/4 x 24 in. (46.4 x 60.9 cm), framed. Condition: Surface grime. $400-600

375

376

376. Emile Albert Gruppe (American, 1896-1978)

377. James King Bonnar (American, 1883-1961)

Covered Bridge in Winter Signed “Emile A. Gruppe” l.r. Oil on canvasboard, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Slight warping to support, mild scattered pigment fluorescence, extremely mild scattered craquelure, surface grime. $1,500-2,500

Figures Walking Down a Snowy Road Signed “JAMES K BONNAR” l.r. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Surface grime/discolorations to the varnish layer, minor scattered losses, fine scattered craquelure. $1,000-1,500

377

378

378. Attributed to Robert Emmett Owen (American, 1878-1957)

379. William Lester Stevens (American, 1888-1969)

Winter Landscape with River Signed indistinctly l.l. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Craquelure, surface grime, minor skinning.

Row Houses and Industry, Winter Signed and inscribed â&#x20AC;&#x153;W. LESTER STEVENS NAâ&#x20AC;? l.r. Oil on canvas, 34 x 38 in. (86.4 x 96.5 cm), framed. Condition: Surface rubs, mild varnish inconsistencies, minute scattered paint losses, scattered craquelure. $3,000-5,000

Provenance: Through a Bonnet Shores, Rhode Island estate. $3,000-5,000

379

380

380. Antonio Cirino (American, 1889-1983)

381. William Lester Stevens (American, 1888-1969)

View of a New England Town in Winter Signed “A. CIRINO” l.r. Oil on canvasboard, 12 3/4 x 15 in. (32.4 x 38.1 cm), framed. Condition: Surface grime, pigment fluorescence, signature partially reinforced, subtle bowing. $500-700

The Last of the Snow Signed “W. LESTER STEVENS.” l.r. Oil on canvas, 25 1/4 x 30 1/4 in. (64.1 x 76.8 cm), framed. Condition: Scattered retouch, varnish inconsistencies, area of flaking and loss u.l., scattered craquelure, mild surface grime. $2,500-3,500

381

382

382. Wayne Beam Morrell (American, b. 1923)

383. Winfield Scott Clime (American, 1881-1958)

Winter Valley, a Vermont Landscape Signed “WAYNE MORRELL” l.r., dedicated, inscribed, and signed “for Henry & EDITH Rock/Stowe, Vermont, March 1991-/by/WAYNE MORRELL/OCT 13th 1991/My Best Show Oils” on the back of the frame. Oil with tooling on Masonite, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Good. $600-800

Ten Below Signed “Winfield Scott Clime” l.l., titled, signed, and inscribed “...Winfield Scott Clime/Old Lyme/Conn” on the reverse, inscribed “Dec. 15 - 1943/To Ellie + Bernard Dad” on the frame. Oil on canvas mounted onto panel, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Minute scattered surface losses, surface grime. $600-800

383

384

384. Allen Dean Cochran (American, 1888-1971) Pastoral View with Sheep Signed and dated “Allen ·D· Cochran ‘12” l.r. Oil and graphite on canvas, 42 x 80 in. (106.7 x 203.2 cm), framed. Condition: Lined, craquelure, varnish inconsistencies, surface grime. $7,000-9,000

385

385. Allen Dean Cochran (American, 1888-1971) Pastoral View with Cows Signed and dated “Allen ·D· Cochran ‘12” l.r. Oil and graphite on canvas, 42 x 80 in. (106.7 x 203.2 cm), framed. Condition: Craquelure, varnish inconsistencies, surface grime. $7,000-9,000

386

386. John Franklin Waldo (American, 1835-1920)

387. Henry Ward Ranger (American, 1858-1916)

From Jamaica hights [sic] Signed, dated, and titled “J. Frank Waldo. 1909/...” l.l. Gouache and watercolor on paper/board, sight size 16 3/4 x 22 1/4 in. (42.5 x 56.5 cm), framed. Condition: Toning, not examined out of frame. $600-800

Woodland Stream Signed “H.W. Ranger” l.l., identified on a presentation plaque and on labels, including one titled and inscribed in a later hand, and another from The Cooley Gallery, Old Lyme, Connecticut, on the reverse. Oil on artist board, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Subtle bowing, subtle surface grime. $1,000-1,500

387

388

388. Arthur Clifton Goodwin (American, 1864-1929) The Disappering [sic] Path Signed “A C Goodwin” l.l., titled and signed or inscribed “...ACG $450” on the stretcher. Oil on canvas, 29 x 36 in. (73.6 x 91.4 cm), framed. Condition: Retouch (including repaired tears), loss c.r., mild scattered surface abrasions, mild surface grime. $3,000-5,000

389

389. Carol Owen (British, b. 1948)

390. Hamilton Hamilton (American, 1847-1928)

Spring Along the River Signed “C. OWEN” l.l., identified on a label from Guido Frame Studio & Art Gallery, Boston, affixed to the backing. Oil on canvas, 20 1/4 x 24 in. (51.4 x 61.0 cm), framed. Condition: Good. $700-900

View from the Hilltop Unsigned, stamped “Painted by HAMILTON HAMILTON/From the Studio Collection/of HELEN HAMILTON/Silvermine, Norwalk, Conn.” on the backing and stretcher, numbered “35” within the stamp on the backing. Oil on canvas, 24 3/4 x 30 in. (62.9 x 76.2 cm), framed. Condition: Patch reinforcement c.l., retouch, scattered losses, craquelure with lifting. $1,000-1,500

390

391. Anne Cary Bradley (American, 1884-1956) Bold Face, North Chatham, New Hampshire Signed “A. C. Bradley” l.r., titled, possibly in a later hand, on the reverse, identified on an exhibition label (see below), affixed to the backing. Oil on canvas mounted onto board, 10 x 13 in. (25.4 x 33.0 cm), framed. Condition: Extremely mild bowing to support. Exhbitions: Sunlight and Shadow: American Impressionism 1885-1945, Krasl Art Center, Michigan, October 3 to November 21, 1999; Brevard Museum of Art and Science, Florida, December 11, 1999 to January 30, 2000; Tucson Museum of Art, Arizona, February 19 to April 2, 2000), no. 9. $600-800

391

392. Robert Emmett Owen (American, 1878-1957) Daisy Field at Cross River, alternatively titled Cross River Daisy Field Signed “R. Emmett Owen” l.l., titled on a period label affixed to the stretcher and a label from the Vose Galleries of Boston affixed to the backing. Oil on canvas, 18 x 20 in. (45.7 x 50.8 cm), framed. Condition: Fine scattered craquelure, mild surface grime. $1,000-1,500

392

393. Manner of Selden Connor Gile (American, 1877-1947) View with Houses on a Crest Signed “...N” l.r. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Skinning to the l.r. quadrant, surface grime. $2,000-3,000

393

394. Nicolai S. Cikovsky (American, 1894-1987) Landscape with Plowed Fields (possibly Long Island) Signed “Nicolai Cikovsky” l.r. Oil on canvasboard, 11 7/8 x 16 3/4 in. (30.2 x 42.5 cm), framed. Condition: Surface grime. $700-900

394

395. Carl William Peters (American, 1897-1980) Spring Landscape with House Signed “CARL W PETERS” l.l., identified on a label affixed to the reverse. Oil on canvasboard, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Craquelure, mild surface grime. $800-1,200

395

396. Philip Little (American, 1857-1942) View of a Leafy Meadow with Houses Beyond Signed and dated “Philip Little 1905” l.l. Gouache on paper, sight size 19 x 13 in. (48.3 x 33.0 cm), framed. Condition: Subtle mat burn, toning, subtle rippling, not examined out of frame. $600-800

397. Helen Alton Sawyer (American, 1900-1999) Landscape with Moon Signed “H...Sawyer” l.l., inscribed “Landscape with Moon Helen Sawyer” on the stretcher. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Lined, craquelure. $2,000-2,500

396

397

398. Wayne Beam Morrell (American, b. 1923) The Tree Visitor Signed “WAYNE MORRELL” l.r. Oil on canvas, 24 1/4 x 18 in. (61.6 x 45.8 cm), framed. Condition: Scattered retouch, scattered craquelure, surface grime. N.B. The artist confirmed the title of this painting and dated it to 1986. $700-900

398

399. Dana Ripley Pond (American, 1881-1962) Portrait of a Man with a Straw Hat Signed “Dana Pond N.A.” l.r. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Lined, retouch, craquelure. $800-1,200

399

400

400. Samuel Barber (American, b. 1943) Irises by the Pond Signed â&#x20AC;&#x153;SBarberâ&#x20AC;? l.l., artist identified in an article from the Cape Cod Times, dated July 27, 1990, affixed to the backing. Oil on board, 24 x 18 in. (61.0 x 45.7 cm), framed. Condition: Good. $1,500-2,000

401

401. Carlos Pablo Ripamonti (Argentine, 1874-1968) Shore View Signed “C. P. RIPAMONTE” l.l. Oil on canvas mounted onto Masonite, 10 3/4 x 13 in. (27.3 x 33.0 cm), framed. Condition: Light scattered retouch, surface rubs, surface grime. $600-800

402

402. Thomas Russell Dunlay (American, b. 1951) Milton Marshes, 1980 Signed “Dunlay” l.r., identified on information and exhibition label (see below) affixed to the backing. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Good. Exhibitions: Boston Athenaeum Gallery, January 4-16, 1982. $7,000-9,000

403

403. Anton Otto Fischer (American, 1882-1962)

404. William Columbus Ehrig (American, 1892-1973)

Trimming the Sails, possibly an Illustration for The Saturday Evening Post Signed and dated “ANTON OTTO FISCHER ‘24” l.r., a partial label affixed to the stretcher. Oil on canvas, 22 x 30 in. (55.9 x 76.2 cm), framed. Condition: Abrasions with losses, light retouch, craquelure, surface grime. $800-1,200

Crashing Surf Signed “Wm C. Ehrig” l.r. Oil on canvas, 28 x 38 in. (71.1 x 96.5 cm), framed. Condition: Light scattered surface rubs, minor area of craquelure l.r. $1,000-1,500

404

405

405. Wayne Beam Morrell (American, b. 1923)

406. John Whorf (American, 1903-1959)

Crashing Waves Signed “WAYNE MORRELL” l.r. Oil on Masonite, 10 x 14 in. (25.4 x 35.6 cm), framed. Condition: Minor surface grime.

Bowsprit Signed “John Whorf.” l.r., stamped “GRAND CENTRAL ART GALLERIES, NEW YORK CITY” on the backing. Watercolor on paper/board, sight size 16 1/2 x 19 1/2 in. (41.9 x 49.5 cm), framed. Condition: Masking tape at top edge, mild mat burn/toning, pale scattered staining/foxing, not examined out of frame. $1,500-2,500

$400-600

406

408

407

407. Henry Webster Rice (American, 1853-1934) The Garden Stairway and Mending the Nets/A Double-sided Composition Garden signed “Henry Webster Rice.” l.l., Nets unsigned, inscribed “...5 PH” faintly in pencil u.r., inscribed “Dorothy Dunn Dempsey” in pen on the backing. Watercolor and graphite on paper, sheet size 19 x 13 1/2 in. (48.3 x 34.3 cm), in a period frame. Condition: Subtle toning. $800-1,200

408. Henry Webster Rice (American, 1853-1934) Old Church Signed “Henry Webster Rice” l.l., inscribed and titled “Haley & Steele...Mr. Ferguson...” on the reverse, inscribed “Dorothy Dunn Dempsey” in pen and with a label from Haley & Steele Art Dealers, Boston, on the backing. Watercolor on paper/board, 10 7/8 x 14 in. (27.6 x 35.6 cm), in a period frame. Condition: Subtle toning. $250-350

409. James King Bonnar (American, 1883-1961) Emily Post Garden Signed “JAMES KING BONNAR” l.r., title inscribed on the reverse. Oil on canvas mounted onto board, 18 1/4 x 14 in. (46.4 x 35.6 cm), framed. Condition: Areas of disadhesion, surface grime, two staples along the right edge (possibly done by the artist), small puncture u.r. $800-1,200

409

410

410. James King Bonnar (American, 1883-1961)

411. Charles M. Cox (American, 1883-1918)

Street in Edgartow [sic] Signed “JAMES KING BONNAR” l.r., titled and inscribed “...by James King Bonnar” on the reverse. Oil on canvasboard, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Support slightly warped, surface grime. $1,000-1,500

Phlox Signed “Charles M Cox” l.r., titled on the stretcher, inscribed “1929” on the reverse. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Surface grime. $800-1,200

411

412

412. Joseph Eliot Enneking (American, 1881-1942) Gray Day Signed “J. Eliot Enneking” l.l., identified on exhibition labels from the Rockport Art Association and from the North Shore Arts Exhibition of Gloucester (see below) on the reverse. Oil on canvasboard, 7 15/16 x 10 in. (20.2 x 25.4 cm), framed (under glass). Condition: Slight bowing to the support, surface grime. Exhibitions: Rockport Art Association, The Old Tavern Exhibition, n.d.; North Shore Arts Exhibition of Gloucester, Eighteenth Annual Exhibition, 1940. $800-1,200

413. Otis Pierce Cook (American, 1900-1980) Schooner at Gloucester Harbor Signed “Otis Cook” l.l. Oil on canvas, 24 x 20 in. (61.0 x 50.8 cm), framed. Condition: Good. $600-800

413

414

414. Joseph Eliot Enneking (American, 1881-1942) Drying the Nets, 1941 Signed â&#x20AC;&#x153;J. Eliot Ennekingâ&#x20AC;? l.r., identified in an inscription and on an exhibition label from the Rockport Art Association affixed to the reverse. Oil on canvasboard, 8 1/4 x 10 in. (21.0 x 25.5 cm), framed. Condition: Good. $1,200-1,800

415

415. Otis Pierce Cook (American, 1900-1980)

416. Max Kuehne (American, 1880-1968)

Rockport Dock Scene Signed “Otis Cook” l.r. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Condition: Scattered craquelure, mild surface grime.

Marblehead Street Signed “Kuehne” l.r. Watercolor with graphite on paper/board, sight size 15 x 19 1/2 in. (38.1 x 49.5 cm), framed. Condition: Subtle rippling, not examined out of frame. $700-900

$800-1,200

416

417. James Jeffrey Grant (American, 1883-1960) Harbor View with Sailboats Signed “J. JEFFREY GRANT” l.r. Watercolor and graphite on paper, sight size 13 1/2 x 15 3/4 in. (34.3 x 40.0 cm), framed. Condition: Not examined out of frame. $700-900

417

418. Joseph Eliot Enneking (American, 1881-1942) Rockport Shore with Sailboats Signed “J. Eliot Enneking” l.r., inscribed “Center:/The Marosa I/Rockport Mass. Harbor” on the reverse. Oil on canvasboard, 11 7/8 x 14 in. (30.2 x 35.5 cm), framed. Condition: Surface grime. $500-700

418

419. Sandor Bernath (American, 1892-1984) View of a Gloucester Fishing Shack, c. 1935 Signed and inscribed “Sandor Bernath/Gloucester, Mass.” in pen l.r. Watercolor and graphite on paper, sheet size 17 x 21 1/2 in. (43.2 x 54.6 cm), framed. Condition: Brown gummed tape residue verso, toning. $800-1,200

419

420

420. Helen Florence Newton (American, 1878-1970)

421. Attributed to Anne Ramsdell Congdon (American, 1873-1958)

Rocky Coast, Possibly California Signed “HELEN F. NEWTON.” l.l. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Scattered craquelure with areas of lifting.

Coastal View with Trees Unsigned. Oil on board, 7 3/4 x 9 7/8 in. (19.7 x 25.1 cm), framed. Condition: Extremely minor wear to corners, extremely minor scattered craquelure. $400-600

$800-1,200

421

422

422. Samuel Burtis Baker (American, 1882-1967)

423. Paul Harvey (American, 1878-1948)

Shore View Dedicated and signed “To my friend F Morse Wemple/Burtis Baker” l.r. Oil on canvasboard, 15 x 18 in. (38.1 x 45.7 cm), framed. Condition: Surface grime.

California Landscape Unsigned, inscribed “by Paul Harvey,” possibly in the artist’s hand, in ink and inscribed “Paul Harvey” in pencil on the reverse. Oil on canvasboard, 12 x 14 3/4 in. (30.5 x 37.5 cm), in a frame with a partial Newcomb-Macklin Co. label affixed u.c. Condition: Retouch, support slightly warped, extremely fine scattered craquelure. $1,000-1,500

N.B. The dedicatee, Frank Rogers Morse Wemple (1878-1970), was a baritone and voice professor at the New England Conservatory of Music. $700-900

423

424

424. Wayne Beam Morrell (American, b. 1923)

425. Henry Eugene Fritz (American, 1875-1956)

Children Playing on the Beach Signed “WAYNE MORRELL” l.r. Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Good.

Boothbay Maine Signed and dated “H. E. FRITZ 1921” l.l., titled in pencil on the reverse. Oil on canvasboard, 7 15/16 x 10 in. (20.2 x 25.5 cm), framed. Condition: Retouch, minor bowing of the support. $400-600

$800-1,200

425

426

426. Wayne Beam Morrell (American, b. 1923)

427. Andre (Gittelson) Gisson (American, 1929-2003)

Off Front Beach Waters Signed “WAYNE MORRELL” l.l., titled, inscribed, dated, and signed “...ROCKPORT, MASS./AUG 25-1982/BY WAYNE MORRELL” in ink on the reverse. Oil on Masonite, 6 x 8 in. (15.2 x 20.3 cm), framed. Condition: Good. $500-700

Breakwater, Maine Signed “Gisson” l.l., identified on a gallery label (see below) affixed to the reverse. Oil on canvas, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Good.

427

Provenance: Purchased from Miner’s Gallery Americana Corp., Carmel, California, 1990. $300-500

428

428. Robert F. Glidden (American, 1926-1992)

429. Attributed to Gerrit Albertus Beneker (American, 1882-1934)

Lighthouse Signed â&#x20AC;&#x153;ROBERT F. GLIDDENâ&#x20AC;? l.l. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Mild surface grime.

Cape Cod Landscape with House in Spring Unsigned. Oil on canvas, 16 1/4 x 20 1/4 in. (41.3 x 51.5 cm), framed. Condition: Mild craquelure, with one area of possible lifting, surface grime. $800-1,200

$600-800

429

430

430. Anthony Thieme (American, 1888-1954)

431. Henry Webster Rice (American, 1853-1934)

Sand Dunes Signed “A. Thieme” l.r., titled on the reverse. Oil on board, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Area of craquelure u.c.

North Shore View, Possibly Marblehead and Visitor at the Door/A Double-sided Composition Shore signed “Henry Webster Rice” l.l., Visitor unsigned, inscribed “#507...View...” faintly in pencil u.l., inscribed “Dorothy Dunn Dempsey” in pen and with a label from Haley & Steele Art Dealers, Boston, on the backing. Watercolor and graphite on paper, sheet size 13 5/8 x 19 in. (34.6 x 48.3 cm), in a period frame. Condition: Subtle toning. $300-500

$3,000-5,000

431

432

432. Eduards Kalnins (Latvian, 1904-1988) Waterfront, Gray Day, 1943 Signed and dated â&#x20AC;&#x153;Ed- Kalnins -43â&#x20AC;? l.l. Oil on canvas mounted to Masonite, 23 x 27 in. (58.4 x 68.5 cm), framed. Condition: Craquelure. $1,000-1,500

433

433. George Wesley Bellows (American, 1882-1925) Fresh Sky, 1911/A Monhegan Island, Maine View Signed and inscribed “Geo Bellows/E.S.B.” l.l., titled and inscribed “...No. 18/MON” and identified and dated on a label from H.V. Allison & Co., Inc., New York, on the reverse. Oil on panel, 11 1/4 x 15 1/4 in. (27.9 x 38.7 cm), framed. Condition: Surface grime, bowing to panel, minor abrasions to edges. Provenance: Estate of the artist, 1925; Emma S. Bellows, his wife; Estate of Emma S. Bellows, 1959; H.V. Allison & Co., New York, New York; Carl Augustus Weyerhaeuser (1901-1996), Milton, Massachusetts, 1963; by family descent, private New England collection. Literature: George Bellows Record Book A, p. 106; George Bellows Online Catalogue Raisonné (http://hvallison.com/). N.B. We wish to thank Glenn C. Peck for his kind assistance with cataloguing the lot; the work is no. 1911-031a in the George Bellows catalogue raisonné compiled by H.V. Allison & Co. Carl A. Weyerhaeuser was the grandson of Frederik Weyerhaeuser, lumber magnate and founder of the Weyerhaeuser Company, and the son of Charles A. Weyerhaeuser, president of the Potlach Lumber Company, and Maud Moon Weyerhaeuser, a soprano soloist. Under his mother’s artistic influence, the young Weyerhaeuser began collecting from an early age.1 He is best remembered as the founder of the Art Complex Museum in Duxbury, which houses his diverse lifetime collection, including several works by Bellows. 1. Morrison County Historical Society, “Carl Weyerhaeuser: Dreams Fulfilled,” http://morrisoncountyhistory.org/history/?page_id=358

$40,000-60,000

434

434. Louis Paul Dessar (American, 1867-1952)

435. Léon Reni-Mel (French, 1893-c. 1960)

Moonlit Landscape with Sleeping Flock Signed “DESSAR” l.r., identified on a label affixed to the backing. Oil on canvas, 17 x 18 1/4 in. (43.2 x 43.4 cm), framed (under glass). Condition: Subtle canvas deformations. $2,000-2,500

Automne sur L’Etang, 1930 Titled, inscribed, and signed “...VANNES-1930/RENI-MEL” l.r. Oil on canvas, 23 1/2 x 35 1/2 in. (59.7 x 90.2 cm), framed. Condition: Craquelure. $1,000-1,500

435

436

436. Walter L. Greene (American, 1870-1956)

437. Alfred Bryan Wall (American, 1861-1935)

Evening, Giverny Signed “Walter L Greene” l.l., identified on a label affixed to the backing. Oil on canvas, 18 1/4 x 21 3/4 in. (43.4 x 55.2 cm), framed. Condition: Craquelure.

Sheep Going Home Signed “A. Bryan Wall” l.r., identified on labels affixed to the reverse. Oil on artist board, 10 1/4 x 12 in. (26.0 x 30.5 cm), framed. Condition: Surface grime, varnish inconsistencies. $500-700

437

438

438. Hermann Hesse (Swiss/German, 1877-1962) Lot of Two Works: Ticino Lake View, Probably Lake Lugano, Montagnola, Switzerland and Summer Garden, Casa Rossa, Montagnola Lake inscribed, dated and initialed “Skizze 1926 HH.” in pencil l.l. and l.c., respectively, inscribed “Hermann Hesse” in pencil on the reverse, watercolor on Ingres laid paper, sheet size 9 1/4 x 7 3/4 in. (23.5 x 19.7 cm); Garden initialed and dated “H. VII. 34” in pen l.l., also initialed “H.” in pen l.r., inscribed “Hermann Hesse” in pencil on the reverse, ink on PMF Italia laid paper (probably Ingres), sheet size 9 1/2 x 12 1/4 in. (24.1 x 31.1 cm); both unframed. Condition: Lake with tape residue to u.r. and u.l. corners, subtle handling creases. Provenance: Gift from the late collection of Mr. and Mrs. Carl Polk, Long Island, New York, and Midwale, New Jersey, to the present owner. N.B. Best-known as the author of Steppenwolf and Siddhartha, Hermann Hesse began painting in watercolor as early as 1916, and with vigor by 1919. Hesse sought refuge in Montagnola in 1919, after suffering some political pressure from German nationalists, the loss of his father, and his wife’s onset of schizophrenia. He settled into several rooms at the Casa Camuzzi, a country house with an exotic garden which inspired his short story, Klingsor's Last Summer, as well as his work in watercolor. After 1931, Hesse moved to the neighboring estate of Casa Rossa, where he lived with his third wife, Ninon Dolbin, until his death. At Casa Rossa, he had a large plot of land for gardening, and he devoted himself to cultivating it. He came to regard gardening as a meditative practice, and this experience informed his serial-turned-novel, The Glass Bead Game. We wish to thank Regina Bucher of the Fondazione Hermann Hesse Montagnola for her assistance with cataloging the lot. $4,000-6,000

439. Colin Campbell Cooper (American, 1856-1937) View of a Castle in the Landscape Unsigned, stamped “ESTATE OF/CCC/1856-1937” l.l. Pastel on paper, sight size 5 x 8 1/2 in. (12.7 x 21.6 cm), framed. Condition: Not examined out of frame. $800-1,200

439

440. Luigi Lucioni (American, 1900-1988) View of a Northern Italian Countryside, Possibly the Lake Como Region Signed and dated “L. Lucioni ‘38” l.r. Oil on Masonite, 12 x 10 in. (30.5 x 25.4 cm), framed. Condition: Minor retouch. Provenance: Purchased in Washington, D.C., by James Warren Lane, assistant curator for the National Gallery of Art, c. 1940s; by family descent to a Santa Fe, New Mexico, private collection. $6,000-8,000

440

441

441. Melville F. Stark (American, 1903-1987) Woodland View Signed “M. STARK” l.l. Oil on board, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Surface grime. $1,200-1,800

442. Alice Worthington Ball (American, 1869-1929) The Nespoli Tree Signed “A. Worthington Ball” l.l., artist identified on a presentation plaque, titled on a period label affixed to the reverse. Oil on canvas, 16 x 12 in. (40.6 x 30.5 cm), framed. Condition: Scattered craquelure, surface grime. $1,200-1,800

442

443

443. Armand Avril (French, b. 1926) Lot of Two Works: Town on a River and Town on a Hill, c. 1965 Each signed “AVRIL” l.l. Oil and gouache on paper, sight sizes to 19 x 24 3/4 in. (48.3 x 62.8 cm), framed. Condition: Not examined out of frames. $600-800

444. Fernand Laval (French, 1886-1966) Montmartre, 1926 Signed, dated, inscribed “F. LAVAL/1926·MONTMARTRE/ MATINS-SEPT” l.r. Oil on fiberboard mounted to panel, 26 x 21 3/4 in. (66.0 x 55.2 cm), framed. Condition: Surface grime. $1,000-1,500

445. Hughes Claude Pissarro (French, b. 1935) Le pont des guillemettes à Surosne-sur-Orne Signed “Claude Pissarro-” l.l., titled in pen on the reverse. Pastel on paper, sheet size 9 3/4 x 14 3/8 in. (24.8 x 36.5 cm), framed. Condition: Tape hinged to window mat. Provenance: Through Patricia Beaver Gallery, La Jolla, San Diego, California. $3,000-4,000

444

445

446

446. Arthur Clifton Goodwin (American, 1864-1929) Rain and Mist, Boylston, alternatively titled Up Boylston St./A View of Copley Square, Boston Signed “ACGOODWIN.” l.r., titled, dated, and signed “...1917...A.C.Goodwin” in ink and pencil on the reverse. Oil on canvas, 20 x 26 1/4 in. (50.8 x 66.7 cm), framed. Condition: Craquelure, surface grime. $3,000-5,000

447. Fernand Laval (French, 1886-1966) Montmartre, 1928 Signed, inscribed, and dated “F. LAVAL MONTMARTRE. 1928.” l.r. Oil on canvas, 24 x 19 3/4 in. (61.0 x 50.2 cm), framed. Condition: Surface grime. $1,000-1,500

447

448

448. Arthur Clifton Goodwin (American, 1864-1929) The Corner of Boylston and Arlington Streets, Boston Unsigned, with a label from H.C. Speed, Boston, affixed to the backing. Pastel on paper/board, 12 1/2 x 18 in. (31.8 x 45.7 cm), framed. Condition: Restored abrasion to l.l., u.l., and u.r. quadrants, restored break and small loss to board u.l. N.B. H.C. Speed was a restorer, framer, and close friend of A.C. Goodwin, who sold his works in his gallery on La Grange Street. $4,000-6,000

449

449. Arthur Clifton Goodwin (American, 1864-1929) Winter View, Possibly Copley Square Signed “.ACGOODWIN” l.r., inscribed “PICHETTO/ANDREPONT 72B” on a label affixed to the reverse. Oil on canvas,18 1/2 x 23 3/4 in. (47.0 x 60.3 cm), framed. Condition: Lined, minor surface grime. N.B. Goodwin is best known as a painter of Boston street scenes and its waterfront from 1900 to 1921. Though he was a self-taught artist, he was encouraged to paint by Louis Kronberg, and at one point shared a studio with him.1 He worked en plein air on an easel in all seasons, often in Boston’s Back Bay neighborhood. Goodwin typically worked directly on his support, without the use of underdrawing, and by the 1920s, his brushwork became more vigorous and loose.2 1. Giese, Lucretia H., “Notes on Goodwin’s Style,” A.C. Goodwin: 1864-1929 (Boston: Museum of Fine Arts, 1974). 2. Ibid.

$8,000-12,000

450. Johann Berthelsen (American, 1883-1972) St. Mark’s Church in-the-Bowery Signed “Johann Berthelsen” l.r., numbered in pencil “60521” on the reverse. Oil on canvasboard, 16 x 11 7/8 in. (40.5 x 30.0 cm), framed. Condition: Surface grime. N.B. This snowy street scene shows St. Mark’s Church in-theBowery, located on Tenth Street in Manhattan’s Lower East Side. The historic church is the burial place of Peter Stuyvesant. The painting was done by Berthelsen in the 1930s or the early 1940s. We wish to thank Lee Berthelsen, son of the artist, for his assistance with cataloging this lot. $4,000-6,000

450

451. Johann Berthelsen (American, 1883-1972) The Little Church Around the Corner Signed “Johann Berthelsen” l.r. Oil on canvasboard, 16 x 12 in. (40.6 x 30.5 cm), framed. Condition: Surface grime. N.B. The Little Church Around the Corner is located at 29th Street between 5th Avenue and Madison Avenue in New York City. This view of the church in snow was likely painted by Berthelsen in the late 1930s, or perhaps the early 1940s. We wish to thank Lee Berthelsen, son of the artist, for his assistance with cataloging this lot. $4,000-6,000

451

452

452. Johann Berthelsen (American, 1883-1969) The Brooklyn Bridge Signed â&#x20AC;&#x153;Johann Berthelsenâ&#x20AC;? l.r., identified on a label from The Farkas Corp., Beverly Hills, California, on the back of the frame. Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed. Condition: Minor retouch, craquelure. N.B. This view is painted from the Brooklyn side of the bridge, a favorite location for Berthelsen. We wish to thank Mr. Lee Berthelsen, son of the artist, for his assistance with cataloging this lot. $3,000-5,000

453

453. Arthur Clifton Goodwin (American, 1864-1929)

454. George H. Wimpenny (British, 19/20th Century)

Wharf Scene Signed “A.C. Goodwin” l.l. Pastel on paper, sheet size 16 x 20 1/8 in. (40.8 x 51.1 cm), framed. Condition: Toning, hinged to window mat with linen tape. $1,500-2,000

View of the River Thames and Westminster Abbey Signed and dated “Geo. H. Wimpenny 1908” l.l. Oil on canvasboard mounted to panel, 8 1/4 x 12 1/4 in. (21.0 x 31.1 cm), framed. Condition: Surface grime. $800-1,200

454

455

455. Frank Henry (Hector) L. Tompkins (American, 1847-1922) Dorchester Bay at Night Signed “FHTompkins” l.r., titled, signed, inscribed, and dated “...FHTompkins/Pope Building/Boston/1905.” on the reverse, identified on labels including one from Smith Kramer Fine Art Services, Kansas City, Missouri, and Fuller Museum of Art, Brockton, Massachusetts (see below), affixed to the reverse. Oil on board, 11 3/4 x 18 3/4 in. (29.8 x 47.6 cm), in a frame signed “Feliciano Nemiccolo” along the reverse of the left edge. Condition: Retouch, varnish inconsistencies, craquelure with scattered alligatoring, surface grime. Exhibitions: Boston Art Club Exhibition, Fuller Museum of Art, July 3September 19, 1993. $1,200-1,800

456

456. Gordon Steele (American, 1906-1961) Shantytown Signed and indistinctly dated “Gordon Steele/...” l.l., inscribed “GORDON STEELE/SYRACUSE N.Y.” possibly in the artist’s hand, on the stretcher, identified on two exhibition labels from Terry National Art Exhibit, Miami, affixed to the reverse, inscribed “HONORABLE MENTION/TERRY NATIONAL ART EXHIBIT/1952” on a presentation plaque. Oil with tooling on canvas, 20 x 26 in. (50.8 x 66.0 cm), framed. Condition: Area of pentimento (including a faint, partial signature) l.l., scattered craquelure, mild surface grime. N.B. Gordon Steele lived and worked in Syracuse, New York. Predominately self-taught, Steele usually worked without any sort of preliminary sketches. With an ever-evolving technique, Steele often used a dark color palette and created compositions that incorporate elements of abstraction. Many of his paintings address the relationship between man and his environment.1 Throughout his career, Steele exhibited his work frequently and won numerous awards.

457

His legacy continues as the Syracuse Arts Association has named the the top prize in their for their Annual Juried Members’ Exhibition the Gordon Steele Best in Show award. 1. Bridgman, Ann, “Two Artists in Show Offer Comparison in Manner of Approach,” The Norwalk Hour, July 9, 1957, p. 4.

$1,500-1,800 457. John Paul Manship (American, 1927-2000) West Village Roofs Signed and dated “JPMANSHIP/MAY ‘70” l.r., identified on a label from the Quarry Gallery, Gloucester, Massachusetts, affixed to the stretcher. Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Craquelure with lifting, flaking and minute losses u.r., pigment fluorescence, mild surface grime. $800-1,200

458

458. Alex Tschernjawski (Yugoslavian/American, b. 1933)

459. Gordon Steele (American, 1906-1961)

City Street Signed “A. Tschernjawski’ l.r., figure sketch in pencil on the reverse, inscribed “AlexanderTschernjawski” on the stretcher, labels from The Athena Gallery, New Haven, and George Mladinich, New Haven, affixed to the reverse, stamped “ATHENA GALLERY INC...” four times and “ALEX MINEWSKI...” on the reverse. Oil on canvas, 30 x 24 in. (76.2 x 61.0 cm), framed. Condition: Varnish inconsistencies, craquelure, mild surface grime. $700-900

The Edge of Town, alternatively titled After the Storm Signed and dated “Gordon Steele/50” l.l., identified on a label affixed to the reverse. Oil on Masonite, 24 1/2 x 42 in. (62.2 x 106.7 cm), framed. Condition: Retouch, varnish inconsistencies, minor scattered surface losses (predominately at edges), mild surface grime. $1,000-1,500

459

460

460. Arthur Oliver Biehl (American, b. 1926)

461. Gordon Steele (American, 1906-1961)

Pasture Signed and dated “BIEHL ‘64” l.r., identified on labels from Banfer Gallery, New York, and The Corcoran Gallery of Art, Washington, D.C., affixed to the reverse. Tempera on board, 23 1/4 x 23 1/4 in. (59.7 x 59.7 cm), framed. Condition: Surface grime, extremely minor wear to edges. $400-600

Docks Signed and dated “Gordon Steele/58” u.r., identified on a label affixed to the reverse. Oil on Masonite, 23 1/4 x 43 1/8 in. (59.1 x 109.5 cm), framed. Condition: Retouch, scattered surface losses (predominately at edges), mild surface grime. $1,000-1,500

461

462

462. Gordon Steele (American, 1906-1961) The First Snow Signed and dated “Gordon Steele/1955” l.l., identified on a label affixed to the reverse. Casein on paper/board mounted onto panel, 9 3/8 x 27 5/8 in. (23.8 x 70.2 cm), framed. Condition: Extremely mild wear to corner, mild surface grime. $1,000-1,500

463. Rolland Harve Golden (American, b. 1931) Autumn Splendor Signed and dated “Golden ‘88” l.r., titled on a label affixed to the backing. Gouache on paper, sight size 29 x 21 in. (73.7 x 53.3 cm), framed. Condition: Not examined out of frame. Provenance: Purchased from Bryant Galleries, New Orleans. $800-1,200

463

464

464. Paul Kirtland Mays (American, 1887-1961)

465. Laurence Philip Sisson (American, b. 1928)

The Harbor Signed “PAUL MAYS” l.l., identified on a label affixed to the backing. Oil on Masonite, 22 1/4 x 28 1/2 in. (56.5 x 72.4 cm), framed. Condition: Surface grime, abrasions. $400-600

August Sunset Signed and dated “L. Sisson ‘73” l.l., titled and inscribed in pencil and on labels on the reverse. Watercolor on Arches paper, sheet size 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm), unframed. Condition: Tack holes along edges. $700-900

465

466

466. Laurence Philip Sisson (American, b. 1928)

467. Paul Kirtland Mays (American, 1887-1961)

Fruits of the Sea Signed “L. Sisson” l.r., titled and inscribed in pencil, on labels, and with a composition of sand dunes on the reverse. Watercolor on Arches paper, sheet size 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm), unframed. Condition: Tack holes along edges. $800-1,200

Still Water Cove Signed “PAUL MAYS” l.l., identified on a label and titled on the reverse. Oil on Masonite, 26 3/4 x 32 1/4 in. (67.9 x 81.9 cm), framed. Condition: Surface grime, abrasions. $600-800

467

468. Louis Kronberg (American, 1872-1965) Fixing Her Costume Faintly signed “L. KRONBERG” l.r., inscribed “...Kronberg” and with a canvas stencil on the reverse. Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), framed. Condition: Retouch, varnish inconsistencies, surface rubs, craquelure. $1,200-1,800

469. Henry Davenport (American, b. 1882) Robe and Slippers, a Bedroom Still Life Signed and indistinctly dated “Henry Davenport...” l.r., identified on an exhibition label from Smith Kramer Inc. and a label from the Fuller Museum of Art (see below) affixed to the backing. Pastel with graphite on paper/board, sight size 15 1/4 x 11 1/4 in. (38.7 x 28.6 cm), framed. Condition: Not examined out of frame. Exhibitions: Boston Art Club Exhibition, Fuller Museum of Art, July 3September 19, 1993. $600-800

470. Louis Kronberg (American, 1872-1965)

468

At The Opera, possibly alternatively titled At the Theater Faintly signed “LOUIS KRONBERG” l.r., “✡” l.r., identified on labels affixed to the reverse. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), unframed. Condition: Patch reinforcement, craquelure with lifting, light surface abrasions, surface grime. $2,000-3,000

469

470

471

471. Louis Kronberg (American, 1872-1965)

473. Louis Kronberg (American, 1872-1965)

No. 1. Dancer in Rose at the Barre Signed “Louis Kronberg.” l.l. and monogrammed “L✡K” u.l., titled, dated, and inscribed “...Mlle Jose Lorre...Paris 1954...” on the backing. Pastel on paper/board, sight size 19 x 25 in. (48.3 x 63.5 cm), framed. Condition: Not examined out of frame. $800-1,200

Ballet Girl Signed, dated, and inscribed “1914/LOUIS KRONBERG ✡” l.r., identified on a label from The Buffalo Fine Arts Academy, Albright Art Gallery, Buffalo, New York, affixed to the backing. Oil on paper/board mounted to cloth, 25 1/2 x 18 1/2 in. (64.8 x 47.0 cm), framed. Condition: Tacks and abrasions to the margins, not examined out of the frame.

472. American School, 20th Century

Exhibitions: Ninth Annual Exhibition of Selected Paintings by American Artists, May 16-August 31, 1914, Albright Art Gallery, Buffalo, New York, cat. no. 73. $1,000-1,500

White Horses Signed “C. BROADHEAD” l.r., identified on a label from the Cahoon Museum of American Art (see below) affixed to the backing. Oil on canvas, 26 x 46 in. (66.0 x 116.8 cm), framed. Condition: Lined, retouch, craquelure. Exhibitions: Dusty Glory: The Circus in American Art, June 14 to July 30, 2005, Cahoon Museum of American Art, Cotuit, Massachusetts. $1,000-1,500

472

473

474

474. Robert Moore Kulicke (American, 1924-2007)

476. Helen Van Wyk (American, 1930-1994)

Roses, 1969 Signed and dated “Bob Kulicke 69” in pencil u.r., also signed and dated “Kulicke 69” in pencil l.c., dedicated “for Florence & Jerry” in pencil u.l. and “for the Greys” in pen on the backing, identified on a label from Kornblee Gallery, New York, on the backing. Oil on artist board, 9 x 10 1/4 in. (22.9 x 26.0 cm), mounted to a Plexiglas support. Condition: Minor surface grime, tack hole u.c. $2,000-2,500

Summer Bouquet Signed “H. Van Wyk-” l.l., also signed, dated, and initialed “H. Van Wyk -69...H.V.W” on the reverse. Oil on canvas, 30 1/4 x 24 in. (76.8 x 61.0 cm), framed. Condition: Good. $600-800

475. Franz Lex (Austrian, 1895-1959) Still Life with Hydrangeas Signed “Lex” u.r. Oil on canvas, 25 x 35 in. (63.5 x 88.9 cm), framed. Condition: Minor surface grime. $700-900

475

476

477. Thalia Wescott Malcom (French/American, b. 1888) Still Life with Books and Anemones Signed “THALIA MALCOM” l.r. Oil on canvas, 21 1/2 x 18 1/4 in. (54.6 x 46.4 cm), framed. Condition: Partially lined, retouch. $800-1,200

477

478. Frederick W. Oliver (American, b. 1876) Still Life Signed “F.W. OLIVER” u.l. Oil on canvas, 18 x 14 1/4 in. (45.7 x 36.2 cm), framed. Condition: Lined, retouch (including repaired tear l.c.), craquelure. $800-1,200

478

479. Virginia Berresford (American, 1902-1995) Colorful Bouquet Signed “Berresford” l.r. Oil with tooling on canvasboard, 30 x 22 in. (76.2 x 55.9 cm), framed. Condition: Bowing to support, scattered craquelure. $1,000-1,500

480. Doris Emrick Lee (American, 1905-1983) Grapefruit in Bowl Signed “Doris Lee” l.c., identified on an Associated American Artists, New York, label affixed to the reverse. Oil on canvasboard, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Retouch and varnish inconsistencies, signature possibly reinforced. $1,000-1,500

479

480

481

481. Nicolai S. Cikovsky (Russian/American, 1894-1987) Still Life with Fruit Signed “Nicolai Cikovsky” l.r. Oil on canvasboard, 19 3/4 x 24 in. (50.2 x 61.0 cm), framed. Condition: Surface grime. $800-1,200

482. Ernest Fiene (American, 1894-1965) White Roses Signed “E. Fiene.” l.r., titled, signed, and dated “...ERNEST FIENE 1927” on the reverse, a partial period label from the Museum of Modern Art, New York, affixed to the reverse. Oil on board, 14 1/4 x 10 1/4 in. (36.2 x 26.0 cm), framed. Condition: Mild wear to edges, fine craquelure. $800-1,200

482

483

483. Rockwell Kent (American, 1882-1971) The Avenue, alternatively titled Th’ Avenue Signed “Hogarth Jr.” in pen u.r., titled in pen l.c., also signed and inscribed “Rockwell Kent/1262 Richmond Terrace./Staten Island.” in ink on the reverse. Ink on paper/board, 8 x 10 1/16 in. (20.3 x 25.6 cm), framed. Condition: Mat burn, paper patches, tape residue verso, taped and glued to window mat along top margin. Literature: Vanity Fair, January 1916, p. 50; Chappell, George S., A Basket of Poses, New York: Albert and Charles Boni, 1924. N.B. The drawing of a busy city avenue scene––replete with cold-weather-bundled dainties and a gendarme directing a bustle of sport cars, buses and limousines––first appeared as an illustration to George S. Chappell’s “poetic panorama,” “Th’ Avenue.” The published caption for this illustration is partially incorrect in that it refers to the drawing as “a rare wood engraving” by William Hogarth, Jr. Although the attribution to William Hogarth, Jr.––Rockwell Kent’s pseudonym––is correct, the illustration is indeed a brush (possibly pen as well) and ink drawing. (Kent’s drawings were often misidentified as wood engravings or woodcuts.) Kent collaborated with George S. Chappell on numerous publication ventures throughout the second and third decades of the twentieth century, many of which appeared in Vanity Fair and Puck. Kent and Chappell knew each other from professional architectural circles; the Ewing and Chappell architectural firm, based in New York City, began as the result of a commission from Kent’s mother, Sarah––a house designed by her architecturally trained son; Kent worked off and on as a draftsman for Ewing and Chappell (during the first two decades). This particular illustration, and the poem “Th’ Avenue,” was reprinted in A Basket of Poses – an anthology of Kent’s and Chappell’s satirical collaborations. We wish to thank Scott R. Ferris for his assistance with cataloging the lot. $1,000-1,500

484

484. Dorothy Pulis Lathrop (American, 1891-1981) View of Wood Sprites in the Forest Initialed “D.P.L.” l.r. Ink on paper, sheet size 4 1/8 x 4 1/4 in. (10.5 x 10.8 cm), framed. Condition: Taped to window mat. $1,000-1,500

485. Maxfield Parrish Jr. (American, 1906-1983) Lot of Two Illustrated Letters to John Haven Emerson and Irene Marie Garrett Emerson, c. 1931 Cloth-bound seven-page letter signed “M. Parrish Jr.” in pen on sixth page, single-page letter unsigned. Ink and graphite on stationery, sheet sizes to 10 7/8 x 8 3/8 in., single-page letter unframed. Condition: Folds, handling creases. N.B. John Haven “Jack” Emerson was the cousin of Maxfield Parrish Jr. through his mother, and the grandnephew of poet Ralph Waldo Emerson through his father. A designer of scientific instruments and medical equipment, he is best known as the inventor of an improved iron lung, which he unveiled in 1931. The design was based on the work of Philip Drinker and Dr. Louis Agassiz Shaw, but was a more efficient and economical version.1 Drinker sued Haven for patent infringement, but the courts sided with Haven. Parrish Jr., who had helped Haven with illustrations for his company publications, provided illustrations of the iron lung that were used in the suit. The topic of the lawsuit and iron lung is depicted with levity on pages 3 and 4 of the bound letter, which depicts Justice casting a mean gaze on Drinker. We wish to thank Alma Gilbert-Smith for her assistance with cataloging the lot. 1. http://americanhistory.si.edu/collections/object.cfm?key=35&objkey=114

485

$4,000-6,000

486

486. Indian School, 20th Century Women Offering Libations Signed in Hindi with bird cipher “...1947” u.l. Gouache on illustration board, sheet size 10 1/8 x 16 1/2 in. (25.7 x 41.9 cm), framed. Condition: Taped to beveled mat. $500-700

487. Frank Albert Mechau Jr. (American, 1903-1946) Darien Lovers Signed and dated “mechau -44” l.r., titled and identified on labels affixed to the backing. Pencil on paper, sight size 28 1/4 x 21 5/8 in. (72.0 x 55.0 cm), framed. Condition: Toning, not examined out of frame. N.B. The artist was an artist-correspondent for Life magazine during World War II, traveling to U.S. military bases in the Pacific. Darién is a province in eastern Panama. $1,000-1,500

487

488

488. I.W.J. Munut (Indonesian, b. 1941) Feast Day Signed “IW. MUNUT.” l.r. Acrylic on cloth, 35 1/2 x 66 1/2 in. (90.2 x 168.9 cm), framed. Condition: Subtle staining. $800-1,200

489. Orville Bulman (American, 1904-1978) La Barque Lori, 1970 Signed “Bulman” l.r., titled, signed, and dated “...ORVILLE BULMAN 1970” on the reverse. Oil on Masonite, 10 x 8 in. (25.4 x 20.3 cm), framed. Condition: Surface grime, fine craquelure, pigment fluorescence. $2,000-3,000

490. Henri Robert Brésil (Haitian, 1952-1999) Landscape with Lake Monogram signature “HR. Brésil” l.r. Acrylic on cloth, 16 x 24 in. (40.6 x 61.0 cm), framed. Condition: Good. Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. $700-900 489

490

491

491. Orville Bulman (American, 1904-1978) Le Barque Brumeaux Signed â&#x20AC;&#x153;Bulmanâ&#x20AC;? l.r., titled on a label affixed to the frame liner. Oil on canvas, 22 x 24 in. (55.9 x 61.0 cm), framed. Condition: Craquelure, surface grime, pigment fluorescence. $10,000-15,000

492. Attributed to John French Sloan (American, 1871-1951) Portrait of a Dancing Nude Signed “John Sloan” in crayon and pen l.r., inscribed “N.A. ‘64” in pencil on the reverse. Pastel on paper, sheet size 15 1/2 x 10 3/8 in. (39.4 x 26.4 cm), framed. Condition: Rippling, acid burn, cloth tape hinged to backing mat. Provenance: Acquired by Norton Asner, Baltimore, Maryland, 1964; by family descent. $2,000-3,000

492

493. Raphael Soyer (American, 1899-1987) Portrait of a Female Nude Signed “RAPHAEL SOYER” in pencil l.l., identified on a partial label affixed to the backing. Watercolor and graphite on paper, sight size 12 x 7 in. (30.5 x 17.8 cm), framed. Condition: Not examined out of frame. $800-1,200

493

494

494. Aristide Maillol (French, 1861-1944) Portrait of a Female Nude Monogrammed “M” l.r. Conté crayon on paper, 10 5/8 x 9 7/16 in. (27.0 x 24.0 cm), in a Kulicke frame. Provenance: A. [Anson] Conger Goodyear, Buffalo, New York, and Old Westbury, Long Island; by family descent to a private New England collection. $2,000-2,500

495. Jaro Fabry (American, 1912-1953) He’s Just a Boy about his New Shorts with ‘Grippers’ Fasteners Signed “Jaro Fabry” l.l., identified on the mat l.c. Ink wash, gouache, and charcoal on paper, sight size 14 x 16 in. (35.6 x 40.6 cm), framed. Condition: Subtle rippling, not examined out of frame. $300-500

495

496. Sergei Yurievich Soudeikine (Russian, 1883-1946) Portrait of a Woman with Headwrap, Possibly Anne Wiggins Brown from Porgy and Bess Inscribed and signed “1921...S Soudeikine” l.l. in pencil and pen respectively, inscribed “K1292” in pencil on the reverse. Mixed media on paper, 13 1/4 x 11 1/4 in. (33.7 x 28.6 cm), framed. Condition: Taped to window mat, subtle toning, trimmed sheet, glue residue verso. $1,000-1,500

496

497

497. Adolf Arthur Dehn (American, 1895-1968) Harlem Orchids Signed and dated â&#x20AC;&#x153;Adolf Dehn â&#x20AC;&#x2DC;30â&#x20AC;? l.r., cancelled composition verso. Ink on paper, sight size 12 3/4 x 19 1/2 in. (32.4 x 49.5 cm), framed. Condition: Mat burn, toning, staining, subtle rippling, mat boards adhered together so that the entire sheet cannot be viewed. N.B. This composition is related to the lithograph of the same title from 1931. $500-700

498

498. Charles Dixie Jarrett (American, 1893-1947)

499. Tom Lovell (American, 1909-1997)

Enjoy More Leisure, Let White King’s Longer Lasting Suds Do the Work, Probably a Design for a Billboard Signed “CHAS A./JARRETT.” l.r. Oil on canvas, 22 x 42 1/2 in. (55.9 x 107.9 cm), framed. Condition: Lined, retouch, surface grime. $500-700

The Bridge Signed and dated “TOM LOVELL ‘47” l.r., stamped “BY THE ARTIST/ TOM LOVELL” on the stretcher, inscribed “TOM LOVELL” and “COMP. THE BRIDGE” on the stretcher, identified on a presentation plaque, inscribed “PROPERTY OF MICHAEL D. DINGMAN” on a label affixed to the reverse. Oil on canvas, 25 x 36 in. (63.5 x 91.4 cm), in a frame with a label from House of Heydenryk, New York, affixed to the reverse. Condition: Scattered retouch, fine scattered craquelure, mild surface grime. $600-800

499

500

500. Norman Rockwell (American, 1894-1978) Portrait of Alice Titled, signed, and dated “...Norman/Rockwell/1966” l.r. Graphite and colored pencil on paper, sight size 14 x 10 in. (35.6 x 25.4 cm), framed. Condition: Not examined out of frame. Provenance: Commissioned of the artist by the sitter’s mother, New York. Literature: Moffatt, Laurie Norton, Norman Rockwell: A Definitive Catalogue, Volume II, Hanover: The University Press of New England, 1986, No. P3, (illus.). N.B. Though Norman Rockwell did not consider himself a portraitist, his skill with capturing a range of expression and emotion made him highly sought-after for commissioned portraits. By 1968, he counted among his sitters several American presidents, astronauts, publishers, and politicians. $8,000-12,000

501

502

501. Walt Disney Studios (American, 20th Century)

502. Joe Mathieu (American, 20th/21st Century)

Figaro/An Animation Cel from Pinocchio, c. 1940 Unsigned, titled on the mat in pencil l.l. Gouache on celluloid with a painted presentation background, sight size 3 3/8 x 3 5/8 in. (8.6 x 9.2 cm), unframed. Condition: Good. $800-1,200

Book Cover Illustration for Big Bird Plays the Violin Signed “Joe Mathieu” in pencil l.r., identified and inscribed with production marks in pencil l.l. Luma dye and colored pencil, sheet size 17 x 14 in. (43.2 x 35.6 cm), unframed. Condition: Crop marks to the margins. Provenance: From the collection of the artist. Literature: Hautzig, Deborah and Joe Mathieu (illustrator), Big Bird Plays the Violin, New York: Random House/Children’s Television Workshop, 1991. N.B. A copy of Big Bird Plays the Violin accompanies the lot. $1,000-1,500

503. Walt Disney Studios (American, 20th Century) Lot of Two Animation Cels of Peter Pegasus (Baby Pegasus) from Fantasia, c. 1940 Unsigned, each stamped “WDP” [Walt Disney Productions] l.r. or l.l., both with labels from Courvoisier Galleries, San Francisco, affixed to the backing. Gouache on celluloid with a painted Courvoisier presentation background, sight sizes to 6 3/4 x 8 in. (17.1 x 20.3 cm), framed. Condition: Not examined out of frames. N.B. Peter Pegasus was featured in the Pastoral Symphony sequence of Fantasia. $400-600

503

504

505

504. Claude Dixon Coats (American, 1913-1992)

505. Walt Disney Studios (American, 20th Century)

Background Scene for Walt Disney’s Lady and the Tramp Unsigned, production marks in the margins. Gouache and graphite on paper, sheet size 12 x 40 in. (30.5 x 101.6 cm), unframed. Condition: Tape residue to the margins, minor tears to edges, subtle handling creases.

The Queen/An Animation Cel from Snow White and the Seven Dwarfs, c. 1937 Unsigned, titled on the mat in pencil l.l., with a label from Albert Roullier Art Galleries, Chicago, on the backing. Gouache on celluloid with a painted presentation background, probably Courvoisier, sight size 11 1/4 x 10 5/8 in. (28.6 x 27.0 cm), framed. Condition: Rippling, not examined out of frame. $1,000-1,500

Provenance: Ex-collection of Disney artist Ralph Kent. Literature: “Claude Coats: Prototypical Imagineer,” The ‘E’ Ticket, Issue #31, Spring 1999, p. 6 (illustrated). N.B. Coats, a studio and concept designer for Walt Disney Imagineering, joined the Walt Disney Studio in 1935 as a background painter. In addition to Lady and the Tramp, he is credited with the background and color styling of Snow White and the Seven Dwarfs as well as Fantasia.1 A copy of The ‘E’ Ticket accompanies the lot. 1. “The Passing of a Legend-Claude Coates Dies at Age 78,” It Takes People, Disney Newsreel, January 17, 1992.

$1,000-1,500

506

506. Cecil Kennedy (British, 1905-1997) Lot of Two Floral Still Lifes: Spring and Autumn Both signed “Cecil Kennedy” l.r., identified on labels from The Fine Art Society Ltd., London, affixed to the reverse, and with C. Roberson canvas stencils, Spring with pencil inscription on the stretcher, Autumn inscribed and titled “SET OF FOUR...” on the reverse. Oil on canvas, 9 x 7 in. (22.9 x 17.8 cm), framed (under glass). Condition: Not examined out of frames. $700-900

507

507. Charles Whedon Rain (American, 1911-1985)

508. Robert Douglas Hunter (American, b. 1928)

The Sundial Signed “C. Rain” l.r., titled and inscribed “....C. RAIN/JAN 1964/NEW YORK” on the reverse, identified on a label from the Banfer Gallery, New York, and an exhibition label from the Essex County Section National Council of Jewish Women “American Art at Mid Century” affixed to the reverse. Oil on Masonite, 7 7/8 x 10 in. (19.9 x 25.4 cm), framed. Condition: Retouch (including area of signature), fine craquelure. $600-800

Orange Signed “ROBERT DOUGLAS HUNTER” l.l., identified on a presentation plaque and a label from Grand Central Art Galleries, New York, on the reverse. Oil on canvas, 12 x 18 1/2 in. (30.5 x 47.0 cm), framed. Condition: Surface grime, abrasions and canvas deformations to l.l. and l.r. quadrants. $800-1,200

508

509. American School, 20th Century Two Figures Indistinctly signed and dated “...1931” l.r. Watercolor over graphite on paper laid down onto board, sight size 17 1/2 x 13 in. (44.5 x 33.0 cm), framed. Condition: Mat burn, not examined out of frame. $600-800

510. Hazel Janicki Teyral (American, 1918-1976) The Gathering Signed and dated “Hazel Janicki Teyral 1946” l.r., signed or inscribed “HAZEL JANICKI TEYRAL/CLEVELAND 1946” on the reverse. Tempera on Masonite, 12 x 20 in. (30.5 x 50.8 cm), framed. Condition: Surface grime. $400-600 509

510

511

511. Continental School, 20th Century

512. Maurice Compris (French, 1885-1939)

Figures Signed “J. ALVARO” l.r., identified on a label affixed to the reverse. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Good. $400-600

Portrait of a Woman by a Mantel Signed “M...” l.l. Oil on canvas, 40 x 35 3/4 in. (101.6 x 90.8 cm), framed. Condition: Minor retouch, varnish inconsistencies. $1,000-1,500

512

513

513. Channing Weir Hare (American, 1899-1976)

514. Paul Bough Travis (American, 1891-1975)

Surrealist Portrait of a Woman Signed and dated “Channing Hare 1945” l.l., stamped “FROM THE ESTATE OF/CHANNING HARE/(1899-1976)” on the stretcher. Oil on canvas, 34 x 30 in. (86.4 x 76.2 cm), framed. Condition: Minor surface grime. $800-1,200

The Bullfight Signed, dedicated, and dated “PAUL B. TRAVIS/TO TOM AND NANCY/1950” l.r. Oil on Masonite, 30 3/4 x 28 5/8 in. (78.1 x 72.7 cm), framed. Condition: Tack holes to margins, surface grime, abrasions. $1,000-1,500

514

515. Alexandre Evgenievich Iacovleff (Russian, 1887-1938) Paysage Fantastique Stamped indistinctly l.r., identified on a label from Robert C. Vose, Boston, affixed to the backing paper. Gouache on paper, 22 x 14 1/8 in. (55.9 x 35.8 cm), framed. Condition: Toning, mild acid burn, soiling, foxing to the reverse. $1,000-1,500

515

516. Lawrence Edward Kupferman (American, 1909-1982) Landscape of the Mind XI, 1964 Signed “Kupferman” l.r., also inscribed, titled, signed, and dated “...XD:1,804.G... Lawrence Kupferman-1964” on the reverse. Oil on canvas, 46 x 32 in. (116.8 x 81.3 cm), unframed. Condition: Surface grime, craquelure. Provenance: Through the family of the artist. $1,200-1,800

516

517. Howard Rose (American, 20th/21st Century) A Find on the Beach Signed “HRose” l.r., titled on a tag affixed to the reverse, a label from Chrysalis Gallery, Southampton, New York, affixed to the stretcher. Oil on canvas, 36 x 35 3/4 in. (91.4 x 90.8 cm), unframed. Condition: Tape to the tacking edge, scattered varnish inconsistencies. $600-800

517

518. Hal Singer (American, 1919-2003) Portrait of a Boy in a Tree Signed “-HAL SINGER” l.r. Oil on canvas, 22 x 28 in. (55.9 x 71.1 cm), framed. Condition: Good. $700-900

518

519

519. R.C. Gorman (American, 1932-2005) Portrait of a Woman in Blue Shawl Signed and dated â&#x20AC;&#x153;R.C. Gorman 1983â&#x20AC;? l.r. Oil pastel on paper, sight size 28 1/2 x 22 1/2 in. (72.4 x 57.2 cm), framed. Condition: Not examined out of frame. $3,000-5,000

520

520. Diego Rivera (Mexican, 1886-1957) Skyline, Florence, Italy Signed and dated “Diego Rivera. 21” in pencil l.r. Graphite on paper, sheet size 8 3/8 x 10 5/8 in. (21.3 x 27.0 cm), unframed. Condition: Acid burn to l.l. quadrant, tear to u.l. and l.l. quadrants, glued to backing sheet at corners. Provenance: Collection of Caroline Johnston (née Ramsay) Chandler of Wilmington, Delaware, (b. 1893), by family descent to private collection, Maine. Caroline Ramsay Chandler was the eldest daughter of William Gouverneur Ramsay, a civil engineer and vice president of E.I. du Pont de Nemours & Company. She was a student of the Woodstock Art Colony, an artist in watercolors and oils, as well as an art collector. She traveled to Mexico in the 1930s, and is believed by her family to have acquired art on this trip, including the present work. $4,000-6,000

521

521. Giorgio De Chirico (Italian, 1888-1978) Untitled Landscape with Petrified Boat and Figures [The Dioscuri], c. 1925 and Untitled Portrait of Gala Dali, c. 1924-25/A Double-sided Work Landscape signed “G. de Chirico” in pencil l.r., Portrait signed and inscribed “Le retour a une suite...G. de Chirico” l.r. and inscribed “Madame Gala Dali” in a later hand l.c. Graphite on paper, sight size 12 x 9 in. (30.5 x 22.9 cm), framed. Condition: Subtle foxing, pinhole u.c. Provenance: From the Hillman Family Collection by descent to Alex Hillman; private collection c. 1990s. Literature: Emily Braun, Manet to Matisse: The Hillman Family Collection, Seattle: University of Washington Press, 1994, pp. 54-57 (illus.). N.B. In Emily Braun’s analysis of the landscape composition of the present work, she notes that the two figures depicted in the foreground may allude to the twin sons of Zeus, Castro and Polydeuces—also known as the Dioscuri—but may also represent the artist and his brother, Alberto Savinio.1 Supporting this interpretation, Braun cites the depiction of eyes in the lower left, which commonly represented for De Chirico “the visionary powers of the artist” or “the omnipotence of the gods.”2 Of the portrait composition on the reverse, Braun contextualizes the work within the Parisian surrealist circle of Paul Eluard, Gala Dali’s first husband. She notes that Eluard was a patron of De Chirico c. 1923, and that De Chirico associated with the couple through 1926.3 1. Emily Braun. Manet to Matisse: The Hillman Family Collection. Seattle: University of Washington Press, 1994, p. 54. 2. Ibid. 3. Ibid., 55.

$5,000-7,000

522

522. George Ehrenfried Grosz (German/American, 1893-1959) Stille Nacht Heilige Nacht, c. 1922 Signed “Grosz” in pen l.r., inscribed and titled “...ca. 1922...Eltern...” with a stamp from the George Grosz Nachlass on the reverse. Ink on paper, sheet size 23 1/8 x 15 3/4 in. (58.7 x 40.0 cm), framed. Condition: Center crease, subtle rippling and foxing, mat burn, subtle toning, cloth tape hinged to backing mat, tape residue to the reverse. Provenance: Purchased from Galleria dell’Obelisco Rome, Italy; collection of Melvin B. Nessel, Boston, Massachusetts. N.B. We wish to thank Ralph Jentsch who kindly confirmed the authenticity of the lot and assisted with its cataloging. The work is registered as no. 3-10-2 with the George Grosz Estate, and will be included in Ralph Jentsch’s forthcoming catalogue raisonné of the artist. The present work is a preliminary drawing related to a published work of the same year, which has been reproduced under the titles, “Gottes sichtbarer Segen ist bei mir.,” from Friedrich Schiller, Die Raüber (Act II, Scene 3), Plate 6, Der Malik-Verlag, Berlin, 1922; “Ein trautes Weib, ein herzig Kind, das ist mein Himmel auf der Erde.,” from George Grosz, Abrechnung folgt!, Der Malik-Verlag, Berlin, 1923, p. 31; and “Gottes sichtbarer Segen ruht auf uns,” from George Grosz, Die Gezeichneten, Der Malik-Verlag, Berlin, 1930, p. 43. A single plate from the portfolio Die Raüber has appeared annotated by Grosz with the same title of the present work. $6,000-8,000

523

523. George Ehrenfried Grosz (German/American, 1893-1959) Acrobatentänzer, 1915 Unsigned, with stamp from the George Grosz Nachlass on the reverse, inscribed “TR 1479.186” in pencil l.r. and “LyNr 1248” in pencil on the reverse, identified on a partial label from Retina Gallery, Inc., Boston, on the backing. Ink on laid paper, sheet size 11 3/8 x 8 7/8 in. (28.9 x 22.5 cm), unframed. Condition: Subtle handling creases, tape hinged to backing mat. Provenance: Estate of Eleanor Kanegis Levin, East Gloucester, Massachusetts. N.B. We wish to thank Ralph Jentsch who kindly confirmed the authenticity of the lot and assisted with its cataloging. The work is registered as no. 3-40-4 with the George Grosz Estate, and will be included in the forthcoming catalogue raisonné of the artist. $3,000-4,000

524

524. Jean Dufy (French, 1888-1964)

525. Jean Dufy (French, 1888-1964)

Le concert Signed “Jean Dufy” l.l., identified on a label from Coleman Art Gallery, Philadelphia, affixed to the backing. Gouache on paper, sheet size 10 7/8 x 20 in. (27.6 x 50.8 cm), framed. Condition: Masking taped to window mat on the reverse.

Les Cavaliers, 1945 Bears signature “Jean Dufy” in pencil l.l., identified on a label from Carel Gallery, Miami Beach, Florida, on the backing. Gouache, watercolor, and graphite on paper, sheet size 10 7/8 x 15 5/8 in. (27.6 x 39.7 cm), framed. Condition: Laid down to Masonite, toning, graphite marks in the margins, water stain to the u.r. quadrant.

Provenance: Private Massachusetts collection. Provenance: Private Massachusetts collection. N.B. We wish to thank Jacques Bailly for kindly confirming the authenticity of the lot. The work will be included in his forthcoming catalogue raisonné on the artist, and a photo-certificate (No. 4128) accompanies the lot. $6,000-8,000

525

N.B. We wish to thank Jacques Bailly for kindly confirming the authenticity of the lot, and a photo-certificate (No. 4129) accompanies the lot. $6,000-8,000

526

526. Jean Dufy (French, 1888-1964) Clowns musiciens, c. 1950-1952 Signed “Jean Dufy” l.r., inscribed “No. 18597-3” on a stamp from Hammer Galleries, New York, and with a label from Arthur Lenars & Cie, Paris, on the reverse. Oil on canvas, 14 x 10 3/4 in. (35.6 x 27.3 cm), framed. Condition: Good. Provenance: By family descent c. 1984. N.B. We wish to thank Jacques Bailly for kindly confirming the authenticity of the lot. The work will be included in his forthcoming catalogue raisonné on the artist, and a photo-certificate (No. 4127) accompanies the lot. $10,000-15,000

527. Theodoros Stamos (Greek/American, 1922-1997) Untitled/A Wall Hanging Signed “Stamos” within the matrix l.l. Hooked wool, 86 x 47 in. (218.4 x 119.4 cm), on a metal rod. Condition: Subtle shade variations. Provenance: Estate of Joan E. Goody, Boston, Massachusetts. Literature: Design New England, March/April, 2010, p. 45, (illus.). $700-900

528. Reuben Tam (American, 1916-1991) The South Wind Signed “Tam” in pencil l.r., titled in pencil l.l., identified on a label from The Brooklyn Museum Art School Exhibition affixed to the backing. Ink and graphite on paper, sight size 14 1/2 x 17 1/4 in. (36.8 x 43.8 cm), framed. Condition: Not examined out of frame. Exhibitions: The Brooklyn Museum Art School Exhibition, Faculty Christmas Show, December 12, 1972. $500-700

527

528

529

529. Bao Lede (Chinese, b. 1959) Early Spring in Provincetown, 2007 Signed and dated “Bao Lede ...07” on the reverse. Oil and ink on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed. Condition: Good. N.B. Bao Lede received his fine arts degree from Tianjin Academy of Fine Arts, where he taught for a brief period after graduation. In 1989, he came to the United States to pursue his MFA at Pittsburgh State University, and has been working on Cape Cod for over a decade. $2,000-2,500

530. Gabor F. Peterdi (American, 1915-2001) Black Table I, 1957 Signed and dated “Peterdi 57” l.r., also signed, titled, and dated “PETERDI 57...” and identified on a label from Kanegis Gallery, Boston, on the strainer bars. Oil on canvas, 50 x 40 in. (127.0 x 101.6 cm), framed. Condition: Good. Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. A copy of Gabor Peterdi: Paintings by Burt Chernow, published by Taplinger Publishing Company, New York, 1982, accompanies the lot. $2,000-3,000 530

531

532

531. Michiel Theobald Gloeckner (American, 1915-1989) Lot of Two Works: Two Lovers in the Yellow House and Untitled Lovers initialed “MTG” l.r., titled and dated “...1963” on the stretchers, Untitled initialed “MG” l.r., signed and dated “Michiel Gloeckner 70” on the stretcher. Oil on canvas, sizes to 10 x 8 in. (25.4 x 20.3 cm), framed. Condition: Lovers with minor surface grime. $800-1,200

532. Michel Moreno (French, b. 1945) Composition-Syntho-Chromisme Titled, inscribed, and signed “...M-Moreno” in pen on the reverse. Oil on canvas, 39 1/2 x 32 in. (100.3 x 81.3 cm), framed. Condition: Craquelure, minor losses/abrasions. $1,000-1,500

533. Michiel Theobald Gloeckner (American, 1915-1989) Untitled Unsigned, inscribed “Michiel Gloeckner” in pen on the reverse. Oil on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed. Condition: Subtle warping. $800-1,200 533

534

534. Lyonel Feininger (American, 1871-1956) It Happened in a Dream, 1946 Signed “Feininger” in pen and inscribed “...L.F.” in pencil l.l., dated “1946” in pen and titled in pencil l.r., inscribed “2470/36 R.R. 12157/70” in pencil on the reverse. Ink, gouache, and graphite on laid paper, sheet size 12 1/2 x 18 7/8 in. (31.8 x 47.9 cm), framed. Condition: Tape residue to all edges recto and corners verso, cloth tape hinged to backing mat. Provenance: Purchased from Obelisk Gallery, Boston; collection of Melvin B. Nessel, Boston, Massachusetts. N.B. We wish to thank Achim Moeller of the Lyonel Feininger Project, LLC, for his assistance in cataloging the lot. The work is included in the Lyonel Feininger Archives of drawings and watercolors as no. 280-01-05-10, and a photo-certificate from Achim Moeller accompanies the lot. $40,000-60,000

535

535. Yves Tanguy (French/American, 1900-1955) Un peu après [A Little Later], 1940 Signed and dated “YVES TANGUY 40” l.r., inscribed “Yves Tanguy ‘Un peu après’ Pierre Matisse Gal 41 E 57” in pencil and identified on a label from Acquavella Galleries, Inc., New York, on the reverse. Oil on canvas mounted to Masonite, 18 x 15 in. (45.7 x 38.1 cm), framed. Condition: Subtle craquelure, minor retouch, minor surface grime. Provenance: Mr. Edward C. Mack and Mrs. Ruth C. Mack, New York City and New Rochelle, New York; gift to their daughter, Mary Lee Ingbar, Cambridge, Massachusetts. Literature: Yves Tanguy [November 7 to December 7, 1974] (New York: Acquavella Galleries, Inc., 1974), no. 23 (illus.); Yves Tanguy: Un Recueil de ses oeuvres (New York: Pierre Matisse Gallery, 1963), no. 259 (illus.), p. 120; European Artists in America, Whitney Museum of American Art, March 13 to April 11, 1945, (exh. cat., no. 130). Exhibitions: Yves Tanguy, November 7 to December 7, 1974, Acquavella Galleries, Inc., New York, no. 23; European Artists in America, Whitney Museum of American Art, March 13 to April 11, 1945; Exhibition of Paintings by Yves Tanguy, Pierre Matisse Gallery, April 21 to May 9, 1942. Tanguy left France for the United States in 1939, where he developed a new painting vocabulary. He noted “a feeling of greater space here—more ‘room’” and an “intensification of color” which the art historian Roland Penrose described as Tanguy’s substitution of earth tones for “more strident reds and blues.”1 Of Tanguy’s work of the 1940s, the poet John Ashbury observed forms of “new bulk and density”; “The [depicted] universe is no longer exclusively mineral; some of its tenants appear to be made of wood, paper or cloth. There are strange tissue-like folds, bones creatures not only colored like jellyfish but of some viscous milky white/or magenta pulp, weeping, burning to the touch like sodium. And these forms have begun to proliferate, pullulate, assuming ever more complex, incestuous relationships.”2 What Ashbury alludes to is the way that Tanguy’s compositions can be at once animate and static, organic and inorganic, whole and fragmented, nature-sprung and man-made. In the present work, simply in the way he aggregates forms, Tanguy evokes an absurd notion of hierarchy amongst what are essentially automatons. There are human-like appendages that suggest the potential for movement but little sense of a motive for action. Even though the cast shadows convey solidity, each aggregate can also be reduced to a precarious pile of parts. The scene can be interpreted as both desolate and fanciful—a wasteland of parts as much as a quixotic landscape with figures on a journey. We wish to thank the Yves Tanguy Committee of the Pierre and Tana Matisse Foundation for their assistance with cataloging the lot. It is the Yves Tanguy Committee’s intention to include this oil on canvas in the revised edition of the Yves Tanguy catalogue raisonné. 1. Sweeney, James Johnson, “Eleven Europeans in America,” The Bulletin of the Museum of Modern Art, Vol. 13, No. 4/5 (New York: The Museum of Modern Art), 1946, p. 23. 2. Ashbury, John, “Tanguy-The Geometer of Dreams,” Yves Tanguy [November 7 to December 7, 1974] (New York: Acquavella Galleries, Inc., 1974).

$300,000-500,000

536. Richard E. Filipowski (American, 1923-2008) Abstract Composition in Orange, Yellow, Maroon, Gray, and Black Signed and dated “Filipowski 47” l.r. Graphite, colored pencil, gouache, and ink on Strathmore paper, sight size 28 1/2 x 22 3/8 in. (72.4 x 56.8 cm), framed. Condition: Scattered foxing, light scattered soiling/staining, not examined out of frame. Provenance: Gift from the artist. $1,500-2,500

536

537. Edmondo Bacci (Italian, 1913-1978) B-5 Signed “BACCI” l.c., signed and titled “E. BACCI...” on the reverse, inscribed “...F.C. Matthae,/1025 5th Avenue/New York 28/N.Y. U.S.A.” on a period label affixed to the reverse. Mortar with ink and tempera on board relief mounted onto Masonite, 3 1/2 x 3 1/2 in. (8.9 x 8.9 cm), framed (under glass). Condition: Surface dust/grime, not examined out of frame. $600-800

537

538

538. Richard E. Filipowski (American, 1923-2008) Abstract Composition in Red, Violet, Orange, Gray, and Black Signed and dated â&#x20AC;&#x153;Filipowski 47â&#x20AC;? l.r. Graphite, colored pencil, and gouache on Strathmore paper, image size 28 x 22 in. (71.1 x 55.9 cm), frame accompanies the lot. Condition: Scattered foxing, light scattered soiling/staining. Provenance: Gift from the artist. $1,500-2,500

539

539. Richard E. Filipowski (American, 1923-2008)

540. Richard E. Filipowski (American, 1923-2008)

Abstract Glasses and Bottles, a Composition in Red, Yellow, and Black Signed and dated “Filipowski 45” l.r., stamped “Richard Filipowski” on the reverse. Gouache and graphite on Crescent Illustration Board, board size 15 x 20 in. (38.1 x 50.8 cm), unframed, wrapped in Cellophane. Condition: Bowing to support, scattered soiling/staining, toning, not examined out of Cellophane (with tears/losses to Cellophane wrapper at corners).

Abstract Composition Initialed and dated “F/48” l.r., dedicated, signed, and dated “Happy Birthday to/Ann/Filip. 6/17/61” on the backing. Ink, gouache, and pastel on paper, sheet size 8 5/8 x 11 in. (21.9 x 27.9 cm), sandwiched between glass and backing board. Condition: Toning, staining, rippling, not examined out of glass/backing. $600-800

Provenance: Gift from the artist. $800-1,200

540

541

542

541. Josef Scharl (German/American, 1896-1954) Lot of Five Works: Ascending Moon, 1st Version; Sketch for Gethsemane; Nude IV; Harvest Time; and Still Life Moon signed and dated “Jos. Scharl/1954” l.l.; Gethsemane signed and dated “Jos. Scharl/1944” in pen l.r., titled l.l.; Nude signed, dated and titled “Jos. Scharl/1952...” in pen l.l.; Harvest signed and dated “Jos. Scharl/1949” in pen l.l., titled l.r.; Still Life signed “Josef Scharl” in pencil l.r.; Moon tempera on paper, Gethesmane, Nude IV, and Harvest Time, ink on paper, Still Life screenprint on paper, sheet sizes to 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm), Moon and Still Life framed, others unframed. Condition: Moon with minor losses to edges, not examined out of frames. Provenance: Gift from the late collection of Mr. and Mrs. Carl Polk, Long Island, New York and Midwale, New Jersey, to the present owner. N.B. Three Josef Scharl exhibition booklets from Galerie St. Etienne, New York; a copy of the book Josef Scharl, published by Nierendorf Editions, 1945 (edition of 1000 unnumbered copies), a copy of the journal Print, Volume 9, No.4, March-April 1955, a copy of the book Funfzig Zeichnungen zum Alten und Neuen Testament, published by

Econ-Verlag, 1967, a copy of Grimm’s Fairy Tales, published by Pantheon Books, New York, and photographs after works by Josef Scharl accompany the lot. $1,000-1,500 542. Richard E. Filipowski (American, 1923-2008) Abstract with Yellow and Blue Discs Signed and dated “Filipowski ‘96” l.r., inscribed “Richard E. Filipowski/10 Round Hill Road/LEXINGTON MA” in the artist’s hand on the reverse. Ink and gouache on paper, sheet size 15 x 22 1/2 in. (38.1 x 57.0 cm), framed. Condition: Tape residue u.r. and u.l., deckled edges, mild scattered soiling/staining, not examined out of frame. Provenance: Gift from the artist. $800-1,200 543.-545. No lots.

546. José Guerrero (Spanish/American, 1914-1992) Untitled, 1956 Signed and dated “Jose Guerrero 1956” l.l. Ink on paper, 25 1/2 x 19 1/2 in. (64.8 x 49.5 cm), framed. Condition: Subtle toning, subtle rippling, paper loss l.l., not examined out of frame. Provenance: Purchased from the artist, by family descent to a private New England collection. N.B. We wish to thank the Centro José Guerrero for their assistance with cataloging the lot; the work will be included in their forthcoming digital catalogue raisonné. $2,500-3,500

547. José Guerrero (Spanish/American, 1914-1992) Untitled, 1960 Signed and dated “Jose Guerrero 1960” l.l. Ink on paper, 26 1/4 x 40 in. (66.7 x 101.6 cm), framed. Condition: Subtle toning, minor paper loss, not examined out of frame. Provenance: Purchased from the artist, by family descent to a private New England collection. N.B. We wish to thank the Centro José Guerrero for their assistance in cataloging the lot; the work will be included in their forthcoming digital catalogue raisonné. $3,000-5,000

546

547

548

548. José Guerrero (Spanish/American, 1914-1992) Untitled Signed “Jose Guerrero” l.l., dedicated “...ON HIS DAY OF BIRTH NOVEMBER 18, 1961/FROM HIS MOTHER AND FATHER.” on the reverse. Oil and mixed media on canvas, 40 x 44 in. (101.6 x 111.7 cm), framed. Condition: Craquelure, lifting, alligatoring, canvas deformations, surface grime. Provenance: Purchased from the artist, by family descent to a private New England collection. N.B. Spanish-born José Guerrero first arrived in New York in 1950 with his American wife, Roxane Whittier Pollock. The couple settled in Greenwich Village (with Guerrero setting up a studio in the adjacent SoHo District), but also passed summers at a rental house on Martha’s Vineyard. Guerrero remained in New York for the next eight years, where on the introduction of his dealer Karl Bucholz, he was introduced to Betty Parsons. Through Parsons’ circle, Guerrero met fellow abstract expressionist artists Franz Kline, Mark Rothko, and Robert Motherwell.1 Guerrero’s work of the 1950s through mid-1960s is characterized by his use of industrial materials, including silicate, to call attention to the materiality of the two-dimensional surface. We wish to thank the Centro José Guerrero for their assistance with cataloging the lot; the work will be included in their forthcoming digital catalogue raisonné. 1. http://www.centroguerrero.org/index.php/1947/122/0/?&L=undefined

$10,000-15,000

549. Leonardo M. Nierman (American, b. 1932) Column of Light Signed “Nierman” l.r. Oil on Masonite, 31 1/2 x 23 1/2 in. (80.0 x 59.7 cm), framed. Condition: Minor surface abrasions. Provenance: Purchased from Bryant Galleries, New Orleans. $800-1,200

549

550. Paul Henry Brach (American, 1924-2007) Untitled #13, 1959 Signed and dated “Brach ‘59” l.r., identified on a label from Leo Castelli Gallery, New York, affixed to the backing. Oil on paper mounted to board, 28 5/8 x 23 3/8 in. (72.7 x 59.4 cm), framed. Condition: Minor surface grime, surface abrasions. $700-900

550

551

551. Jon Kuhn (American, b. 1949) Jack Flash, 1991 Incised signature, date, and title â&#x20AC;&#x153;Jon Kuhn 1991...â&#x20AC;? on the underside. Cut and bonded glass, 12 3/4 x 4 7/8 x 4 1/2 in. (32.4 x 12.4 x 11.4 cm). Condition: Good. Provenance: Purchased from Heller Gallery, New York, 1991. $3,000-5,000

552

552. Kahlil George Gibran (American, 1922-2008)

553. Paul Nash (British, 1889-1946)

Lot of Two Works: Untitled [Sculpture] and Study for Untitled Sculpture stamped “K.GIBRAN” l.r., Study signed “Kahlil Gibran” in pencil u.r., dedicated and inscribed “SIDNEY/HAPPY BIRTHDAY-...” l.l. Sculpture carved mahogany wood and metal, mounted to a wood plinth, 72 x 9 x 9 in. (182.9 x 22.9 x 22.9 cm), Study graphite and conté crayon on paper, sheet size 20 1/8 x 23 7/8 in. (51.1 x 60.6 cm), unframed. Condition: Sculpture good; Study with handling creases.

Landscape Signed “Paul Nash” l.r., identified on labels including one from the Corcoran Gallery of Art, Washington, D.C., affixed to the backing. Watercolor and pencil on paper, sight size 10 1/2 x 19 in. (26.7 x 48.3 cm), framed. Condition: Not examined out of frame.

Provenance: Commissioned of the artist, February 1961; from the estate of Mary Lee Ingbar, Cambridge, Massachusetts. N.B. An autographed first edition copy of Sculpture Kahlil Gibran (The Bartlett Press: Boston, 1970), accompanies the lot. $3,000-5,000

553

Exhibitions: Summer’s Lease [Loan by Washington Area Collectors], Corcoran Gallery of Art, June 13 to August 31, 1972. $4,000-6,000

554. Peter Blume (American, 1906-1992) Tree in Snow Signed “P. BLUME” u.r. Ink, charcoal, and pastel on paper, sheet size 20 x 17 1/4 in. (50.8 x 43.8 cm), framed. Condition: Not examined out of frame. Provenance: Purchased from Durlacher Bros., New York, November 1964; from the estate of Mary Lee Ingbar, Cambridge, Massachusetts. Exhibitions: Peter Blume: Paintings and Drawings, Durlacher Brothers, October 27 to November 21, 1964. $3,000-5,000

555. Gerhard Marcks (German, 1889-1981) Büffelkuh, 1953 Ciphered and stamped “...RICH. BARTH BLN. MARIENDORF” on the underside. Bronze with dark brown patina, 14 3/16 x 20 7/8 x 6 in. (36.0 x 53.0 x 15.2 cm). Condition: Minor abrasions. 554

Literature: Rudloff, Martina, Gerhard Marcks, 1889-1981: Retrospektive, Munchen: Hirmer, 1989, p. 307 (illus.); Blaum, Rudolf, et al., Gerhard Marcks Und Die Antike, Heidelberg: Edition Braus, 1993 (illus.); Marcks, Gerhard and Martina Rudloff, Gerhard Marcks: Das Plastische Werk, Frankfurt: Propylaen Verlag, 1977 (illus. pl. 52), no. 609. N.B. Animals were an early subject for Marcks, and one he revisited after World War II. In an essay on his work between the years of 1951 to 1961, Marcks recalls Myron’s Cow, which was praised by both Pliny and Goethe as expressing qualities above mere naturalistic representation—balance and harmony—in discussing his own complicated feelings about animals as his muse. “Animals were my first friends and models,” he writes, noting that when life was difficult “I again escaped to the [Berlin] Zoo, fancying that I could find peace only with animals—creatures who wanted nothing of me, and of whom I wanted nothing but permission to admire them.”1 It was his growing empathy with animals, however, that lead him eventually to disregard the zoo as “imprisonment.” “I saw them now exactly in correspondence to ourselves, often cruelly deformed by slavery...but always undisguised, in their unambiguous expressive power.”2 1. Marcks, Gerhard, “Gerhard Marks on his Life and Work,” The Massachusetts Review, Vol. 2, No. 3 (Spring 1961), p. 519. 2. Ibid.

$6,000-8,000

555

556

556. Jan Matulka (Czechoslovakian/American, 1890-1972)

557. Suzanne Roger (French, 1899-1986)

Still Life with Conch Shell and Portrait Bust of Voltaire Signed “Matulka” in ink l.l., with a label from Mrs. E. Ives Bartholet, Art Consultant, on the reverse. Oil on canvas, 20 x 23 1/2 in. (50.8 x 59.7 cm), framed. Condition: Craquelure, lined, surface grime. $3,000-4,000

La salle à manger, 1950 Signed “Suzanne Roger” l.l., identified on a label from Saidenberg Gallery, New York, on the backing, titled on the stretcher in pencil, stamped “Galerie Louise Leiris” on a label from Galerie Simon, Paris, affixed to the stretcher. Oil on canvas, 8 3/4 x 10 3/4 in. (22.2 x 27.3 cm), framed within a liner. Condition: Subtle canvas deformations. $700-900

557

558

558. Graham Vivian Sutherland (British, 1903-1980) Tree Roots: Dwarf Oak, 1949 Signed and dated “Sutherland 1949” in pen l.r., identified on a label from The Redfern Gallery, Ltd., London, on the backing. Mixed media on paper mounted to matboard, sheet size 4 3/8 x 7 3/8 in. (11.1 x 18.7 cm), framed. Condition: Trimmed sheet, mat burn, subtle toning. N.B. The present work is an example of Sutherland’s lifelong fascination with organic forms and fragments found in nature, particularly roots and branches. For Sutherland, these subjects are not simply cold specimen studies, though depicted close-up. In the present work, energetic lines create stark contrasts between surfaces and recesses, giving the object a sense of twisting in space. Sutherland spoke of dwarf oaks as having “the most extraordinary beautiful, varied and rich shapes which detach them from their proper connotation as trees. One does not think of them so much as trees, more as figures; they have the same urgency that certain movements of figures can have in action.”1 Sutherland frequently used his sketchbook studies to develop finished compositions in the studio, and the present work, as evidenced by a spiral bound margin, was presumably one. 1. Alley, Ronald, Graham Sutherland, exh. cat., Tate Gallery, London, 1982.

$6,000-8,000

559. Edgar Iené (German/Austrian, 1904-1984) Les Deux Chevaux, 1956 Signed and dated “Iené 56” l.r., also identified on a label affixed to the backing. Oil on canvas, 32 x 25 1/2 in. (81.3 x 64.8 cm), framed. Condition: Craquelure. Provenance: From the estate of Mary Lee Ingbar, Cambridge, Massachusetts. Literature: Iené: Oeuvres Recentes, March 12 to 30, 1957, Galerie Furstenberg, Paris, no. 18 (illus.) N.B. A copy of the exhibition pamphlet accompanies the lot. $800-1,200

559

560. Marcel Gromaire (French, 1892-1971) Femme Nue Signed and dated “Gromaire/1957” l.r., with a label from Kravetz Gallery, Rochester, New York, on the backing. Ink on paper, sheet size 12 3/4 x 9 7/8 in. (32.4 x 25.1 cm), framed. Condition: Masking taped to backing mat, losses to sheet along bottom margin. N.B. We wish to thank Madame Françoise Chibret-Plaussu for her assistance with cataloging the lot, and a photo-certificate from Madame Chibret-Plaussu accompanies the lot. $1,000-1,500

560

561

561. Keith Vaughan (British, 1912-1974) Pupitre, 1945 Signed “Keith Vaughan” in ink l.r., inscribed, titled, and dated “...1945” on the backing. Ink and crayon on paper, sheet size 6 1/2 x 8 in. (16.5 x 20.3 cm), framed. Condition: Paper pitting/losses, rippling. $3,000-5,000

562

562. Tony Agostini (Italian, 1916-1990) Le chevalet rouge Incised signature “Tony Agostini” l.r., titled and signed “...Tony Agostini” on the reverse. Oil on canvas, 18 x 15 in. (45.7 x 38.1 cm), framed. Condition: Good. $500-700

563

563. Marcel Mouly (French, 1918-2008) La vie calme avec la chaise, 1996 Signed and dated “M. Mouly 96” l.r., also signed, titled, inscribed, and dated “M. Mouly...Gentilly 1996” on the reverse. Oil on canvas, 23 1/2 x 29 in. (59.7 x 73.7 cm), framed. Condition: Good. $7,000-9,000

564. Birney Lettick (American, 1919-1986) Nutcracker Illustration Signed “Lettick” twice l.r., inscribed and stamped “PLEASE RETURN PAINTING TO: BIRNEY LETTICK, 121 E. 35th ST. NY.C.” on the reverse, annotations in the margins. Oil on paper mounted onto Bainbridge board, 15 x 10 3/4 in. (38.1 x 27.3 cm), unframed. Condition: Support slightly warped, retouch and pigment fluorescence, residue and surface grime to the margins, mild wear to corners. $1,000-1,500

564

565. Scott Prior (American, b. 1949) Objects on a Roadside, 1980 Unsigned, identified on a label from Alpha Gallery, Boston, affixed to the backing. Oil on Masonite, 6 1/2 x 4 in. (16.5 x 10.2 cm), in a shadow box frame. Condition: Not examined out of frame. $1,000-1,500

565

566

566. John Stephens (American, b. 1945) Fear & Fascination of Capsizing #265, 1978 Signed, inscribed, and dated “STEPHENS/265 1978” l.r., identified on an artist label affixed to the reverse. Acrylic on Masonite, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Good. $10,000-15,000

567

567. Elena Borstein (American, b. 1946) Lavender Gate II Signed, dated, and titled â&#x20AC;&#x153;Elena Borstein 1992...â&#x20AC;? on the reverse. Oil on canvas, 42 x 54 in. (106.7 x 137.2 cm), framed. Condition: Good. Provenance: Purchased from Nahan Galleries, New York, 1992. $2,000-3,000

568

568. Elena Borstein (American, b. 1946) Monolithos IV, 1991 Signed, titled, and dated â&#x20AC;&#x153;Elena Borstein...1991â&#x20AC;? in pen on the reverse. Oil pastel on paper, 40 x 60 in. (101.6 x 152.4 cm), framed. Condition: Not examined out of frame. Provenance: Purchased from Nahan Galleries, New York, 1992. $2,000-3,000

569

569. Wolf Kahn (American, b. 1927) Barn in Summer, 1971-72 Signed “W. Kahn” l.r., signed, dated, and titled “Wolf Kahn 1972...” and identified on a label from Parker Street 470, Boston, on the stretcher. Oil on canvas, 50 x 50 in. (127.0 x 12.7.0 cm), framed. Condition: Wax consolidation verso, subtle lifting, craquelure. $8,000-12,000

570

570. Wolf Kahn (American, b. 1927)

571. Wolf Kahn (American, b. 1927)

San Marco from the Lagoon, 1958 Signed “WKahn” l.r., identified in an exhibition catalogue (see below) affixed to the reverse. Pastel on paper/board, sight size 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Mat burn, toning, not examined out of frame.

Winter, 1975 Signed and dated “W Kahn 75” l.r., identified in exhibition catalogue (see below) affixed to the reverse, sales agreement dated December 18, 1977, affixed to the reverse, identified on a label from Harcus Krakow Gallery, Boston, affixed to the reverse. Pastel on paper/board, sight size 8 1/2 x 11 1/4 in. (21.6 x 28.6 cm), framed. Condition: Toning, not examined out of frame.

Exhibitions: For Collectors: A Sales Exhibition of Works of Art, Worcester Art Museum, March 6-April 5, 1959, no. 2. $2,000-3,000

571

Exhibitions: For Collectors, Worcester Art Museum, December 10, 1977-January 8, 1978, no. 145. $1,500-2,500

572

572. American School, 20th Century

573. Henry Schwartz (American, 1927-2009)

Hostages Unsigned. Acrylic and screenprint on shaped canvas, 45 1/2 x 52 3/4 in. (115.6 x 134.0 cm), framed. Condition: Good. $400-600

The Confidential Clerk, 1981 Signed and dated “Henry Schwartz 1981” l.r., identified and signed “...Henry Schwartz...” on labels affixed to the reverse. Oil on Masonite, 11 3/4 x 31 1/2 in. (29.8 x 80.0 cm), framed. Condition: Minor surface grime. Provenance: Estate of Joan E. Goody, Boston, Massachusetts. $300-500

573

574

574. Henry Schwartz (American, 1927-2009)

575. Joseph Piccillo (American, b. 1941)

Hey, I’m Great Too, 1980 Signed and dated “Henry Schwartz 1980” l.l., also titled, dated, and signed “...1980 Henry Schwartz” in pen and identified on a label from Gallery NAGA, Boston, on the reverse. Oil on Masonite, 12 7/8 x 18 7/8 in. (32.7 x 47.9 cm), framed. Condition: Minor surface grime.

R-Fragments-III, 1975 Titled, signed, and dated “...joseph piccillo 1975” in pencil c.r., inscribed and titled in ink and with stamps from the Griffiths Art Center, St. Lawrence University, Canton, New York, on the stretcher, identified on labels on the reverse. Oil and graphite on canvas, 59 7/8 x 72 1/4 in. (152.1 x 183.5 cm), framed. Condition: Minor surface grime. $1,500-2,000

Provenance: Estate of Joan E. Goody, Boston, Massachusetts. $300-500

575

576

576. Katherine Page Porter (American, b. 1941)

577. Aaron Fink (American, b. 1955)

Lot of Three Works: Untitled [#101], Untitled [#131], and Untitled [#132] #101 signed and inscribed “Katherine Porter/Sept 2 thday” in pencil l.r. and dated “1970” in pencil l.l., inscribed “531” in pencil on the reverse and “Parker Street 470...” on a label affixed to the backing, #131 signed “KPorter” in pen l.r., inscribed “#1/#131/#1017” in pencil on the reverse, #132 unsigned, inscribed “#2/#132/#1018” in pencil on the reverse. Watercolor on paper, sheet sizes to 11 x 16 1/2 in. (27.9 x 41.9 cm), framed. Condition: #132 tape hinged to backing mat, subtle rippling, subtle toning. $400-600

The Beach Chair Signed and dated “Aaron Fink ‘81” l.r. Acrylic on paper mounted to paper/board, 41 3/4 x 52 3/4 in. (106.0 x 134.0 cm), unframed. Condition: Minor tears/losses to edges, mounting bubbles. $800-1,000

577

578

578. Sven Dalsgaard (Danish, 1914-1999) Lot of Twelve Works: Untitled [Figures and Landscapes], 1963 Each monogrammed “S·D” or “S·D·N” l.r., l.c., or l.l., dated “26-27-763,” “28-7-63,” “30-7-63,” “31-7-63,” “...1-8,” and “1-8-63” l.r., l.c., l.l., or u.l., inscribed “NAT,” “III,” “IV,” “I,” and “DEN NAIVE” l.r., l.c., l.l., or u.l. Ink and watercolor on paper, sight sizes to 10 1/2 x 8 1/2 in. (26.7 x 21.6 cm), framed. Condition: Not examined out of frames. Exhibitions: Sven Dalsgaard: Retrospektiv udstilling, Randers Kunstmuseum, 1975, no. 457. $4,000-6,000

579

579. Hung Liu (Chinese/American, b. 1948) Silk Road, 1989/A Triptych Unsigned, identified on labels affixed to the backing. Oil and graphite on canvas with silkscreen on silk collage, left and center panel 80 x 52 in. (203.2 x 132.1 cm), right panel 80 x 24 in. (203.2 x 61.0 cm), unframed. Condition: Subtle canvas deformations. Provenance: Through Nahan Contemporary Gallery, New York. N.B. Hung Liu grew up under the Maoist “Cultural Revolution,” where she was trained to paint murals in the Socialist Realist tradition. After having completed fine art degrees in Beijing, she immigrated to the United States to obtain her MFA at the University of California, San Diego. Hung Liu’s works, which take on the large scale of both mural and history paintings, are personal in content but necessarily informed by politics. Her works engage with the idea of repressed individual expression under the Communist regime, but also explore the power of images as icons. They frequently depict Chinese countrymen and women (based on historical photographic portraits) against an abstracted background which allows her to show relationships between the past and present synoptically. Hung Liu spent time in the Gobi Desert along the Silk Road while studying the devotional and monumental Buddhist murals at Dunhuang, and was deeply influenced by the early art she saw and the local history.1 In the present work, the image of a woman holding a fan in a sedan chair is “twice-removed” in that she is a silkscreen from a photograph. In this way, the truth-value of the photograph is diluted, making the image function more as a memory than a presence. The silk that the silkscreen is printed on calls attention to the work’s own manufacture but also lends realism to the silk robe in the background, evoking the history of the silk trade and alluding to possible transgressions along it. 1. Lippard, Lucy R., Mixed Blessings: New Art in a Multicultural America (New York: Pantheon Books, 1990), p. 144.

$7,000-9,000

580

580. Hung Liu (Chinese/American, b. 1948) Wellspring, 1988/A Four-Part Installation Unsigned, identified on labels affixed to the backing, inscribed “Work made of recycled material (or Reclamation Project)/Bingham, Utah/Copper Mining Pit/Robert Smithson ‘73” l.l. of right panel. Oil on canvas and oil on wood cube, side panels 48 x 65 in. (121.9 x 165.1 cm), center panel 24 x 48 in. (91.0 x 121.9 cm), unframed; cube 22 1/8 x 22 1/8 x 22 1/8 in. (56.2 x 56.2 x 56.2 cm). Condition: Restored tear to u.l. quadrant of right panel with patch reinforcement, subtle canvas deformations, cube with abrasions. Provenance: Through Nahan Contemporary Gallery, New York. $8,000-12,000

END OF SALE

Glossary of Terms

All items in this catalogue are described according to the following table of terminology. Please note that all statements in this catalogue as to Authorship, Period, and Origin, are qualified statements subject to the Conditions of Sale.

Authorship will be described in the following ways: John Joseph Enneking. - In our judgment, the work is by the artist. Attributed to John Joseph Enneking. - In our judgment, the work may be ascribed to the artist on the basis of style, but leaves some question as to actual authorship. School of John Joseph Enneking. - In our judgment, a work of an unknown follower executed in the style of the artist and contemporary in period. Manner of John Joseph Enneking. - In our judgment, a work executed in the style of the artist by an unknown hand and probably from a later period. After John Joseph Enneking. - In our judgment, an intended copy of the work of the artist. American School, 19th Century. - In our judgment, the work of an unknown hand that can only be identified as to period and culture.

Other terms: Bears Signature. - In our judgment, the signature not of the artist. This term is generally used separately, or together with a description of the work as “attributed to,” “school of,” “manner of,” or “after” the artist.

Artist Index Abbey, Edwin Austin......................................................................322 Agam, Yaacov ..................................................................................1 Agostini, Tony ................................................................................562 Albers, Anni ......................................................................................2 Alberti, Cherubino (Attributed)........................................................202 Albright, Ivan Le Lorraine ..................................................................3 Alexander, William ................................................................218, 219 American School, 19th Century ....................................252, 270, 281 ....................................................................284, 287, 288, 293, 306 American School, 19th/20th Century ....................................286, 324 American School, 20th Century ....326, 351, 367, 369, 472, 509, 572 Andersen, Niels Yde ..........................................................................4 Anglo/American School, 18th/19th Century ..................................223 Aponovich, James ............................................................................5 Appel, Karel ..................................................................................6, 7 Archipenko, Alexander ................................................................9, 10 Arons, Philipp ................................................................................238 Arp, Hans (Jean)................................................................................8 Avril, Armand ................................................................................443 Bacci, Edmondo............................................................................537 Baker, Samuel Burtis ....................................................................422 Ball, Alice Worthington ..................................................................442 Bannister, Edward Mitchell ............................................................297 Bao, Lede ....................................................................................529 Barber, Samuel..............................................................................400 Baselitz, Georg................................................................................11 Baskin, Leonard ........................................................................12-20 Bechi, Luigi ..................................................................................235 Bellows, George Wesley................................................................433 Beneker, Gerrit Albertus ................................................................429 Benton, Thomas Hart ................................................................21-24 Berger, Richard ..............................................................................25 Bernath, Sandor ............................................................................419 Berresford, Virginia ........................................................................479 Berthelsen, Johann ................................................................450-452 Biehl, Arthur Oliver ........................................................................460 Bishop, Richard Evett......................................................................26 Blume, Peter ................................................................................554 Bonnar, James King ......................................................377, 409, 410 Bonnard, Pierre ..............................................................................27 Borstein, Elena ......................................................................567, 568 Brach, Paul Henry ........................................................................550 Bradford, William ..........................................................................247 Bradley, Anne Cary........................................................................391 Braque, Georges ............................................................................28 Brésil, Henri Robert ......................................................................490 British School, 19th Century..........................................................245 British School, 19th/20th Century..................................................240 Brown, Frank Clifton......................................................................303 Brown, Harrison Bird ............................................................254, 290 Browne, Matilda ............................................................................314 Bulman, Orville ......................................................................489, 491 Bungner, Otto................................................................................346 Burgers, Hendricus Jacobus ........................................................232 Burr, George Elbert..........................................................................29 Calder, Alexander ......................................................................30-35 Cappiello, Leonetto ........................................................................36 Carter, Clarence Holbrook ..............................................................37 Chagall, Marc ..................................................................................38 Chamberlain, Samuel V. ............................................................39-44 Champney, Edwin Graves ............................................................266 Cheffetz, Asa ..................................................................................45 Cikovsky, Nicolai S. ..............................................................394, 481 Cirino, Antonio ..............................................................................380

Clark, C. Myron ............................................................................268 Clime, Winfield Scott ....................................................................383 Coats, Claude Dixon ....................................................................504 Coccorante, Leonardo (School of) ................................................205 Cochran, Allen Dean ............................................................384, 385 Coignard, James........................................................................46-49 Compris, Maurice ..........................................................................512 Congdon, Anne Ramsdell (Attributed to) ......................................421 Continental School, 19th Century..........................211, 224, 237, 341 Continental School, 20th Century..................................................511 Cook, Otis Pierce ..................................................................413, 415 Cooper, Colin Campbell ................................................................439 Corneille (Guillaume van Beverloo) ..................................................50 Cornoyer, Paul ..............................................................................353 Cosimini, Roland Francis ..............................................................330 Cottingham, Robert ........................................................................52 Courbet, Gustave........................................................................254A Covarrubias, Miguel ........................................................................51 Cox, Charles M. ............................................................................411 Curran, Charles Courtney ..............................................................327 Curry, John Steuart ........................................................................53 Dake the Younger, Carel Lodewijk ................................................350 Dalsgaard, Sven ............................................................................578 Dalí, Salvador ............................................................................54-56 Davenport, Henry ..........................................................................469 Davis, Stuart....................................................................................57 De Chirico, Giorgio ........................................................................521 De Haas, William Frederick............................................................253 de Hondecoeter, Melchior (Mann.) ................................................213 De Martelly, John Stockton............................................................108 De Nagy, Ernest ............................................................................233 de Neuville, Alfred A. Brunel ..........................................................236 Degas, Edgar ..................................................................................58 Dehn, Adolf Arthur ........................................................................497 Dessar, Louis Paul ........................................................................434 Destrée, Johannes Josephus ........................................................229 Dine, Jim ..................................................................................59, 60 Dosamantes, Francisco ..................................................................61 Dow, Arthur Wesley ........................................................................62 Dufner, Edward..............................................................................328 Dufy, Jean ..............................................................................524-526 Dufy, Raoul ......................................................................................63 Dunlay, Thomas Russell ........................................................368, 402 Dunning, Robert Spear..................................................................305 Dupré, Jules (Manner of) ..............................................................242 Dürer, Albrecht ................................................................................64 Dutch School, 17th Century ..........................................................208 Dutch School, 19th Century ..................................................209, 220 Dutch/Flemish School, 17th Century Style ....................................212 Eastern European School, 20th Century........................................337 Eaton, Charles Warren ..................................................................296 Edgerton, Harold Eugene ......................................................179-181 Ehrig, William Columbus................................................................404 Elwell, D. Jerome ..........................................................................342 Enneking, John Joseph ........................................................301, 355 Enneking, Joseph Eliot..........................................356, 412, 414, 418 Ernst, Max ................................................................................65-67 Fabry, Jaro ....................................................................................495 Fairman, James ............................................................................265 Fehrer, Oscar (Attributed to) ..........................................................370 Feininger, Lyonel............................................................................534 Fellman, Sandi ......................................................................182, 183 Fiene, Ernest ................................................................................482

Filipowski, Richard E. ................................68, 69, 536, 538-540, 542 Fink, Aaron ....................................................................................577 Fischer, Anton Otto ..............................................................333, 403 Fisher, Alvan ..................................................................................258 Flemish School, 16th Century ..............................................200, 203 Fort, Jean-Antoine-Simeon............................................................228 Frasconi, Antonio ......................................................................70, 71 Fritz, Henry Eugene ......................................................................425 Frost, Francis Seth (Shedd) (Attributed to) ....................................291 Frost, George Albert ......................................................................294 Genth, Lillian Mathilde ..................................................................343 Gibran, Kahlil George ....................................................................552 Gile, Selden Connor (Manner of)....................................................393 Gisson, Andre (Gittelson) ..............................................................427 Glidden, Robert F. ........................................................................428 Gloeckner, Michiel Theobald............................................72, 531, 533 Golden, Rolland Harve ..................................................................463 Goodwin, Arthur Clifton ................................388, 446, 448, 449, 453 Goodwin, Richard La Barre ..........................................................304 Gorman, R.C. ................................................................................519 de Goya, Jose Francisco ................................................................73 Grandin, Elizabeth ........................................................................338 Grant, James Jeffrey ....................................................................417 Greene, Walter L. ..........................................................................436 Greenwood, Joseph H. ........................................................285, 299 Griggs, Samuel W. ........................................................................267 Grinnell, George Victor ..................................................................359 Gromaire, Marcel ..........................................................................560 Grosz, George Ehrenfried..............................................73A, 522, 523 Gruppe, Emile Albert ....................................................................376 Guardi, Francesco L. (School of) ..........................................206, 207 Guerrero, José ......................................................................546-548 Hale, Lilian Westcott (Attributed to)................................................318 Halsall, William Formby..................................................................251 Hamilton, Hamilton ........................................................................390 Hardy, Thomas Bush ....................................................................246 Hare, Channing Weir ....................................................................513 Harvey, Paul ..................................................................................423 Hassam, Childe ............................................................................315 Hasselhorst, Heinrich ....................................................................227 Hathaway, George M.....................................................................263 Hays, George Arthur ............................................................249, 269 Hazard, Arthur Merton ..................................................................352 Heilmayer, Karl ..............................................................................340 Hekking, Joseph Antonio ..............................................................261 Helfond, Riva ..................................................................................74 Hesse, Hermann ..........................................................................438 Higgins, George Frank ..................................................................273 Hinckley, Thomas Hewes ..............................................259, 271, 311 Hockney, David ........................................................................75, 76 Hubbard, Richard William (Attributed to)........................................274 Hunt, Esther Anna ........................................................................317 Hunter, Robert Douglas ........................................................256, 508 Iacovleff, Alexandre Evgenievich ....................................................515 Iené, Edgar....................................................................................559 Ikeda, Masuo ..................................................................................77 Iliazd................................................................................................78 Indian School, 20th Century ..........................................................486 Indiana, Robert................................................................................57 Inman, John O’Brien ....................................................................313 Insley, Albert Babb ........................................................................241 Italian School, 16th Century Style..................................................204 Italian School, 18th Century ..........................................................201 Jarrett, Charles Dixie ....................................................................498 Jensen, Bill ......................................................................................79 Johns, Jasper ..........................................................................80, 81 Johnston, John Bernard................................................................308

Johnston, John S...................................................................184-186 Jongers, Alphonse ........................................................................310 Jules, Mervin ..................................................................................82 Kahn, Wolf ............................................................................569-571 Kalnins, Eduards ..........................................................................432 Kandinsky, Wassily ........................................................................82A Kasimir, Luigi ............................................................................83, 84 Kasimir-Hoernes, Tanna ..................................................................85 Kawano, Kaoru ..............................................................................86 Kelly, Ellsworth ..........................................................................57, 87 Kennedy, Cecil ..............................................................................506 Kent, Rockwell ..............................................................................483 Kirmse, Marguerite ..........................................................................88 Kokoschka, Oskar ..........................................................................89 Kronberg, Louis ............................................339, 468, 470, 471, 473 Kuehne, Max ............................................................90-93, 344, 416 Kuhn, Jon......................................................................................551 Kulicke, Robert Moore ..................................................................474 Kuniyoshi, Yasuo ............................................................................94 Kupferman, Lawrence Edward ......................................................516 La Farge, John..............................................................298, 347, 348 La Thangue, Henry Herbert ..........................................................226 Laboureur, Jean-Emile ....................................................................95 Lachaise, Gaston ..........................................................................332 Larsson, Carl Olof ........................................................................95A Lathrop, Dorothy Pulis ..................................................................484 Laurencin, Marie ....................................................................96, 96A Laval, Fernand ......................................................................444, 447 Le Corbusier....................................................................................97 Lee, Doris Emrick ..........................................................................480 Leger, Fernand ................................................................................98 Leighton, Clare Veronica Hope ........................................................99 Lettick, Birney ..............................................................................564 Levine, Jack ..........................................................................101, 102 Lewis, Edmund Darch ..................................................................248 Lex, Franz ....................................................................................475 Leyden, Lucas van ........................................................................100 Liberman, Alexander......................................................................103 Lichtenstein, Roy ....................................................................57, 104 Lievens, Jan ..................................................................................105 Link, O. Winston....................................................................187, 188 Little, Philip ....................................................................................396 Liu, Hung ..............................................................................579, 580 Locke, Walter Ronald ....................................................................106 Loemans, Alexander Francois ......................................................282 Lovell, Tom ....................................................................................499 Lowell, Milton H.............................................................................264 Lucioni, Luigi ................................................................................440 Maclaren, Walter............................................................................345 Maeght, Galerie (editor) ................................................................107 Maillol, Aristide ..............................................................................494 Malcom, Thalia Wescott ................................................................477 Manship, John Paul ......................................................................457 Manship, Paul Howard ..........................................................332, 316 Marcks, Gerhard ..........................................................................555 Mathieu, Joe ................................................................................502 Matisse, Henri ..............................................................................109 Matulka, Jan..................................................................................556 Mays, Paul Kirtland ..............................................................464, 467 Mazur, Michael ......................................................................110-112 McCormick, Arthur David ..............................................................225 Mechau, Frank Albert, Jr. ..............................................................487 Meltsner, Paul Raphael ..........................................................113-116 Miró, Joan ..............................................................67, 117-121, 123 Moore, Henry ................................................................................124 Moreno, Michel..............................................................................532 Morrell, Wayne Beam ............357, 360-363, 382, 398, 405, 424, 426 Morris, George Ford ......................................................................125

Morse, Jonathan Bradley ..............................................................292 Motherwell, Robert ..........................................................................57 Mouly, Marcel ................................................................................563 Munut, I. W. J. ..............................................................................488 Nakian, Reuben ............................................................................126 Nash, Paul ....................................................................................553 Nesbitt, Jackson Lee ....................................................................127 Neumann, Ernst ............................................................................128 Newton, Helen Florence ................................................................420 Nicholls, Burr H. ............................................................................312 Nierman, Leonardo M. ..................................................................549 Nisbet, Robert Hogg ....................................................................374 Norris, Thomas Bowler..................................................................300 Olitski, Jules ..................................................................................129 Oliver, Frederick W.........................................................................478 Ongley, William ..............................................................................289 Ortman, George Earl ......................................................................57 Owen, Carol ..................................................................................389 Owen, Robert Emmett ..................................................358, 378, 392

Schwartz, Henry....................................................................573, 574 Schulz, Robert E. ..........................................................................371 Scott, John White Allen..........................................................275-277 Shinoda, Toko ..............................................................................154 Singer, Hal ....................................................................................518 Sisson, Laurence Philip ........................................................465, 466 Sloan, John French ..............................................................155, 492 Sonntag, William Louis ..................................................................280 Soudeikine, Sergei Yurievich..........................................................496 Soyer, Raphael ......................................................................156, 493 Spanish Colonial School, 19th Century ................................215, 216 Spanish Colonial School, 19th/20th Century ................................217 Spruance, Benton Murdoch ........................................................156A Stamos, Theodoros ......................................................................527 Stanwood, Franklin........................................................................278 Stark, Melville F. ............................................................................441 Steele, Gordon......................................................456, 459, 461, 462 Stella, Frank ....................................................................................57 Stephens, John ............................................................................566 Sternberg, Harry............................................................................157 Stevens, William Lester ........................................................379, 381 Stevovich, Andrew ................................................................158-162 Sully, Thomas ................................................................................307 Sutherland, Graham Vivian ............................................................558 Svendsen, Svend ..................................................................372, 375

Parker, Henry Hillier ......................................................................230 Parrish, Jr., Maxfield ......................................................................485 Parsons, Sheldon ..........................................................................373 Partridge, Roi ................................................................................130 Perrault, Leon Jean Basile ............................................................234 Peterdi, Gabor F. ..................................................................131, 530 Peters, Carl William ......................................................................395 Picasso, Pablo ......................................................................132-138 Piccillo, Joseph ............................................................................575 Pissarro, Hughes Claude ..............................................................445 Pond, Dana Ripley ........................................................................399 Poons, Larry (Lawrence)..................................................................57 Porter, Katherine Page ..................................................................576 Prendergast, Charles E. ........................................................329, 331 Prentice, Levi Wells ......................................................................279 Prior, Scott ............................................................................139, 565

Tait, Arthur Fitzwilliam ....................................................................283 Tam, Reuben ................................................................................528 Tamayo, Rufino..............................................................................163 Tanguy, Yves ..................................................................67, 164, 535 Teyral, Hazel Janicki ......................................................................510 Thieme, Anthony ..........................................................................430 Thompson, Albert..........................................................................272 Tidemann, Philippe (Attributed to)..................................................222 Tompkins, Frank Henry (Hector) L ................................................455 Travis, Paul Bough ........................................................................514 Troyon, Constant ..........................................................................231 Tschernjawski, Alex ......................................................................458

Quartley, Arthur ............................................................................260

Urban, Albert ........................................................................165, 166

Radensky, Emmanuel ............................................................142, 143 Rain, Charles Whedon ..................................................................507 Ranger, Henry Ward ......................................................262, 302, 387 Rasmussen, Georg Anton ............................................................243 Rauschenberg, Robert ..........................................................140, 141 Ray, Man ..............................................................................142, 143 Reinhardt, Ad ..................................................................................57 Reni-Mel, LĂŠon ..............................................................................435 Renoir, Pierre-Auguste ............................................................58, 145 Rice, Henry Webster ....................................................407, 408, 431 Richards, William Trost ..........................................................250, 257 Riggs, Robert ................................................................................146 Ripamonti, Carlos Pablo................................................................401 Ripley, Aiden Lassell ..............................................................364-366 Rivera, Diego ................................................................................520 Rivers, Larry ..........................................................................147, 148 Rockwell, Norman ........................................................................500 Roger, Suzanne ............................................................................557 Rose, Howard ..............................................................................517 Rouault, Georges ..................................................................149, 150 Rowlandson, Thomas (Attributed to) ............................................221 van Ruisdael, Jacob (Follower of) ..................................................210 Ruscha, Ed ............................................................................151-153

van Rijn, Rembrandt......................................................................144 Van Wyk, Helen ............................................................................476 Vasarely, Victor ......................................................................167, 168 Vaughan, Keith ..............................................................................561 Vermuelen, Andries (Attributed to) ................................................244 Vicente, Esteban ..........................................................................169 Villon, Jacques ..............................................................................170 de Vlaminck, Maurice ............................................................171, 172

Sargent, John Singer ....................................................................323 Sarka, Charles Nicolas ..................................................................349 Savry, Hendrick ............................................................................239 Sawyer, Helen Alton ......................................................................397 Scharl, Josef ................................................................................541 Schreiber, Georges........................................................................125

Walbourn, Ernest ..........................................................................295 Waldo, John Franklin ....................................................................386 Wall, Alfred Bryan ..........................................................................437 Walt Disney Studios ......................................................501, 503, 505 Warhol, Andy ........................................................................57, 172A Waterman, Marcus A.............................................................309, 354 Whistler, James Abbott McNeill ....................................................173 Whitman, Sarah De St. Prix Wyman ..............................................319 Whorf, John ..................................................................................406 Widgery, Frederick John ................................................................255 Wiles, Irving Ramsey ....................................................320, 335, 336 Williams, Frederick Ballard ............................................................325 Wimpenny, George H. ..................................................................454 Woolf, Samuel Johnson ................................................................174 Yaffee, Edith Widing ......................................................................321 Yeats, John Butler ........................................................................334 Zadkine, Ossip ..............................................................................175 Zdanevich, Ilia ................................................................................78 Zorn, Anders ..........................................................................176-178

Skinner, Inc. - Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot. 2. All property is sold â&#x20AC;&#x153;as is,â&#x20AC;? and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. 3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. 4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and the purchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days of the date of sale. Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than three (3) days from the date of sale. If any property has not been removed within three (3) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc., may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the three days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser. 5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases. 6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaserâ&#x20AC;&#x2122;s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. All purchases are subject to the Massachusetts 6.25% sales tax unless the purchaser possesses a Massachusetts sales tax exemption number. Exemption numbers from other states are accepted in Massachusetts if presented with a business card or letterhead. Dealers, museums, and other qualifying parties can apply for a Massachusetts exemption number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation at 100 Cambridge Street in Boston. 10. Except for property purchased via on-line Live Auctions, a premium equal to 18.5% of the final bid price up to and including $200,000, plus 10% of the final bid over $200,000, will be applied to each lot sold, to be paid by the Buyer as part of the purchase price. The buyers premium on property purchased via on-line Live Auctions will be in the amount equal to 22.5% of the final bid price up to and including $200,000, plus 15% of the final bid over $200,000. 11. Bidding on any item indicates your acceptance of these terms and all other terms announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid. 12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalogue. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalogue, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent. 13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the nonexclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit. Revised September 29, 2009

314

Absentee Bid Form Sale Title

Sale Date

First Time Bidder?

YES

Customer #

Name (Please Print)

Business Name

Address

check if change in address

City

State

Phone #

Zip Code

Alternate #

e-mail

I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids as a convenience, and will not be held responsible for any errors or failure to execute bids. I understand that my bids are executed and accepted as per Conditions of Sale as printed in the catalogue of this sale. Signature (Required)

Date

Lot #

Description

Bid Price

FOR OFFICE USE Marlborough

Boston

Phone

Fax

Mail

Person

Employee:

SKINNER Auctioneers and Appraisers of Antiques and Fine Art

6 3 P a r k P l a z a , B o s t o n , M A 0 2 1 1 6 Te l : 6 1 7 . 3 5 0 . 5 4 0 0 F a x : 6 1 7 . 3 5 0 . 5 4 2 9 2 7 4 C e d a r H i l l S t r e e t , M a r l b o r o u g h , M A 0 1 7 5 2 Te l : 5 0 8 . 9 7 0 . 3 0 0 0 F a x : 5 0 8 . 9 7 0 . 3 1 0 0 w w w. s k i n n e r i n c . c o m

Board of Directors

Chairman of the Board - Nancy R. Skinner Richard Albright Barnet Fain Stephen L. Fletcher Karen M. Keane

Administration

President/Chief Executive Officer - Karen M. Keane Chief Financial Officer - Don Kelly Executive Vice President - Stephen L. Fletcher Vice Presidents- Gloria Lieberman, Carol McCaffrey, Kerry Shrives, Stuart G. Slavid, Stuart P. Whitehurst

Expert Departments

American & European Paintings & Prints - Robin S.R. Starr Assistants: Kathy Wong, Elizabeth C. Haff American Furniture & Decorative Arts - Stephen L. Fletcher, Martha Hamilton Assistants: LaGina Austin, Karen Langberg, Chris Barber, Susan Zacharias American Indian & Ethnographic Art - Douglas Deihl Asian Works of Art - James F. Callahan Assistant: Tianyue Jiang Books & Manuscripts - Stuart P. Whitehurst Assistant: Sara C. Wishart Bottles, Flasks & Early Glass - Stephen L. Fletcher Ceramics - Stuart G. Slavid Classic Automobiles & Motorcycles - Jane D. Prentiss Couture - Kerry Shrives Discovery Sales - Kerry Shrives Assistants: Garrett J. Sheahan, Harry B. McNabb, Melissa Riebe European Furniture & Decorative Arts - Stuart G. Slavid Assistants: Stuart P. Whitehurst, Sara C. Wishart Fine Wines - Marie Keep Jewelry - Gloria Lieberman Assistants: Sheila Barron Smithie, F.G.A., G.G.; John Colasacco Judaica - Kerry Shrives Modernism: 1896â&#x20AC;&#x201C;Present: Art Glass, Pottery, Metalwork & Furniture Jane D. Prentiss Museum & Collections Services - Martha Hamilton Musical Instruments - David Bonsey Oriental Rugs & Carpets - Gary Richards Science, Technology & Clocks - Robert C. Cheney Assistant: Chris Barber Silver - Stuart G. Slavid Assistant: Sara C. Wishart Toys & Dolls - Kerry Shrives Auctioneers - LaGina Austin, David Bonsey, Robert C. Cheney, Stephen L. Fletcher, Karen M. Keane, Marie C. Keep, Gloria Lieberman, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney, Stuart P. Whitehurst

SKINNER, INC. Auctioneers and Appraisers of Antiques and Fine Art 63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429 274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100 www.skinnerinc.com

Exhibitions & Property Distribution

Marlborough:

Warehouse Manager - Jonathan Dowling, 508.970.3280 Property Manager - Samuel Combs, 508.970.3262

Boston:

Elisabeth Benson-Allott, 617.874.4312; Kerryn Murphy, 617.874.4329 Property Distribution Manager - Jessica R. Lincoln, 617.874.4308

Finance Department

Marlborough:

Accounts Receivable - Denise Johnson, 508.970.3269 Accounts Payable - Kathleen Hayes, 508.970.268 Credit Supervisor - Joe Monteyro, 508.970.3266

Subscriptions

Marlborough:

Karen Skinner, 508.970.3240

Service Departments

Appraisal & Auction Services - Patricia Walker King, Beth Zwicker, Katharine Holtman, Leah Skowron Advertising Production - Pamela Van de Houten Boston Gallery Director - Laura V. Sweeney Assistant Gallery Director: Paige Lewellyn Gallery Assistant: Katharine E. Hampson Catalogue Production - Pamela Van de Houten, Kristina Harrison Assistant: Cheryl Freeman Customer Relations - Carol McCaffrey Human Resources - Carol McCaffrey Information Technology & Internet Auctions - Kerry Shrives Assistants: Timothy Shaughnessey, Melissa Riebe Consignment Services - Deanna Williams, Megan J. Blomgren, Carol Zeigler Managing Director - Marie C. Keep Marketing & Public Relations - Catherine Riedel, Anne M. Trodella, Karen Skinner Photographers - Stanley P. Bystrowski, Jeffrey R. Antkowiak Receptionists - Marlborough: Carol Tran Boston: Hadley Dinardo Transportation - Eric Jones Assistants: Mark McCaffrey, John Williams

Directions to Skinner's Boston Gallery/63 Park Plaza, Boston, MA Telephone: 617-350-5400 From the West: Take the Massachusetts Turnpike to the Prudential/Copley exit located in the Prudential tunnel. Once on the exit ramp, stay in the right hand lane and follow the signs for Copley. The ramp exits onto Stuart Street. Drive straight through five sets of lights and take a left onto Charles Street South. Take your first left off of Charles St. South onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From the South: Take 93-N to Exit 20 for I-90 W toward Worcester. Follow signs for Chinatown/South Station. Bear left at the fork to continue towards Kneeland Street. Turn left onto Kneeland Street. Kneeland Street becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From Logan Airport: Take the Ted Williams Tunnel. Take Exit 25 toward South Boston and bear left at the fork in the ramp. Bear right onto B St. Turn left onto Northern Ave which becomes Seaport Blvd. Turn left onto Surface Rd. Turn right onto Kneeland Street which becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From the North: Take I-93 South towards Boston. Take exit 26 towards Storrow Drive. Merge onto MA-28 South via the ramp on the left. Turn left onto Beacon Street. Turn right onto Arlington Street. Turn left onto Boylston Street. Turn right onto Hadassah Way. Skinner is on the right at 63 Park Plaza.

SKINNER

C ATA L O G U E S U B S C R I P T I O N F O R M

PRICES EFFECTIVE JANUARY 1, 2008. Catalogue subscription price includes quarterly brochure. Subscription effective one year from date processed. No refunds for previous subscriptions. Renewal notice will be sent one month prior to expiration. Subscriptions do not include Discovery, Estates, and other special sales. Post-auction prices are available online at www.skinnerinc.com

P L E A S E C H E C K T H E A P P R O P R I AT E B O X E S :

U.S./Canada No charge

Quarterly Brochure

Foreign (payable in U.S. dollars only) No charge

Included with catalogue subscription American Furniture & Decorative Arts

$120

$143

European Furniture & Decorative Arts

$120

$143

American & European Paintings & Prints

$120

$143

Fine Jewelry

$120

$143

20th Century Furniture & Decorative Arts

$60

$73

Asian Works of Art

$60

$73

Fine Oriental Rugs & Carpets

$18

$25

American Indian & Ethnographic Art

$60

$73

Fine Books & Manuscripts

$30

$36

Toys, Dolls & Collectibles

$60

$73

Fine Ceramics

$60

$73

Fine Musical Instruments

$60

$73

Science & Technology

$60

$73

Fine Wines

$60

$73

All Above Departments

$800

$975

S U B T O TA L MA RESIDENTS

6.25%

S A L E S TA X T O TA L

MasterCard/VISA #

Exp. Date

Signature

Check enclosed

Name __________________________________________ Business Name Mailing Address ____________________________________________________ City ______________________________ State ______ Zip ______________ email address ______________________________________________

Tel: (

) _____________________________

P L E A S E E N C L O S E PAY M E N T W I T H S U B S C R I P T I O N F O R M A N D M A I L O R FA X T O :

Skinner, Inc., Subscription Department, 274 Cedar Hill Street, Marlborough, MA 01752

508.970.3100

SKINNER Auctioneers and Appraisers of Antiques and Fine Art