Fine Paintings & Sculpture | Skinner Auction 2977B

Fine Paintings & Sculpture Sale 2977B

January 27, 2017

Boston

Fine Paintings & Sculpture

Specialists

Robin S.R. Starr

Elizabeth C. Haff

Department Director 508.970.3259

508.970.3258

Michelle Lamunière

Kathleen M. Leland 508.970.3297

508.970.3264

Department Inquiries: 508.970.3206

Auction Information Auction 2977B

Preview

Absentee Bidding

Friday, January 27 4PM preceded by Fine Prints & Photographs at 12PM

Wednesday, January 25 12 to 5PM

T: 617.874.4318 F: 617.350.5429

63 Park Plaza Boston, MA

Thursday, January 26 12 to 8PM Friday, January 27 9 to 10AM

General Inquiries 617.350.5400

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View all lots online at www.skinnerinc.com cover : 440 ; interior front cover : 364 ; interior back cover : 373 ; back cover : 403

American & European Works of Art Auction 2704B 02/07/2014 4:00 PM EST Lot 632 Of 689 - Alexander Calder (American, 1898-1976) Red Circus Horse

M Y AC T IVIT Y AU C T IO N LO G O U T

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SK2148

$40,000 - $60,000 $110,000

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$110,000 Floor Bidder $105,000 Floor Bidder $100,000 Floor Bidder $95,000 Floor Bidder $90,000 Internet Bidder SK2149 Online bidder SK2149 requests bid of $90,000 on lot 632 $85,000 Floor Bidder $80,000 Floor Bidder $75,000 Floor Bidder

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Table of Contents 1

Auction & Specialist Information

2

Web Site & Online Bidding

4

Glossary of Terms

5

Lots 200–480

212

Artist Index

215

Conditions of Sale

217

Absentee Bid Form

218

Company Directors & Specialty Departments

219

Administrative Staff & Client Services

221

Map & Driving Directions

223

Subscription Form

Please Note: All lots sold subject to our Conditions of Sale.

Please refer to page 215 of this catalog for the full terms and conditions governing your purchase.

Copyright © Skinner, Inc. 2016 All rights reserved MA LIC. 2304

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Provenance The Estate of Richard E. Anderson, New York, New York/Redding, Connecticut The Collection of Citizens Bank, Providence, Rhode Island The Collection of Mutual Benefit Life Insurance Company, Newark, New Jersey The Estate of Joan Sonnabend, Boston, Massachusetts The Estate of Walter F. Goodman, Florida The Collection of Howard P. Diamond, M.D., New York Descendants of J. Philip Richards, Maine The Estate of Elaine Sargent, New York The Estate of Irving Penn, New York The Collection of Gustave and Marion Ring, Washington, D.C. The Estate of Robert Beauchamp The Estate of Nicholas Mariscano The Collection of Muriel Erickson Howe, New York The Collection of Mr. and Mrs. H.W. Janson Estates in Massachusetts and Connecticut Private collections in Florida, Massachusetts, Rhode Island, Montana, Maine, and Canada The Collection of Robert Bradford Newman, Cambridge, Massachusetts The Collection of David Playdell-Bouviere, England The Collection of Garland Knitting Mills, Massachusetts The Collection of Philip Douglas Heilman The Collection of Thomas and Donalyn Schofield The Collection of Anne Wilson Wangh, International Chair, Dance Library of Israel, and Martin and Anne Wangh

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Glossary of Terms All items in this catalog are described according to the following table of terminology.

Please note that all statements in this catalog 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.

Measurements are given as height x width and refer to the size of the support unless otherwise indicated.

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200

200 After Jan van Goyen (Dutch, 1596-1656) Farmhouse and Well with Figures Along a Dirt Road Unsigned.

Oil on panel, 11 1/2 x 15 7/8 in. (29.5 x 40.5 cm), unframed.

Condition: Minor retouch, horizontal crack to panel l.l. and other hairline cracks, scattered small abrasions and paint losses, varnish inconsistencies, surface imperfections, fine craquelure, heavy varnish.

Provenance: A New York estate.

N.B. On the back of an accompanying black and white photograph of this lot, some provenance has been inscribed: “Auction: George Smith, London, 8 May, 1901 Katalog No. 435, London.,” and in a different hand, “Sixtina Gallery, 5 Ave. New York City. 1959.” $2,000-3,000 201 No lot.

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202 Italian School, 17th Century Saint Barbara Holding a Chalice and Pointing to Heaven Unsigned.

Charcoal and white chalk on paper, 9 x 7 in.

(23.1 x 18.0 cm), matted, unframed.

Condition: Sheet mounted to secondary paper support, with the drawing separating slightly from the support at the u.l. corner. $500-700 203 Central European School, 16th Century Adoration of the Magi Unsigned.

Oil on canvas, 38 x 26 1/4 in. (97.0 x 67.0 cm), framed.

Condition: Lined, retouch, craquelure, surface grime. $3,000-5,000

202

203

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204

204 Attributed to Franรงois Chauveau (16131676) John the Baptist Visiting the Infant Christ Unsigned, attributed on a handwritten label affixed to the reverse.

Watercolor and gouache on vellum stretched onto panel, diameter 12 1/2 in. (32.0 cm), in a round frame.

Condition: Small paint losses to center and at edges, areas of fine craquelure, dots of foxing and possible mold, minor warping to the panel. $5,000-7,000

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205 Italian School, 17th Century The Triumph of Bacchus Unsigned.

Oil on canvas, 17 3/4 x 19 3/4 in. (45.0 x 50.0 cm), framed.

Condition: Trimmed and lined, retouch, craquelure. $1,500-2,500 206 Attributed to Bartolomeo Guidobono (Italian, 1654-1709) Martyrdom of an Early Saint with Cherubs Above Holding Three Crowns and a Martyr’s Palm Unsigned, inscribed “N: 30...” in black ink on the front l.l. and on the reverse, inscribed “Morassi (Guidobono) RR” on the mat.

Ink wash with whiting on paper, 9 x 6 1/4 in.

(22.8 x 15.8 cm), matted, unframed.

Condition: Scattered holes, tears to u.l. corner with mending patches to the reverse, sheet mounted to secondary laid paper support.

205

N.B. The subject of this drawing may be the death of the Dominican friar Peter Martyr (c.

1205-1252), who fell to the hand of assassins hired by two Venetian noblemen. His effigy is common in art of the Dominican Order. While some details vary from the depiction here, the scene is generally a forest, the death by stabbing, and the saint’s companion is shown fleeing. The downward pointing hand of the saint may make reference to the version where the saint dies writing the Apostle’s Creed on the ground with his own blood. It is not uncommon to find an angel above holding a martyr’s palm in readiness.

The consignor reports that the attribution of the work to Guidobono was made by Antonio Morassi, as recorded in the inscription on the mount. $600-800 207 Italian School, 17th Century Semi-reclining Draped Male Nude Inscribed “Domenica Maria Canunti” and “Giovan Gioseffo dal Sole” in pencil on the mount.

Charcoal and white chalk on gray paper, 7 x 7 1/2 in. (17.8 x 19.0 cm), matted, unframed.

Condition: Foxing, sheet laid down on paperboard support.

206

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N.B. The inscriptions on the mount reference two Bolognese artists, Domenico Maria Canuti (1625-1684) and Giovan Gioseffo dal Sole (1654-1719). $600-800

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208

208 Italian School, 17th Century St. Augustine Distributing Alms to the Poor Unsigned.

Oil on canvas, 35 x 25 1/2 in. (88.5 x 59.5 cm), unframed.

Condition: Lined, small vertical surface tear (2 1/2 inches) to recto u.c., retouch, heavy varnish layer, some canvas deformation. $800-1,200 209 Italian School, 17th Century Nativity Scene Unsigned.

Oil on canvas, 22 1/2 x 17 in. (57.2 x 43.0 cm), framed.

Condition: Lined, retouch, craquelure, varnish inconsistencies. $1,000-1,500

209

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210 After Barent (Barend) Gael (Dutch, c. 16301698) Two Genre Scenes of Figures Before an Inn Unsigned, inscribed “I VOW Fecit na ‘B.GAAL’/1754/on original canvas” on the stretcher.

Oil on canvas, 11 1/8 x 14 in. (28.5 x 35.5 cm), framed.

Condition: Lined, craquelure, probable old retouch, varnish discoloration, minor surface grime.

210

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon.

N.B. The inscription on the stretchers suggests that these paintings date from 1754 and are copies of 17th century scenes by Barent Gael. $1,500-2,500

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211

211 Continental School, 17th/18th Century Falconers on Horseback Unsigned, incised “D. HALS” and “D. HAS” on the reverse.

Oil on panel, 14 1/2 x 22 1/4 in. (37.0 x 56.5 cm), framed.

Condition: Horizontal cracks to panel, partially cradled and with a repair to center on the reverse, craquelure, abrasions, paint losses.

N.B. Although the inscription on the reverse would point to Dirk Hals, current scholarship concludes that the work does not relate to that artist. The work at hand is thought most likely to be Dutch or German, dated possibly to the 18th century. There is a very similar work cataloged in the database of the RKD (Netherlands Institute for Art History) (https://rkd.nl/explore/images/232263). Both compositions would seem to be based on some earlier, mid-17th century painting or print. $800-1,200

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212

212 After Canaletto (Giovanni Antonio Canal) (Italian, 1697-1768) Piazza San Marco Unsigned.

Oil on canvas, 25 x 30 in. (63.5 x 76.0 cm), framed.

Condition: Small punctures l.l. and u.l., lined, craquelure.

N.B. The work at hand is a copy, probably 18th century, after a painting by Canaletto, now in the collection of the Metropolitan Museum of Art. The original measures 27 x 44 1/4 inches. $3,000-5,000 213 Abraham Rademaker (Dutch, 1675-1735) Figures in an Arcadian Landscape Signed “A. Rademaker� l.c.

Brown and gray ink and black chalk on laid paper, 9 x 8 in. (23.0 x 23.5 cm), framed.

Condition: Small vertical tear (3/4 inch) to l.r. corner, toning, minor rippling, sheet affixed to supporting paper at the corners of the reverse. $600-800

213

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214

214 Attributed to/School of William Hodges (British, 1744-1797) Italianate Landscape with Mountains, River, Ruins, and Foreground Allegorical Figures Unsigned, attributed on a presentation plaque.

Oil on canvas, 32 1/2 x 45 1/8 in. (82.5 x 115.0 cm), framed.

Condition: Lined, retouch, possible overcleaning, craquelure, drying cracks.

Provenance: David Playdell-Bouviere, grandson of the 5th Earl of Radnor, family seat at Longford Castle, Wiltshire, England.

Playdell-Bouviere was married to Ava Alice Muriel Astor, the only daughter of John Jacob Astor, in 1946. $7,000-9,000

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215

215 Hermann Herzog (American/German, 18321932) Early Morning on the Farm Signed “H. Herzog” l.l., titled on a printed label which is signed in ink “H. Herzog” affixed to the stretcher.

Oil on canvas, 18 x 23 in. (45.5 x 58.5 cm), framed.

Condition: Lined, scattered minor retouch, surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $2,500-3,500 216 Marie Dieterle (French, 1856-1935) Cows at the Forest Edge Signed “Marie Dieterle” l.l.

Oil on canvas, 19 x 24 1/4 in. (48.7 x 61.3 cm), framed.

Condition: Small paint loss to center, fine craquelure, surface grime.

216

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $1,200-1,500

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217

217 Marie Dieterle (French, 1856-1935) Cows Watering Signed “Marie Dieterle.” l.r., artist identified “Mme. M. DIETERLE” on a presentation plaque.

Oil on canvas, 27 1/2 x 39 1/4 in. (70.0 x 99.7 cm), in a period frame.

Condition: Minor retouch, stable craquelure.

Provenance: The Flower Estate (per an auction label affixed to the back of the frame, location not specified). $5,000-7,000 218 Frans Lebret (Dutch, 1820-1909) Resting Sheep and Cow in a Sunlit Barn Inscribed and signed “...Dordrecht Frans Lebret” on the reverse.

Oil on canvas, 12 x 16 in. (30.5 x 40.7 cm), framed.

Condition: Craquelure. $1,000-1,500 218

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219

219 Attributed to Henry Walton (British, 18041865) Edge of the Wood Signed “Henry Walton� l.l., titled on a presentation plaque.

Oil on canvas, 16 x 24 in. (41.0 x 61.0 cm), framed.

Condition: Lined, fine craquelure, minor varnish discoloration, minor surface grime. $1,200-1,800

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219A

219A German School, 19th Century Cattle and Herders Fording a Small Stream Unsigned, attributed to Friedrich Christoph Hirth on a presentation plaque, ascribed to Joh. Christ. Hirth on a typed label affixed to the back of the frame.

Oil on canvas, 24 x 32 in. (61.0 x 80.5 cm), framed.

Condition: Lined, minor retouch, craquelure. $2,000-3,000

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220

220 Willem Hendriks Jr. (Dutch, 1888-1966) Peasant with Cows Beside a Thatched Cottage Signed “W. Hendriks� l.r., identified on a presentation plaque, with a label from Continental Galleries of Fine Art, Montreal, affixed to the stretcher.

Oil on canvas, 18 x 22 in. (46.0 x 55.8 cm), framed.

Condition: Craquelure, minor surface grime. $1,200-1,800

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221

221 Willem Hendriks Jr. (Dutch, 1888-1966) Autumn Landscape with Cows by a Pond Signed “W. Hendriks” l.r.

Oil on canvas, 16 x 20 in. (40.5 x 50.5 cm), framed.

Condition: Good. $1,000-1,500 222 Cornelis Verschuur (Dutch, 1888-1966)

222

Cattle Watering Signed “C. Verschuur” l.l., identified on a presentation plaque, with a label from Continental Galleries of Fine Art, Montreal, affixed to the stretcher.

Oil on canvas, 18 x 23 3/4 in. (45.5 x 60.5 cm), framed.

Condition: Craquelure, possible minor retouch to sky and reflections in water, minor surface grime. $1,000-1,500

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223 Attributed to Henri-Joseph Harpignies (French, 1819-1916) Path at Sundown Signed “h’harpignies” l.r., artist identified on a presentation plaque.

Oil on panel (cigar box top), 8 x 5 3/4 in. (20.3 x 14.7 cm), framed.

Condition: Craquelure. $1,000-1,500 224 William Kay Blacklock (British, 1872-1924) Two Watercolor Landscapes: Spring, Sandwich, Kent and Near Southease, Lewes Both signed “W. KAY BLACKLOCK” l.r., both titled on the reverse and identified on the face of the mats.

Watercolor on drawing board, 7 1/2 x 10 3/4 in. (17.2 x 19.0 cm), in period frames.

Condition: Glued to window mats along the perimeter of the rectos, Spring with a very small surface loss to l.l. corner. $1,500-2,500

223

224 partial

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226

225 Jean Baptiste Antoine Guillemet (18431918) Laundry Day Outside a Village Signed “A. Guillemet” l.r.

Oil on panel, 14 3/4 x 21 3/4 in. (37.5 x 55.0 cm), framed.

Condition: Scattered paint losses and areas of flaking, minor retouch. $2,000-3,000

226 Adolf Heinrich Lier (German, 1826-1882) Ploughman Heading Home at Twilight Signed “ALier” l.r.

Oil on panel, 8 x 17 in. (20.3 x 43.0 cm), unframed.

Condition: Retouch to cover frame abrasion along bottom edge, surface grime with stain at left edge. $1,500-2,000

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227

227 Johannes Franciscus Spohler (Dutch, 1853-1894) Quiet Amsterdam Canal Signed “J.F. Spohler” l.l.

Oil on canvas, 17 x 13 1/2 in. (43.5 x 34.5 cm), framed.

Condition: Lined, craquelure. $4,000-6,000

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228

228 Frans Swagers (Dutch, 1756-1836) Harbor Scene Signed “Swagers� l.l.

Oil on canvas, 16 x 21 1/2 in. (41.0 x 54.0 cm), framed.

Condition: Lined, retouch, craquelure, surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $1,000-1,500

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229

229 Jacob Maris (Dutch, 1837-1899) Canal Boats Signed “J. Maris� l.r.

Oil on panel, 9 1/4 x 13 1/4 in. (23.5 x 33.8 cm), framed.

Condition: Retouch. $2,000-3,000 230 William Edward Norton (American, 18431916)

230

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Bustling Fishing Port Unsigned, identified on a presentation plaque affixed to the frame.

Oil on canvas, 22 3/4 x 29 3/4 in. (57.8 x 75.5 cm), framed.

Condition: Minor surface grime and old retouch. $3,000-5,000

231

231 Walter Lofthouse Dean (American, 18541912) A Summer Day on the Dutch Shore Signed “W.L. DEAN” l.r., titled and signed “.../by Walter L. Dean” on the reverse, with a partial label from the Poland Spring Gallery (see below) on the stretcher.

Oil on canvas, 20 x 30 in. (50.7 x 76.3 cm), in a signed Foster Brothers Makers frame.

Condition: Retouch.

Exhibitions: Fourth Annual Exhibition, 1898, Poland Spring Gallery, Maine.

232

N.B. The Poland Spring Gallery was started by the Ricker family, purveyors of medicinal waters from Poland Spring and owners of the eponymous resort. The family purchased the Maine State Building from the World’s Columbian Exposition in Chicago, and in 1894 had it dismantled and reconstructed in Poland Spring to serve as a library and art gallery for the resort’s guests. Beginning in 1895, the Poland Spring Art Gallery began exhibiting works by well known artists of the era including Walter Dean, Abbott Graves, Leon Dabo, and Charles H. Woodbury. $1,000-1,500 232 Jan Hillebrand Wijsmuller (Dutch, 18551925) Horse-drawn Cart on the Beach Signed “JHWYSMULLER” l.r.

Oil on board, 12 x 18 in. (30.5 x 45.8 cm), framed.

Condition: Scattered minor retouch. $1,500-2,500

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233

233 Emile Boulard (French, 1861-1943) Sisters on a Road to a Cottage Signed “Boulard” l.r., artist identified on a presentation plaque, dedicated and signed “a mon ami le docteur M...en/E Boulard” on the reverse.

Oil on artist board, 12 1/2 x 16 in. (32.0 x 41.0 cm), framed.

Condition: Slight bowing to the support. $2,000-3,000 234 Willy Martens (Dutch, 1856-1927) Mother and Child Resting Under a Tree Signed “Willy Martens” l.l., identified on a presentation plaque affixed to the reverse, a label from Caldwell Galleries, Philadelphia, affixed to the stretcher.

Oil on canvas, 16 x 19 3/4 in. (40.7 x 50.2 cm), framed.

Condition: Trimmed of its tacking edges and lined. $2,500-3,500

234

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235

235 Eanger Irving Couse (American, 1866-1936) Confidences Signed “E.I.COUSE� l.l., identified and titled on a label from Altermann Galleries, Dallas, Houston, and Santa Fe, affixed to the backing.

Oil on canvas, 20 x 40 in. (50.8 x 101.7 cm), framed.

Condition: Minor surface grime. $10,000-15,000

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236

236 Albert Johan (Jan) Neuhuys (Dutch, 18441914) Watching Baby Sleep Signed “Albert Neuhuys f” l.r., identified on a label from Odon Wagner Gallery, Toronto, affixed to the stretcher.

Oil on canvas, 21 x 26 1/4 in. (53.5 x 67.0 cm), framed.

Condition: Lined, retouch, craquelure. $1,500-2,500 237 Evert Pieters (Dutch, 1856-1932) A Quiet Smoke Signed “Evert.Pieters” l.l.

Oil on panel, 15 3/4 x 11 3/4 in. (40.0 x 30.0 cm), framed.

Condition: Minor retouch to cover frame abrasion primarily along the bottom edge. $1,000-1,500

237

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238

238 Charles Édouard Frère (French, 1837-1894) The See-Saw Signed and dated “Edouard Frère 69” l.l., titled on a label from Vicars Brothers, Ltd., London, and with a label from Frederick Thom Gallery, Toronto, both affixed to the reverse.

Oil on panel, 12 1/4 x 16 in. (31.2 x 40.5 cm), framed.

Condition: Minor retouch. $1,500-2,000

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239

239 Pierre Édouard Frère (French, 1819-1886) By the Stove’s Warmth Signed and dated “Edouard Frère 1861” l.l.

Oil on canvas, 20 1/2 x 28 3/4 in. (52.0 x 73.0 cm), framed.

Condition: Small loss l.l. $3,000-5,000 239A Charles Petit (French, d. 1896) Cat’s Play Signed and inscribed “C. Petit/Bruxelles” l.l., inscribed, signed, and dated “...C. Petit/ Bruxelles 1880” on the reverse.

Oil on panel, 14 1/8 x 10 3/8 in. (36.0 x 26.5 cm), framed.

Condition: Fine craquelure, surface grime. $1,000-1,500

239A

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240

240 Joseph Bail (French, 1862-1921) A Pause in the Day’s Needlework Signed “Bail Joseph” l.l., with a label from Hôtel Druout, Paris, affixed to the reverse.

Oil on panel, 16 1/4 x 12 1/2 in. (41.5 x 31.5 cm), framed.

Condition: Cradled, horizontal crack to panel in center, retouch. $3,000-5,000

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241

242

241 Frans David Oerder (Dutch, 1867-1944) Cottage Garden with Hollyhocks Signed “Frans Oerder” l.l.

Oil on canvas, 24 1/4 x 41 3/8 in. (62.0 x 105.0 cm), framed.

Condition: Lined, scattered minor retouch, craquelure. $4,000-6,000

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242 William Stewart MacGeorge (Scottish, 1861-1931) Bluebell Time Signed “WS MacGeorge” l.r., titled on a presentation plaque, with a label from Alex Fraser Galleries, Vancouver, affixed to the reverse.

Oil on panel, 11 3/4 x 16 in. (30.0 x 40.5 cm), framed.

Condition: Scattered small paint losses, fine craquelure, surface grime. $1,500-2,500

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243

243 Italian School, 19th Century The River Ferry Signed and dated “Emma S./’96.” l.r., with a label printed “BUENOS AIRES” affixed to the stretcher.

Oil on canvas, 23 1/2 x 35 3/8 in. (60.0 x 90.0 cm), framed.

Condition: Lined, scattered minor retouch. $4,000-6,000

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244

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244 Jean-Baptiste-Camille Corot (French, 17961875) Portrait de Madame Langeron à 4 ans Unsigned, inscribed “FAIT PAR M. COROT” in ink on the stretcher, identified on an exhibition label from Réunion des Musées Nationaux (see below) affixed to the stretcher.

Oil on canvas, 9 1/2 x 7 1/2 in. (24.0 x 19.0 cm), framed.

Condition: Scattered minor dots of retouch.

Provenance: Madame Langeron, Blois; to Leon Salavin, Paris; to Hammer Galleries, New York; through to the current owner.

Literature: A. Schroeller and J. Dieterle, Corot (Premier supplement a “L’Oeuvre de Corot” par A. Robaut and Moreau-Nélaton), 1948, Paris, p. 28, no. 22, illus. p. 29.

Exhibitions: Paris, Musée du Louvre, Figures de Corot, June–September 1962, p. 70, no.

26, illustrated, pl. 71; Tokyo, Wildenstein & Co. Inc., Camille Corot, March 1–April 13, 1990, no. 7, illus.; Traveled to Osaka, Fujikawa Gallery, May 14–31, 1990; New York, Hammer Galleries, The Gallery Collection—19th and 20th Century European Paintings, February 5– March 31, 2001, pp. 10-11 (illus.).

N.B. A photo-certificate of authenticity from Martin Dieterle (dated March 8, 2001) accompanies the work. The portrait is dated 1840-45 in the catalogue raisonné. A letter from the sitter which is referenced in documents from Hammer Gallery dates the work to the summer of 1845 when Corot was in Ville d’Avray. The sitter wrote that while her family was spending the summer in the home of Mr. Baurnet Veron, Corot was staying in a nearby house and painted her portrait. The original letter is reproduced in the catalogue raisonné supplement beside an image of the portrait.

It has been noted by the scholar Germain Bazin that Corot’s manner changed radically when he was painting children, adopting a more naive style, presenting the figure squarely from the front holding a toy, emphasizing the subject’s innocence. Louvre curator Madeleine Hours has written that Corot did portraits of children at intervals between 1843 and 1857, most often children of his friends. The works are usually small in size and show the child full-length or half-length. Corot, whose genial nature was well known, had great patience and respect for children, and his sympathies are demonstrated in the charm and freshness of these portraits. $100,000-150,000

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245

245 Oreste Cortazzo (Italian, 1836-before 1912) Portrait of an Elegant Woman in an Interior Dedicated and signed “A Mad. E. André/ hommage affectueux/Cortazzo” l.l., dated “circa 1880” on a modern label affixed to the frame backing paper.

Oil on panel, 16 5/8 x 11 1/8 in. (42.2 x 28.2 cm), in a period frame.

Condition: Possible old retouch, fine craquelure. $3,000-5,000

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246

246 Germain-Théodore Ribot (French, 18451893) Chrysanthemums Signed “Germain Ribot” l.r., identified on a label from The Greenwich Gallery, Greenwich, Connecticut, affixed to the reverse of the frame.

Oil on canvas, 18 x 24 in. (45.7 x 60.9 cm), framed.

Condition: Lined, stretcher replaced, fine craquelure throughout, scattered retouch (primarily to fill craquelure). $3,000-5,000

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247

247 Charles Amable Lenoir (French, 1861-1940) Portrait of a Girl in a Red Dress Signed “c.a. Lenoir” u.r.

Oil on canvas, 18 x 15 in. (46.0 x 38.0 cm), framed.

Condition: Lined, scattered retouch, craquelure.

Provenance: Christie’s South Kensington, 19th Century European Art including Orientalist Pictures, June 21, 2002, Lot 270. $600-800 248 Léon François Comerre (French, 18501916) Woman with a Basket of Plums Signed “Léon Comerre” u.l.

Oil on canvas, 39 3/8 x 27 7/8 in. (100.0 x 71.0 cm), framed.

Condition: Lined, paint losses and flaking, craquelure, varnish inconsistencies, discolored varnish, surface grime. $1,200-1,800

248

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249

249 Albert Besnard (French, 1849-1934) Profile of a Young Woman with Upswept Hair Unsigned, with a stencil from Hardy Alan, Paris, on the stretcher.

Pastel on paper mounted to linen, 18 x 15 in.

(46.0 x 38.0 cm), framed.

Condition: Not examined out of frame. $1,500-2,500

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250

251

250 Gustav Magyar-Mannheimer (Hungarian, 1859-1937)

251 Edward Antoon Portielje (Belgian, 18611949)

Peonies and Irises Signed “Magyar Mannheimer” l.r.

Oil on board, 19 1/4 x 10 in. (48.8 x 25.4 cm), framed.

Condition: Scattered retouch, crack u.r. $700-900

The Connoisseur Signed and dated “Edw. Portielje 1882” l.r.

Oil on canvas, 39 5/8 x 32 1/4 in. (100.5 x 82.0 cm), framed.

Condition: Lined onto Masonite, retouch, craquelure, reverse with water staining to the Masonite in l.r. corner. $1,500-2,500

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252

252 Albert Joseph Penot (French, 1862-1930) A Duet for the Cardinal Signed, inscribed, and dated “A. Penot/Paris 1899.” l.r.

Oil on canvas, 19 3/4 x 24 in. (50.0 x 61.0 cm), framed.

Condition: Fine craquelure. $2,500-3,500 253 James Poulton (British, fl. 1844-1859) Still Life with Fruit and Tankard Signed “James Poulton” l.r.

Oil on canvas, 15 x 13 in. (38.0 x 32.5 cm), framed.

Condition: Lined, scattered small paint losses, minor retouch, craquelure. $1,000-1,500

253

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254 Thomas Allen Jr. (American, 1849-1924) Playing Flute: A Sketch of Stephen Fitzgerald, Petersham, Mass.

Signed and dated “Thomas Allen 1884” l.r., identified and signed on a handwritten label affixed to the reverse, titled on a presentation plaque.

Oil on canvas, 12 x 7 in. (30.5 x 17.0 cm), framed.

Condition: Minor retouch, canvas trimmed and mounted to paperboard support. $1,000-1,500 255 Adelaide Claxton (British, fl. 1860-1879) The Lady Ghost Signed and dated “AClaxton 1876” l.l.

Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.

Condition: Lined, restretched, scattered minor retouch and pigment fluorescence. $3,000-5,000

254

255

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256

256 Charles Sillem Lidderdale (British, 18311895) The Trysting Place Monogrammed and dated “CSL [overlapping]/1883� l.l., titled on a presentation plaque.

Oil on canvas, 39 3/8 x 29 1/2 in. (100.0 x 74.5 cm), framed.

Condition: Lined, original tacking edges removed, craquelure, abrasions c.l., surface grime. $6,000-8,000

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257

257 James G. Hill (American, 1841-1913) Hunting Dogs Signed and dated “JG Hill/1880� l.r.

Oil on canvas, 29 3/4 x 43 3/4 in. (75.5 x 111.1 cm), framed.

Condition: Lined, craquelure and alligatoring throughout, flaking l.l. and l.r., scattered retouch, surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $3,000-5,000 258 English School, 19th Century The Aspiring Hunter Unsigned, with a canvas stencil from J. Hill, London, on the reverse.

Oil on canvas, 24 x 19 7/8 in. (61.0 x 50.0 cm), framed.

Condition: Retouch, craquelure, surface grime. $2,000-3,000

258

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259

260

259 Charles Henry Schwanfelder (British, 17741837) Portrait of a Horse and Two Dogs Signed, inscribed, and dated “C.H. S’wanfelder/Pinx. Octr 30th 1795” l.r.

Oil on canvas, 31 x 44 in. (79.0 x 111.0 cm), framed.

Condition: Lined, retouch, surface imperfections and grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $4,000-6,000

260 Henry Alken (British, 1785-1851) Hull & London Coach with Hunts Signed “H. Alken” l.c., titled on a presentation plaque and on a Frost & Reed, London, label affixed to the reverse.

Oil on paperboard mounted to panel, 13 x 23 3/4 in. (33.0 x 60.0 cm), framed.

Condition: Losses along top right edge, scattered paint losses and abrasions, craquelure, surface grime. $3,000-5,000

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261

261 Rubens Santoro (Italian, 1859-1942)

262 No lot.

Repos (Orient) Signed “Rubens Santoro� l.l., titled on a label affixed to the stretcher.

Oil on canvas, 13 x 9 3/4 in. (33.0 x 24.7 cm), framed.

Condition: Small area of lifting l.r., abrasion u.l., surface grime. $1,000-1,500

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263

263 Peter Conrad Schreiber (German, 18161894) Pouring Water at an Oasis Signed “P.Schreiber.� l.l.

Oil on canvas, 16 x 10 1/2 in. (40.7 x 26.5 cm), framed.

Condition: Paint losses to u.l. quadrant, craquelure, minor surface grime. $3,000-5,000

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264

264 Giuseppe Laezza (Italian, 1835-1905) Fisherman’s Family Beside a Beached Vessel Signed “G. Laezza” l.r., with a canvas stencil from Louis Pisani’s Picture Galleries, Florence and Rome, on the reverse.

Oil on canvas, 10 x 19 1/4 in. (25.2 x 49.0 cm), in an elaborate frame.

Condition: Lined, retouch, fine craquelure. $2,000-3,000

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265

265 Ivan Konstantinovich Aivazovsky (Russian, 1817-1900) Along the Coast, Capri Signed and dated “Aïvazovsky/1892” l.l., signed and dated similarly on the reverse, also inscribed with the artist’s address “Theodossie, Crimee, Russie” on the reverse.

Oil on canvas, 18 x 29 3/4 in. (45.7 x 75.7 cm), framed.

Condition: Wax lined, retouch, patch reinforcements corresponding to small tears c.l., l.l., and l.r., fine craquelure, bulges in lower half of canvas, surface grime.

Provenance: Sotheby’s New York, Russian Art, April 21, 2005, Lot 8, as Along the Coast (collab. w/Studio), Sotheby’s, London, Feb. 2, 1983, as Lot 171, to a private New York collection.

Literature: Gianni Caffiero and Ivan Simarine, Light Water and Sky, The Paintings of Ivan Aivazovsky (London: Alexandria Press, 2012), p. 319, item CS-1893-004.

N.B. Ivan Aivazovsky is widely acknowledged as the leading figure of Russian Romanticism, admired above all for his seascapes and coastal scenes. Born to an Armenian family in Feodosia on the southern coast of the Crimean Peninsula, Aivazovsky was educated at the Imperial Academy of Arts in St. Petersburg, graduating in 1837 with a gold medal. In the 1840s he travelled in Europe where he met major artists of the day including J.M.W. Turner (British, 1775-1851), whose romantic seascapes influenced the younger artist. Aivazovsky returned to Russia where he received a commission from the Russian Navy as a painter of seascapes, coastal scenes, and naval battles on the Black Sea. In 1845, invited by the Sultan Abdülmecid I, Aivazovsky went to Constantinople, a city he would visit several times between 1845 and 1890, commissioned by members of the court. He was a greatly revered artist, his name entering the Russian lexicon with the phrase “worthy of Aivazovsky’s brush” to describe something of ineffable beauty.

Over the course of his long career, Aivazowsky created over 6,000 paintings. His favorite subject was the sea in all its moods and the effects of light, and it is said that he painted from memory in the studio. He had an impressive ability to recall and recreate the nuances of what he had seen in person, even if only for a short time. He spent his last years in Feodosi, and with funds earned from his successful career, he assisted with the development of the town, opened an art school, began the first archaeological excavations in the region, and built a historical museum. $130,000-190,000

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266

266 Joseph Antonio Hekking (American, 18301903) Cows at a Watering Hole Signed “JA Hekking� l.r.

Oil on canvas, 21 1/2 x 34 3/4 in. (54.6 x 88.2 cm), in a period frame.

Condition: Lined, craquelure. $1,500-2,000

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267 Albert Nikolaevich Benois (Russian, 18521936) Winding River by a Cliff Signed in Cyrillic l.r., artist identified on two modern labels on the frame backing paper.

Watercolor and gouache on paper, 14 x 10 7/8 in. (35.4 x 27.5 cm), framed.

Condition: Crease to c.l. edge, surface rub and crease to u.r. corner near hinge, minor wear to edges of sheet, hinged to window mat in two places on the reverse, staining to corners of the reverse. $1,500-2,000 268 Joseph Antonio Hekking (American, 18301903) Verdant Landscape with Cows at a Watering Hole Signed “JA Hekking� l.l.

Oil on canvas, 21 3/8 x 34 1/2 in. (54.3 x 88.0 cm), in a period frame.

Condition: Lined, retouch, craquelure. $1,500-2,000

267

268

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269 Thomas Sully (American, 1783-1872) Study for Frances Anne Kemble as Isabella in “Measure for Measure” Initialed “TS” l.c., signed “Painted by/T Sully.” on the reverse.

Oil on panel, 12 x 10 1/2 in. (30.3 x 26.5 cm), framed.

Condition: The work is double sided, the reverse bearing a scene en grisaille of two men in Elizabethan costume in a cave-like setting; scattered retouch, fine craquelure, minor surface imperfections.

N.B. The painting is listed in The Life and Works of Thomas Sully, by Edward Biddle and Mantle Fielding (Philadelphia: Wickersham Press, 1921), p. 362, as No. 2348 “Isabella” (Shakespeare illustration) From “Measure for Measure.” The owner at the time of publishing was Francis Fisher Kane of Philadelphia. The authors note that this was a study for a larger painting on canvas (36 1/4 x 28 3/8 in.), dated 1836, in the collection of the Pennsylvania Academy of Fine Arts. The finished painting was also engraved by John Cheney (18011885) in 1840.

269

The lot is accompanied by a copy of the above referenced book, part of the limited edition of 500, inscribed as no. 470 above the signatures of the authors. Several of the pages are uncut. $2,500-3,500 270 Robert Spear Dunning (American, 18291905) Strawberries, Grapes, Sugar Bowl, and Nosegay on a Silver Tray Signed and dated “R.S. Dunning 1879” l.r., signed and dated “R.S. Dunning P.../1879.” on the reverse.

Oil on canvas, 14 x 12 1/8 in. (35.5 x 30.5 cm), framed.

Condition: Minor retouch to l.l. edge, small surface imperfection to c.l. edge. $7,000-9,000

270

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271

271 William Verplanck Birney (American, 18501919) The Duet Signed “Wm Verplanck Birney” l.l., titled on the stretcher.

Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), in a period frame.

Condition: Good. $4,000-6,000 272 Gayle Blair Tate (American, b. 1944) Trompe l’Oeil with Violin Signed “g.b. tate” followed by a bird symbol l.r.

Oil on panel, 31 7/8 x 23 5/8 in. (81.0 x 60.0 cm), framed.

Condition: Minor frame abrasions. $2,500-5,500

272

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274

273

273 Janet D. Wheeler (American, 1866-1945)

274 Kenneth Frazier (American, 1867-1949)

Seated Girl in White Signed and dated “JANET WHEELER 1901” l.r.

Oil on canvas stretched over board, 26 x 16 in. (66.0 x 40.7 cm), framed.

Condition: Retouch. $1,500-2,500

Lady with a Flower on her Sleeve Signed “Kenneth Frazier” u.r., identified on labels from Jeanne Frank, New York, and The Westmoreland County Museum of Art (see below), affixed to the frame backing.

Oil on canvas, 30 x 25 in. (76.0 x 63.5 cm), framed.

Condition: Lined, retouch, natural pigment fluorescence, fine craquelure.

Exhibitions: The Westmoreland County Museum of Art, Greenburg, Pennsylvania, Kenneth Frazier 1867-1949 American Impressionist, October 5-28, 1975, as cat. no.

15, lent by FAR Gallery, New York. $2,000-3,000

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275

275 George Hitchcock (American, 1850-1913) Pandora Signed “G. HITCHCOCK” l.l.

Oil on canvas, 26 x 22 in. (66.0 x 55.8 cm), framed.

Condition: Scattered retouch, minor canvas rippling.

Provenance: A private Rhode Island collection, Skinner, Inc., American & European Works of Art, May 14, 2004, Sale 2236, Lot 343, to the current private New York collection.

N.B. Originally working as a lawyer, Hitchcock left his law practice in 1879 to pursue a painting career. He started his studies at the Académie Julian in Paris and then moved on to other academies in London, Dusseldorf, and The Hague. Rarely returning to the United States after that, Hitchcock became known for his views of peasant woman and flowers, marked by bright, radiant light—a style highly influenced by the Impressionists. In 1909, Hitchcock was elected as an associate member of the National Academy of Design and was the first American to be admitted into the Akademie der Bildenden Kunste, Vienna. $12,000-18,000

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276

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276 Thomas Moran (American, 1837-1926) Autumn Woods, alternately titled Yosemite Landscape Monogrammed “TM” l.r., titled in pencil on a fragmentary label on the reverse, identified on a label from Spanierman Gallery, New York, on the frame backing, and with an alternate title on a label from Fenn Galleries Ltd., Santa Fe, on the reverse.

Oil on panel, 14 x 12 1/4 in. (35.3 x 31.0 cm), framed.

Condition: Fine stable craquelure, subtle frame abrasion.

Provenance: Sloan and Roman Gallery, New York, New York, Art Market, Fenn Galleries Ltd., Santa Fe, New Mexico, to a corporate collection, Tulsa, Oklahoma, by gift to a private collection; Christie’s New York, Rockefeller Center, American Impressionist Paintings, Drawings and Sculpture, November 28, 2000, Lot 35, through to the current private Massachusetts collection.

N.B. This painting will be included in the forthcoming catalogue raisonné of the work of Thomas Moran by Stephen Good and Phyllis Branff.

Thomas Moran is considered to be one of the most important late 19th century American landscape painters. Born in England, Moran’s family settled in Philadelphia in 1844. The young man grew up without formal art training, although he was apprenticed to a wood engraver as a teenager, and this experience informed his understanding of light and dark contrasts, used with such stunning effect in his mature oils. Philadelphia offered a rich artistic milieu, and the Moran family actually produced three artists: Thomas, his older brother Edward who was a noted marine painter, and younger brother Peter.

As a young artist, Thomas Moran was greatly influenced by the atmospheric landscapes and seascapes of Joseph Mallord William Turner. He was first introduced to these works

by Philadelphia artist and mentor James Hamilton. Later Moran studied Turner firsthand on several trips to Europe.

A significant chapter for Moran began with his travels to the American West, the area for which he is best known today. In the early 1870s, he was named the official artist of the expedition of Dr. Ferdinand Hayden to the Yellowstone region. There Moran made sketches and watercolors of the topography to accompany the expedition’s report and which served as inspiration for his dramatic oil landscapes of the region that followed.

One such oil painting, The Grand Canyon of the Yellowstone, was purchased by Congress in 1872, and it is widely acknowledged that Moran’s works were critical to the decision of Congress to create Yellowstone National Park.

Magnificent paintings of the American West would become Moran’s hallmark, conveying the grandeur, mystique, and power of the mountains with luminous color effects and strong contrasts of light and shadow.

Moran lived on the east coast for much of his career, including time in New York City and also in East Hampton, Long Island. However, he was an avid traveler, making four trips to Europe, including time in Venice, between 1880 and 1910, as well as frequent painting trips to the west and California. Moran painted in the Yosemite Valley, in the Sierra Nevada and Lake Tahoe areas, and in the Teton Mountains of Wyoming, where Mount Moran was named in his honor. The draw to California was strong, and Moran began spending summers there by 1916, moving permanently to Santa Barbara in 1922. $70,000-90,000

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277

277 William Allen Wall (American, 1801-1885) A Forest Pool Incised signature “WALL� l.l.

Oil on canvas, stretched with Boston tabs, 20 x 29 3/4 in. (50.5 x 76.0 cm), framed.

Condition: Patch reinforcement corresponding to a small puncture to u.r. quadrant, pinhole puncture l.r., surface imperfection with paint loss along its perimeter in l.r. corner, minor retouch. $4,000-6,000

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278 Attributed to Levi Wells Prentice (American, 1851-1935)

278

White Birch Along a Stream Signed “L.W. Pretice” [sic] l.r., inscribed on the stretcher “L.W. Prentice,” label from Shannon’s Fine Art Auctioneers affixed to stretcher.

Oil on canvas, 18 1/2 x 11 1/2 in. (46.8 x 29.2 cm), framed.

Condition: Small abrasions along edges and at all four corners.

Provenance: A private collection, Canada; Shannon’s Fine Art Auctioneers, Milford, Connecticut, Fine American and European Paintings, May 4, 2006, Lot 44, to the current private Massachusetts collection. $5,000-7,000

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279

279 Hugh Bolton Jones (American, 1848-1927) Winter Dusk Signed “H. BOLTON JONES” l.r.

Watercolor on paper, sight size 13 1/4 x 18 3/4 in. (34.0 x 48.0 cm), framed.

Condition: Not examined out of frame. $1,000-1,500

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280

280 Scott (Nicholas Winfield) Leighton (American, 1849-1898) Horses with Sleigh Signed “Scott Leighton� l.r.

Oil on canvas, 9 x 14 in. (22.8 x 35.5 cm), framed.

Condition: Relined, tacking edges removed, frame abrasions, scattered retouch. $1,200-1,800

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281

282

281 Charles Appel (American, 1857-1928)

282 John Clinton Ogilvie (American, 1838-1900)

Water Meadow and Afterglow Signed “C.P. Appel.” l.l.

Oil on canvas, 12 x 16 in. (30.4 x 40.6 cm), framed.

Condition: Craquelure, varnish discoloration, surface grime. $800-1,200

Cows by the River Signed and dated “Clinton Ogilvie 1865” l.l.

Oil on canvas, 42 1/4 x 22 1/4 in. (107.3 x 56.5 cm), framed.

Condition: Lined, tacking edges removed, craquelure with shrinking throughout, small losses l.c., scattered retouch, surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $1,200-1,500

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283

283 Bruce Crane (American, 1857-1937)

284

Pond in Autumn Signed “BRUCE CRANE” l.l.

Oil on canvas, 12 x 16 in. (30.5 x 40.7 cm), framed.

Condition: Craquelure, minor surface grime. $2,500-3,500 284 Dennis Sheehan (American, b. 1950) Water Meadow Signed “sheehan” l.r.

Oil on canvas, 18 x 24 in. (45.0 x 60.5 cm), framed.

Condition: Good. $1,000-1,500

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285

285 George Ames Aldrich (American, 18721941) Cottage Nocturne Signed and dated “G Ames Aldrich 1897” l.r.

Oil on canvas, 28 x 36 in. (71.2 x 91.5 cm), framed.

Condition: Fine craquelure, lined, retouch. $3,000-5,000 286 Bruce Crane (American, 1857-1937) The White Barn Signed and dated “BRUCE CRANE 1898” l.r.

Oil on canvas, 18 x 16 in. (45.7 x 40.8 cm), framed.

Condition: Retouch and possible repair u.r. $4,000-6,000

286

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287

287 Charles Warren Eaton (American, 18571937) Twilight Landscape with Farm in Snow Signed “CHAS WARREN EATON� l.r.

Oil on canvas, 18 x 31 in. (45.5 x 79.0 cm), in a period frame.

Condition: Wax lined, minor retouch, fine craquelure, surface accretions in the form of droplets of gold perhaps from frame restoration, stretcher replaced. $3,000-5,000 288 George Ames Aldrich (American, 18721941)

288

Village Moonlight, Normandy Unsigned, identified on a label from Spanierman Gallery, New York, affixed to the backing.

Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed.

Condition: Stable craquelure, lined, scattered retouch. $4,000-6,000

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289

289 James Gale Tyler (American, 1855-1931) Ketch in a Blustery Wind Signed and dated “JAMES G. TYLER/1905” l.l.

Oil on canvas, 20 x 30 in. (50.5 x 76.0 cm), framed.

Condition: Lined, retouch primarily to the sky. $1,800-2,200 290 James Gale Tyler (American, 1855-1931) Sailing in a Stiff Breeze Signed “JAMES G. TYLER” l.l.

Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed.

Condition: Retouch. $2,000-3,000

290

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291

291 James Gale Tyler (American, 1855-1931) Schooner Under Way Signed “JAMES G. TYLER” l.r.

Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed.

Condition: Lined, scattered minor retouch. $2,000-3,000 292 No lot.

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293

294

293 William Frederick de Haas (American, 1830-1880)

294 Francis Henry Richardson (American, 18591934)

Waves Along the Beach Signed and dated “William F. de Hass ‘7...” l.r.

Oil on panel, sight size 7 3/4 x 13 3/8 in. (19.2 x 33.8 cm), framed (under glass) in a carved and gilded frame set into an open shadow box.

Condition: Not examined out of frame, minor damage to u.r. corner of shadow box. $2,500-3,500

Breaking Wave, Isles of Shoals Signed “F.H.Richardson.” l.l., titled and signed “.../F.H.Richardson” on the reverse, stamped “F.H.R.” on the stretcher u.l.

Oil on canvas, 17 x 21 in. (43.1 x 53.3 cm), framed.

Condition: Surface grime, stretcher marks at center. $2,500-3,000

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295

296

295 Montague Dawson (British, 1890-1973) Ship at Sea Signed “MONTAGUE DAWSON” l.l.

Oil on canvas, 24 x 36 in. (60.9 x 91.4 cm), framed.

Condition: Craquelure throughout, alligatoring with small loss u.c., frame abrasions, bulge l.l., small puncture with loss surrounding l.c., surface grime.

296 Theodore Victor Carl Valenkamph (American, 1868-1924) Stormy Seas Signed “T.V.C. Valenkamph” l.r.

Oil on canvas, 19 3/4 x 36 in. (50.2 x 91.8 cm), framed.

Condition: Scattered retouch, craquelure. $800-1,200

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $1,000-1,500

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297 Carl Kauba (American/Austrian, 1865-1922) Native American Rider Taking Aim Signed “C. Kauba” in the bronze on base, stamped “GESCHUTZT/580...” on the seat of the rider.

Cold-painted bronze with a green-brown patina, 12 x 14 1/2 x 6 in. (30.4 x 36.8 x 15.2 cm).

Condition: Surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $3,000-5,000

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297

298

298 William Samuel Parrott (American, 18431915) Landscape with Snow-capped Peak, Possibly Mount Shasta Signed “W.S. PARROTT” l.r.

Oil on canvas, 14 x 20 in. (35.0 x 50.5 cm), framed.

Condition: Patch reinforcement, retouch, minor surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $600-800 299 Carl Kauba (American/Austrian, 1865-1922) Chief on Horseback Signed “C. Kauba” in the bronze l.r.

Cold-painted bronze with a dark brown patina, 13 x 5 1/2 x 10 1/2 in. (33.0 x 13.9 x 26.6 cm), presented on a marble plinth.

Condition: Surface grime.

299

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $1,500-2,500

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300

300 Carl Kauba (American/Austrian, 1865-1922) Defending the Encampment Signed “Kauba” in the bronze on the hip of the figure with a bow, stamped “GESCHÜTZT/5603” and bearing a Bergmann foundry mark on the side of the teepee.

Cold-painted bronze with a golden brown patina, 14 1/2 x 14 1/4 x 19 in. (36.8 x 36.1 x 48.2 cm).

Condition: Surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $1,500-2,500

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301

301 Carl Kauba (American/Austrian, 1865-1922) Indian Warriors Signed “Kauba” in the bronze l.r., stamped “GESCHÜTZT 5309” l.l.

Cold-painted bronze with a red-brown patina, 12 x 8 1/2 x 28 1/2 in. (30.4 x 21.5 x 72.3 cm), presented on a marble plinth.

Condition: Surface grime.

Provenance: The collection of Dr. Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon. $800-1,200

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302

303

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304

302 Dodge Macknight (American, 1860-1950) Village Path, Mexico Signed “Dodge Macknight” within a circle l.r.

Watercolor on paper, 15 1/4 x 22 1/8 in. (38.8 x 56.3 cm), framed.

Condition: Rippling, affixed to window mat with brown paper tape at top and bottom edges, tack hole to l.l. corner. $1,500-2,000

303 Joseph Roy (J.R.) Willis (American, 18761960)

304 James Edward Fitzgerald (American, 18991971)

Yaki Point, Grand Canyon Signed and inscribed “J.R. Willis/Yaki Point/ Grand Canyon, Ariz” l.r.

Oil on canvas, 16 x 20 in. (40.7 x 51.0 cm), in a period frame.

Condition: Craquelure, surface grime. $500-700

Monterey Ranch Unsigned, numbered “768” on the reverse, titled on a statement of authenticity from Anne M. Hubert (see below).

Watercolor on paper, 19 1/2 x 24 in. (49.5 x 60.9 cm), framed.

Condition: Hinged to window mat with tape at top edge of the reverse, foxing, mat burn.

N.B. The lot is accompanied by a statement of authenticity signed by Anne M. Hubert, dated 1997. $3,000-5,000

Online bidding at www.skinnerinc.com

77

305 Victor Higgins (American, 1884-1949) On the Way Home Signed “V. Higgins” l.l., identified on labels from Fenn Galleries Ltd., and Nedra Matteucci Galleries, both of Santa Fe, and Robert L. Parsons Fine Art, Taos, affixed to the frame backing.

Oil on canvas mounted to board, 17 7/8 x 13 7/8 in. (45.3 x 35.0 cm), framed.

Condition: Minor retouch.

N.B. The Robert L. Parsons Fine Art label provides a date of c. 1912 for this work. $2,000-3,000 306 Knute (Sven August) Heldner (American, 1877-1952) Fishing on a Quiet River Signed “Knute Heldner” l.l.

Oil on canvas, 20 x 27 in. (50.8 x 68.4 cm), framed.

Condition: Paint losses to u.l. quadrant, surface grime.

Provenance: Purchased from the artist, by family descent to the current owner. $5,000-7,000

305

306

78

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307

307 Thomas Hart Benton (American, 18891975) Deckhands Loading Cargo at a Wharf Signed “Benton” in pencil l.r.

Pencil, ink, and wash on paper, 11 13/16 x 9 in. (29.8 x 23.0 cm), framed.

Condition: Laid down on paperboard support, mat burn, toning.

N.B. The work likely dates from Benton’s 1928 trip across the United States with Bill Hayden and was probably executed in New Orleans. A similar drawing is reproduced in “Thomas Hart Benton’s America Today,” Metropolitan Museum of Art Bulletin, by Randall R. Griffey, Metropolitan Museum of Art, New York, Winter 2015, p. 26. $7,000-9,000

Online bidding at www.skinnerinc.com

79

308

308 Dennis Sheehan (American, b. 1950) Autumn Dusk Unsigned.

Oil on canvas, 20 x 24 in. (50.5 x 60.5 cm), framed.

Condition: Good. $1,000-1,500

80

Additional information and photos at www.skinnerinc.com

309

309 William Matthews (American, 1878-1966) Lone Tree Signed “MATTHEWS” l.r.

Oil on canvas, 38 x 44 in. (96.5 x 111.7 cm), framed.

Condition: Extensive craquelure in the upper half, surface grime. $2,000-3,000 310 Dennis Sheehan (American, b. 1950)

310

Road by Autumn Fields Signed “sheehan” l.r.

Oil on canvas, 12 x 18 in. (30.5 x 45.0 cm), framed.

Condition: Good. $800-1,200

Online bidding at www.skinnerinc.com

81

311

312

82

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313

311 Joseph Eliot Enneking (American, 18811942) Mountain Road Signed “J. Eliot Enneking” l.r., titled on labels from Magnolia Art Gallery, Gloucester, Massachusetts, and Portland Society of Art, Portland, Maine, affixed to the reverse.

Oil on canvasboard, 15 7/8 x 19 5/8 in. (40.3 x 50.0 cm), in a period frame.

Condition: Minor surface grime. $4,000-6,000

312 Hillary Osborn (American, b. 1965) The Lone Cedar Signed and dated “osborn 03” l.l., titled, inscribed, and signed “...N. Falmouth MA/H. Osborn” on the stretcher.

Oil on canvas, 24 x 30 in. (60.9 x 76.2 cm), framed.

Condition: Good. $700-900

313 Charles Herbert Woodbury (American, 1864-1940) Ogunquit Fall Signed “Charles H. Woodbury” l.l., titled and inscribed “...About 1925?” on the stretcher, stamped “Charles H. Woodbury” and numbered “92” on the reverse, identified on a label from The Cooley Gallery, Old Lyme, Connecticut, affixed to the frame backing.

Oil on canvas, 17 1/4 x 21 1/4 in. (43.8 x 53.8 cm), framed.

Condition: Craquelure.

Provenance: Skinner, Inc., American & European Paintings & Prints, May 16, 2003, Sale 2194, Lot 298. $2,500-3,500

Online bidding at www.skinnerinc.com

83

314

314 David Adolf Constant Artz (Dutch, 18371890) A Street in Old Delft, Holland Signed and dated “ARTZ.1875� l.r., identified on an unattributed label affixed to the reverse.

Oil on panel, 16 1/8 x 13 in. (41.0 x 33.0 cm), framed.

Condition: Minor retouch. $1,500-2,500

84

Additional information and photos at www.skinnerinc.com

315

315 George Ames Aldrich (American, 18721941) The Flowered Bridge, Quimperlé Signed “G. Ames Aldrich” l.r., titled on the reverse.

Oil on artist board, 20 x 23 3/4 in. (51.0 x 60.3 cm), framed.

Condition: Good. $10,000-15,000

Online bidding at www.skinnerinc.com

85

316

316 Emile Albert Gruppé (American, 1896-1978) Rainy Day Vermont Signed “Emile A. Gruppé” l.r., titled on the stretcher u.c., identified on a label from the Rockport Art Association, Rockport, Massachusetts, affixed to the stretcher at u.r.

Oil on canvas, 30 1/4 x 36 in. (76.8 x 91.4 cm), framed.

Condition: Good. $8,000-12,000

86

Additional information and photos at www.skinnerinc.com

317

317 Emile Albert Gruppé (American, 1896-1978) After the Rain Signed “Emile A Gruppe” l.r., identified in an inscription on the stretcher.

Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), framed.

Condition: Minor surface grime. $3,000-5,000

Online bidding at www.skinnerinc.com

87

318

319

88

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320

318 William Lester Stevens (American, 18881969) Winter Stream Signed “W. LESTER STEVENS. N.A.” l.r., with a partial printed label from Ruth Wolfson, New Jersey, affixed to the back of the frame.

Oil on canvas, 25 x 30 in. (63.0 x 75.8 cm), framed.

Condition: Tear to c.r. edge, small puncture to l.r. corner, canvas rippling, striation to paint surface along right side edge, areas of craquelure, surface grime. $1,000-1,500

319 Dennis Sheehan (American, b. 1950)

320 Victor Kotov (Russian, b. 1927)

Winter Stream at Sundown Signed “sheehan” l.r.

Oil on canvas, 24 x 30 in. (60.8 x 75.5 cm), framed.

Condition: Good. $1,500-2,500

Moscow Suburbs Signed and inscribed in Cyrillic l.r., further inscribed in Cyrillic on the reverse, titled on a printed label affixed to the reverse.

Oil on cardboard, sight size 11 1/2 x 15 1/2 in.

(28.5 x 39.3 cm), framed.

Condition: Loss to u.c. edge, minor retouch, tack holes in corners, rippling to the support. $2,000-3,000

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89

321

321 Hillary Osborn (American, b. 1965) Winter on Pamet River Signed and dated “osborn 03� l.r.

Oil on canvas, 30 x 40 in. (76.2 x 101.6 cm), unframed.

Condition: Good.

N.B. The location of this scene was provided by the consignor. $700-900

90

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322

322 Churchill Ettinger (American, 1903-1984) Fresh Powder Signed “Churchill Ettinger� l.r.

Oil on canvas, 36 x 56 in. (91.4 x 142.2 cm), framed.

Condition: Surface grime. $4,000-6,000

Online bidding at www.skinnerinc.com

91

323

323 William Zorach (American, 1887-1966) Coastal Maine Landscape with White House Signed “Zorach” in ink l.r.

Watercolor on paper, 15 1/2 x 22 1/2 in. (39.5 x 57.3 cm), framed.

Condition: Crease to l.l. corner, subtle fading and handling creases, tack holes to corners, brown paper tape remnants and glue residue around the edges of the reverse, hinged on the reverse in two places to foamcore backing.

Provenance: Gift from artist Mildred Bent, to the current owner by family descent. $2,000-3,000

324

324 Hamilton Hamilton (American, 1847-1928) Morning in the Village, Autumn Signed “Hamilton Hamilton N.A.” l.l.

Oil on canvas, 20 x 30 in. (50.7 x 67.2 cm), framed.

Condition: Retouch to sky, craquelure. $3,000-5,000

92

Additional information and photos at www.skinnerinc.com

325

325 Edward Henry Potthast (American, 18571927) Rocky Landscape Signed “E Potthast” l.r.

Watercolor with gouache on board, 21 1/4 x 24 3/4 in. (53.9 x 62.8 cm), framed.

Condition: Fine craquelure l.r., foxing, board taped to window mat on reverse at all four sides.

Exhibitions: The Art of Edward Henry Potthast, The Evansville Museum of Arts and Sciences, Evansville, Indiana, March 16–April 13, 1975.

N.B. This work will be included in the forthcoming catalogue raisonné by Mary L. Ran. $2,000-3,000 326 John Whorf (American, 1903-1959)

326

Lighthouse Signed “John Whorf” l.r., with a second composition on the reverse.

Watercolor on paper, 15 1/2 x 20 1/2 in. (39.3 x 52.0 cm), framed.

Condition: Hinged to mat with tape affixed to reverse at upper corners, pinholes u.l. and l.l., adhesive residue l.r. and along the perimeter of the reverse, adhesive abrasions along the perimeter of the reverse.

N.B. Upon examination for cataloging, a second watercolor landscape of a boat at dock was noted on the reverse of the sheet. $2,500-3,500

Online bidding at www.skinnerinc.com

93

327 Edward Henry Potthast (American, 18571927) Summer-Nude Study II Signed “E Potthast” l.r., titled and inscribed “…/E Potthast” on the reverse, identified on a label from Rochester Art Club affixed to the reverse.

Oil on canvasboard, 9 x 7 in. (22.8 x 17.7 cm), framed.

Condition: Losses at all four corners and along top edge, craquelure, lifting at u.c., bulges along lower edge.

Exhibitions: Forty-first Annual Exhibition, Rochester Art Club Memorial Gallery, 1924.

N.B. This work will be included in the forthcoming catalogue raisonné by Mary L. Ran. $3,000-5,000 328 Jessie Benton Evans (American, 18661954)

327

Aspens Along the River’s Edge Signed and dated “Jessie Benton Evans ‘22” l.r.

Oil on canvas, 24 x 29 in. (60.9 x 73.6 cm), framed.

Condition: Mold on the reverse, bulges along perimeter, craquelure. $2,000-3,000

328

94

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329

329 Hachiro Nakagawa (Japanese, 1877-1922) Shoreline with Cherry Blossoms Signed and dated “H. Nakagawa/1919” l.r.

Oil on canvas, 18 x 24 in. (45.7 x 60.9 cm), framed.

Condition: Bulge l.r., scattered retouch u.r., frame abrasions, small losses in u.l. quadrant, vertical stretcher mark at center, surface grime. $2,000-3,000 330 J. Philip Richards (American, 1906-1991)

330

Eggemoggin Reach/A Coastal Maine View Signed “J. Philip Richards” l.l.

Oil on Masonite, 36 x 48 in. (91.0 x 122.0 cm), unframed.

Condition: Wear to the edges of the Masonite, scattered specks of black paint which seem to be original to the work.

Provenance: By descent through the family of the artist.

N.B. The location of the scene was provided by the artist’s family. $1,200-1,800

Online bidding at www.skinnerinc.com

95

331

332

96

Additional information and photos at www.skinnerinc.com

333

331 Walter Farndon (American, 1876-1964)

332 Harry Leith-Ross (American, 1886-1973)

Harbor View with Schooners and Cottages Signed “WALTER FARNDON N.A.” l.l.

Oil on board, 26 x 30 1/2 in. (66.0 x 77.5 cm), framed.

Condition: Surface grime. $2,500-3,500

Barn Buildings with Telephone Pole Signed “Leith-Ross” l.r.

Watercolor on paper, sight size 14 x 19 1/4 in.

(35.6 x 49.0 cm), framed.

Condition: Possible toning, not examined out of frame. $800-1,200

333 James Edward Fitzgerald (American, 18991971) Peggy’s Cove, Nova Scotia Unsigned, numbered “693” on the reverse u.r., titled on a statement of authenticity from Anne M. Hubert (see below).

Watercolor on paper, 22 3/4 x 31 in. (57.5 x 78.5 cm), framed.

Condition: Hinged to window mat with tape at top edges on the reverse, pinholes at l.l. and l.r. corners, toning to reverse of sheet, tape residue at top edge of the reverse, mat burn, foxing visible under blacklight at center and c.r.

N.B. The lot is accompanied by a statement of authenticity signed by Anne M. Hubert, dated 1996. The sale of this lot will benefit Massachusetts Horticultural Society. $4,000-6,000

Online bidding at www.skinnerinc.com

97

334

335

98

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336

334 Malcolm Morley (British, b. 1931)

335 Carl Ivar Gilbert (American, 1882-1959)

La Palma Signed “Malcolm Morley” in pencil l.l., identified and dated “1998” on a label from Sperone Westwater, New York, affixed to the backing.

Watercolor on paper, sheet size 21 x 29 in.

(53.4 x 73.7 cm), framed.

Condition: The sheet appears to have slipped in the frame, not examined out of frame.

Hudson River Signed “C. IVAR GILBERT” l.r.

Watercolor on paper, sight size 13 x 20 in.

(33.0 x 50.8 cm), framed.

Condition: Pinhole u.l., surface grime, not examined out of frame.

Provenance: Purchased from Sperone Westwater; Estate of Richard E. Anderson, New York, New York/Redding, Connecticut. $3,000-5,000

Provenance: Mutual Benefit Life Insurance Company, Newark, New Jersey, gifted to the father of the current owner.

N.B. This work was purportedly on the cover of a calendar published by the Mutual Benefit Life Insurance Company, Newark, New Jersey. $1,000-1,500

336 James Edward Fitzgerald (American, 18991971) Gulls in Flight Signed “James Fitzgerald” l.r., titled on a statement of authenticity from Anne M. Hubert (see below).

Oil on canvasboard, 15 x 19 1/8 in. (38.1 x 48.5 cm), framed.

Condition: Small paint losses at u.c., surface grime.

N.B. The lot is accompanied by a statement of authenticity signed by Anne M. Hubert, dated 1995. $5,000-7,000

Online bidding at www.skinnerinc.com

99

337

337 Nikolai Sergeyev (Russian, 1908-1989) Resting Signed in Cyrillic and dated “...49” l.r., titled on an unattributed label affixed to the frame backing.

Oil on canvas mounted to paperboard, 8 x 10 in. (21.0 x 25.7 cm), framed.

Condition: Bowing to the paperboard support, canvas separating from board at u.r. corner. $1,500-2,500 338 Kuzma Vasilevic Nikolaev (Russian, 18901972) Milk Maid Initialed in Cyrillic “KH” l.r., identified and dated “1950’s” in an inscription on the frame backing, with a label from Windsor Betts Fine Art Brokerage House, Santa Fe, affixed to the frame backing.

Oil on canvas, 7 x 4 1/4 in. (18.0 x 10.7 cm), framed.

Condition: Laid down onto paperboard support, not examined out of frame. $1,000-1,500

338

100

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339

339 Dimitri Nalbandian (Russian, 1906-1993) River Landscape with Distant City Signed in Cyrillic and dated “...80.” l.r., stamped in Cyrillic and English “...Russian Austrian Joint Venture/Universal Art/ Moscow...” and dated “5-11/96” in ink on the reverse.

Oil on pressed paperboard, 7 7/8 x 14 1/8 in.

(20.0 x 35.7 cm), framed.

Condition: Losses to three corners.

Provenance: Acquired from the family of the artist. $7,000-9,000

Online bidding at www.skinnerinc.com

101

340

340 Josif Josifovic Boksay (Ukrainian, 18911975)

341 George Elmer Browne (American, 18711946)

342 Hermann Dudley Murphy (American, 18671945)

Village Life, Autumn Signed “Boksay” l.r.

Oil on canvas, 26 x 32 in. (66.0 x 81.2 cm), framed.

Condition: Craquelure, pinholes around perimeter of canvas, frame abrasions, surface grime. $1,800-2,200

The Docks, Chioggia, Italy Signed “Geo Elmer Browne” l.r., titled and signed “...Geo Elmer Browne N.A.” on the reverse.

Oil on board, 10 1/2 x 13 3/8 in. (26.8 x 34.0 cm), framed (under glass).

Condition: Not examined out of frame. $2,000-3,000

The Gulf Stream Signed “H.Dudley Murphy” l.r., titled, signed, and dated “…/H.Dudley Murphy/1923” on the reverse.

Oil on panel, 12 x 16 in. (30.4 x 40.6 cm), framed.

Condition: Horizontal cracks in panel, craquelure, paint loss l.r., frame abrasions u.r., scattered retouch. $1,000-1,500

102

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341

342

Online bidding at www.skinnerinc.com

103

343

343 Arthur Clifton Goodwin (American, 18641929) Cove in Winter Unsigned.

Pastel on paperboard, 19 1/8 x 23 1/8 in.

(48.5 x 58.7 cm), framed.

Condition: Foxing, wear along the edges, losses at u.r. corner and l.c., small tear to c.r. edge. $1,000-1,500

104

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344

344 James Edward Fitzgerald (American, 18991971) Late Afternoon, Vermont Signed “James Fitzgerald” l.r., numbered “199” on the reverse u.r., identified on a typed label affixed to the frame backing.

Watercolor on paper, 20 1/16 x 25 5/8 in.

(51.0 x 65.0 cm), framed.

Condition: Hinged to window mat with tape on the reverse, foxing, pinholes, mat burn and adhesive residue around perimeter of the sheet, accretion at l.c.

N.B. The lot is accompanied by a statement of authenticity signed by Anne M. Hubert, dated 2003. $3,000-5,000

Online bidding at www.skinnerinc.com

105

345

346

106

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347

345 Eric Sloane (American, 1905-1985)

346 Eric Sloane (American, 1905-1985)

347 Eric Sloane (American, 1905-1985)

Pennsylvania Signed “Eric SLOANE NA” l.l., titled and signed “…/Eric SLOANE” on the reverse.

Oil on Masonite, 23 x 30 1/4 in. (58.4 x 76.8 cm), framed.

Condition: Surface grime.

New England Winter Signed “Eric Sloane/NA” l.r., titled and signed “.../Eric Sloane” on the reverse.

Oil on Masonite, 18 x 23 7/8 in. (45.5 x 60.5 cm), framed.

Condition: Good.

Autumn Signed “Eric SLOANE/NA” l.l., titled and signed “…/Eric SLOANE” on the reverse.

Oil on Masonite, 18 x 24 in. (45.7 x 60.9 cm), framed.

Condition: Surface grime.

Provenance: A private Florida collection. $8,000-12,000

Provenance: A private Florida collection. $7,000-9,000

Provenance: A private Florida collection. $8,000-12,000

Online bidding at www.skinnerinc.com

107

348

349

108

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350

348 Wolf Kahn (German/American, b. 1927) Blue Barn Signed “W Kahn” l.c.

Pastel on paper, sight size 21 x 29 1/8 in.

(53.5 x 74.0 cm), framed.

Condition: Not examined out of frame.

Provenance: The estate of Joan Sonnabend, Boston, Massachusetts. $1,500-2,500

349 Laurence Philip Sisson (American, 19282015) Morning Sun at Southport Signed “L Sisson” l.l., signed, titled, and identified “Laurence P Sisson/.../from the SILVER ANNIVERSARY EXHIBITION MARCH 16, 1973/SHORE GALLERIES, BOSTON, MASS.” on the stretcher.

Oil on Masonite, 13 3/4 x 29 3/4 in. (34.9 x 75.5 cm), framed.

Condition: Good.

350 Susan Barnes (American, b. 1950) Tide Titled and signed “…/S. Barnes” on the reverse.

Oil and collage on board, 29 7/8 x 41 7/8 in.

(76.0 x 106.5 cm), unframed.

Condition: Minor surface loss to u.l. edge. $1,500-2,000

Exhibitions: Silver Anniversary Exhibition, Shore Galleries, Boston, March 16, 1973. $800-1,200

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109

351 J. Philip Richards (American, 1906-1991) The River House, Kennebunk Signed “J.PHILIP.RICHARDS.” u.l., inscribed “PHIL/RICHARDS” on the reverse.

Oil on Masonite, 46 x 36 in. (116.8 x 91.4 cm), framed.

Condition: Surface grime, small abrasions throughout, scratch l.r., frame abrasions.

Provenance: By descent through the family of the artist.

N.B. The location of the scene was provided by the artist’s family. $2,000-3,000 352 Ernest Townsend (American, 1893-1945) Ashore by the Cliffs Signed “Ernest TOWNSEND” l.r.

Oil on canvas, 40 1/2 x 30 1/4 in. (102.7 x 77.0 cm), framed.

Condition: Lined, stretcher replaced. $2,500-3,500 351

353 Pleasant Ray McIntosh (American, 18971985) Train Yard Signed and dated “PR./McInTosh/1927” l.r.

Oil on canvas laid down on board, 28 x 31 in.

(71.1 x 78.7 cm), framed.

Condition: Surface grime, small dents to l.r., small tears and abrasions to l.l. and u.l., craquelure at c.r. $3,000-5,000

352

110

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353

354 Karl Zerbe (American, 1903-1972) Terrace in Taxco Signed “Zerbe” l.r., signed and identified “Zerbe/Taxco/Bos Dez 1937” on the reverse, label from The American Federation of the Arts, New York, affixed to the reverse of the frame.

Encaustic and oil on Masonite, 40 1/4 x 26 1/4 in. (102.2 x 66.6 cm), framed.

Condition: Craquelure throughout, lifting, paint losses u.l. and l.r., frame abrasions.

Provenance: The collection of Horst W. Janson to his son, Anthony F. Janson, then by gift to the current owner.

Exhibitions: Karl Zerbe Retrospective, The American Federation of the Arts, New York, New York, traveling exhibition, March 1961– March 1963, no. 60-36.

N.B. H.W. Janson and Anthony Janson are best known for their book History of Art, a staple in art history survey courses. $2,000-3,000

354

Online bidding at www.skinnerinc.com

111

355

356

112

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357

355 Vladimir Lebedev (Russian/American, 1910-1991) Mansion by the Sea Unsigned, stamped “ESTATE OF/V.L./ VLADIMIR LEBEDEV” on the reverse.

Oil on artist board, 8 3/4 x 11 7/8 in. (22.7 x 30.3 cm), framed.

Condition: Subtle surface grime. $1,000-1,500

356 Allen Tucker (American, 1866-1939) Church on the Dunes Signed “Allen Tucker” l.r., titled on the stretcher u.l., identified on a label affixed to the reverse of the frame l.l.

Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed.

Condition: Surface grime, small abrasions l.l. and c.r., frame abrasions, small cracks l.l., stretcher marks at upper edge. $800-1,200

357 David Davidovich Burliuk (American/ Ukrainian, 1882-1967) Sunflowers in an Urban Garden Signed and dated indistinctly “Burliuk/19...” l.l.

Oil on canvas, sight size 20 3/4 x 31 in. (52.7 x 78.5 cm), framed.

Condition: Craquelure.

N.B. This painting has been reviewed and accepted for the David Burliuk catalogue raisonné. $5,000-7,000

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113

358

358 Arthur Clifton Goodwin (American, 18661929) Tremont Mall, Boston Signed “A.C. Goodwin” l.l., inscribed “AC Goodwin Tremont Mall Boston” on the stretcher.

Oil on canvas, 19 x 24 1/4 in. (48.2 x 61.5 cm), framed.

Condition: Craquelure throughout, tenting, small areas of retouch along right edge of canvas. $5,000-7,000

114

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359

359 Guy Carleton Wiggins (American, 18831962) Mid-town, 5th Avenue, Winter Signed “Guy Wiggins NA” l.r., titled and signed “...Guy Wiggins NA” on the reverse.

Oil on canvas, 25 x 30 in. (63.3 x 76.0 cm), framed.

Condition: Scattered small paint losses and areas of flaking, fine craquelure, drying cracks, minor surface grime.

Provenance: From the artist to his student Pauline Plume of Watertown, Connecticut, to the current owner by descent. $25,000-35,000

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115

360

360 Charles Edwin Lewis Green (American, 1844-1915) Boston Common Looking Towards Beacon Street Signed “C.E.L.Green� l.r., titled in ink on the stretcher.

Oil on canvas, 14 x 18 in. (35.8 x 45.7 cm), framed.

Condition: Retouch, craquelure, surface grime. $1,500-2,500

116

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361

361 Harry Lane (American, 1891-1973) Central Park, New York City Signed “H.Lane� l.r.

Oil on Masonite, 20 x 17 in. (50.5 x 43.0 cm), framed.

Condition: Two small dots of retouch to l.c., surface grime.

Provenance: Descended in the family of Muriel Erickson Howe. $3,500-5,500

Online bidding at www.skinnerinc.com

117

362

362 Luigi Loir (French, 1845-1916) Paris in the Rain Signed “Loir Luigi� l.r.

Oil on canvas, 16 x 23 3/4 in. (40.0 x 60.0 cm), framed.

Condition: Retouch, dent and small paint loss at center, stretcher marks, frame abraisons. $8,000-12,000

118

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363

363 Henri-Jean Guillaume Martin (French, 1860-1943) Les Fumées Signed “Henri Martin” l.l., identified in documents issued by Wally F Galleries, New York (see N.B.).

Oil on canvas, 25 1/2 x 19 5/8 in. (65.0 x 50.0 cm), framed.

Condition: Good.

Provenance: The estate of Walter F. Goodman.

N.B. The painting is accompanied by two written guarantees from Wally F Galleries, New York, one signed “...Findlay” and dated January 1966, the second signed “Walstein C. Findlay, Jr.” and dated February 9, 1966. $60,000-80,000

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119

364

120

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364 Henri-Jean Guillaume Martin (French, 1860-1943) La Tour de Collioure Signed “Henri Martin” l.r., titled on a presentation plaque, dated to c. 1920 on a certificate that accompanies the work (see N.B.).

Oil on canvas, 35 3/8 x 43 1/4 in. (90.0 x 110.0 cm), framed.

Condition: Lined.

Provenance: Acquired directly from the artist in the 1920s; private collection, London; Hammer Galleries, New York; to the current private collection.

N.B. Originally from Toulouse, Henri-Jean Guillaume Martin ventured to Paris in 1879 to further his art studies. In 1885, he traveled to Italy and painted with artists Edmond Aman-Jean and Ernest Laurent who were experimenting with the pointillist painting technique employed by their close friend Georges Seurat. In this method, artists applied color in small, individual brushstrokes. The dots of color were meant to mix in the eye of the viewer to approximate the quality of natural light. Martin returned to Paris in 1889 and focused his efforts on landscape compositions using the short, feathery brush strokes of fragmented color that he had adopted in Italy.

In 1900, Martin purchased a home in the south of France nears the city of Cahors. He spent May through November there for the rest of his life, painting vibrant, sunny views of charming stone buildings, stands of poplars, and scenes from his day trips throughout the region. In this sweeping view of the bay in the village of Collioure in southwest France, Martin captured the intense hues of summer light on the Mediterranean town and beach in the foreground and on the Pyrenees mountains rising in the distance. The tower of the church of Notre-Dame-des-Anges, which served as both a lighthouse and a bell tower, sits to the right of the shoreline. Martin probably painted this canvas around 1920 and may have been familiar with works done by Henri Matisse and André Derain in Collioure in 1905.

The work is accompanied by a photocertificate from Cyrille Martin, son of Jacques Martin-Ferrières and only grandson of the artist. $250,000-350,000

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365

365 Edward Brian Seago (British, 1910-1974) Champs Élysées, Paris Signed “Edward Seago” in pencil l.l., identified on a label from Kennedy & Co. Rare Prints, New York, affixed to the backing board.

Watercolor on paper, sight size 7 x 10 in. (17.7 x 25.4 cm), framed.

Condition: Minor buckling and foxing, not examined out of frame.

Provenance: Purchased in New York City in the early 1950s by the aunt of the current owner.

N.B. The label from Kennedy & Co. Rare Prints, New York, reads: “ORIGINAL WATER COLOR DRAWING BY EDWARD SEAGO, CONTEMPORARY BRITISH ARTIST. NO. 3 IN HIS FIRST NEW YORK EXHIBITION, APRIL, 1952.” $1,000-1,500 366 Vladimir Lebedev (Russian/American, 1910-1989)

366

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City Street Scene Unsigned, stamped “ESTATE OF VL VLADIMIR LEBEDEV” on the reverse.

Oil on board, 12 x 9 in. (30.4 x 22.8 cm), framed.

Condition: Varnish discoloration, surface grime. $1,200-1,800

367

367 Filippo de Pisis (Italian, 1896-1956) Piazza Beccaria a Milano Signed “Pisis� within the composition l.r., titled and dated to 1940 by the Associazione per Filippo de Pisis.

Oil on canvas, 31 5/8 x 23 3/4 in. (80.5 x 60.3 cm), framed.

Condition: Lined, surface grime.

N.B. The painting has been reviewed in person, authenticated, and archived as number 04717 by the Associazione per Filippo de Pisis in Milan. Their letter accompanies the lot. A copy of the invoice from Mrs. Teresa Ventura from 1954 also accompanies the lot. $12,000-18,000

Provenance: Collection of Gustave and Marion Ring, Washington, D.C., purchased November 16, 1954, from Teresa Ventura, Florence, Italy, to the current owner by family descent.

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368

368 István Csók (Hungarian, 1865-1961) Roses Signed “CSÓKi” l.l.

Oil on panel, 10 3/16 x 12 1/2 in. (25.8 x 31.7 cm), framed.

Condition: Horizontal cracks to the panel, abrasions u.r. and c.l., surface grime. $1,000-1,500 369 Paul-Émile Pissarro (French, 1884-1972)

369

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Arbres sous le gel Signed “Paulémile Pissarro” l.l., identified on a label and on a copy of a certificate of authenticity signed by Katia Pissarro, January 23, 1988, both affixed to the backing board.

Pastel on paper, 9 3/4 x 12 1/8 in. (24.7 x 30.7 cm), framed.

Condition: Hinged to mat with tape at upper corners. $1,000-1,500

370

370 Walter Griffin (American, 1861-1935) The Bridge Inscribed and signed “.../GRIFFIN” l.r., identified and dated “...c. 1913” on a label from Vose Galleries of Boston affixed to the frame backing, and with a label from The Arnot Art Gallery, Elmira, New York, affixed to the frame backing.

Pastel on paper, 11 1/2 x 14 in. (29.4 x 35.5 cm), framed.

Condition: Not examined out of frame. $1,000-1,500 371 Jules René Hervé (French, 1887-1981)

371

Bassin Tuileries, Louvre Signed “Jules R. Hervé” l.l. and on the reverse, titled on a label from Dominion Gallery, Montreal, affixed to the stretcher.

Oil on canvas, 18 x 21 1/2 in. (46.0 x 55.0 cm), framed.

Condition: Fine craquelure, natural pigment fluorescence. $3,000-5,000

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125

372 William Merritt Chase (American, 18491916) Lady in Black (Lillian Westcott Hale) Signed “Wm M Chase” l.l., faint second signature c.l., identified on labels from Spanierman Gallery, New York, and The Athenaeum, Alexandria, Virginia, affixed to the frame backing.

Oil on canvas, 30 x 24 in. (76.5 x 61.0 cm), in a period frame.

Condition: Lined, retouch, signature at l.l. partially reinforced.

Provenance: Chase family collection; Estate of Alice Chase (wife of the artist), 1927; Newhouse Galleries, St. Louis; Martha Simkins, Texas; Ms. Marie Simkins Brannin and Margaret E. Simkins; Mr. Roland W. Jones, Dallas, Texas; Sotheby Parke Bernet, Inc., New York, sale #4038, October 27, 1977; Annella Brown, MD, Boston, Massachusetts; private collection, Worcester, Massachusetts to 1991; private collection, Virginia to 2015; to the current private collection.

Literature: Newhouse Galleries, St. Louis, Missouri, Paintings by William Merritt Chase, 1927, as Lady in Black; Ronald C. Pisano, completed by Carolyn K. Lane and D. Frederick Baker, William Merritt Chase: Portraits in Oil (New Haven, Connecticut, and London: Yale University Press, 2006), as OP. 555, p. 262 (illus.) as Lady in Black, Lillian Westcott Hale, c. 1914.

372

Exhibitions: Ferargil Galleries, New York, Exhibition of Paintings by William Merritt Chase, March, 1927; Newhouse Galleries, St. Louis, Missouri, Paintings by William Merritt Chase, N.A. LL.D. Memorial Exhibition, March 25–April 25, 1927; The Fine Art Society of San Diego, Los Angeles, California, A Collection of Paintings by William Merritt Chase, November 11–30, 1927; The Athenaeum, Northern Virginia Arts Association, Alexandria, Virginia, William Merritt Chase, May 24–31, 1992; Spanierman Gallery, New York, William Merritt Chase: Master of American Impressionism, November 1, 1994–January 31, 1995.

N.B. The lot is accompanied by a copy of an email from Fred Baker dated February 27, 2007, confirming that the painting is reproduced in Ron Pisano’s catalogue raisonné and that the sitter is Lilian Westcott Hale (American, 1881-1963). The entry in the catalogue raisonné dates the portrait to c.

1914. $40,000-60,000

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373 John Singer Sargent (American, 1856-1925) Lady Poole (Michelle Peveril Le Mesurier) Signed “John S. Sargent” l.l., dated “1913” l.r.

Charcoal on paper, 23 5/8 x 18 7/8 in. (60.0 x 48.0 cm), framed.

Condition: Paper affixed to paperboard support around the edges of the reverse, but not fully laid down, acid burn to edges of the sheet, with a partial label from Chapman Brothers, Carvers, Gilders, and Frame Makers (London), on the frame backing.

Provenance: Lady Poole, United Kingdom, 1913; to her daughter Mrs. Charles Larcum; to her daughter M.E.A.W. Rowe until 1981; to Sotheby’s London, June 10, 1981, as Lot 33, illustrated p. 24; through to the estate of Elaine Sargent (Mrs. Daniel Sargent), New York.

Literature: David McKibbin, Sargent’s Boston: With an essay & a biographical summary & a complete checklist of Sargent’s portraits (Boston: Museum of Fine Arts, 1956), p. 116.

373

N.B. This charcoal drawing has been accepted by the John Singer Sargent Catalogue Raisonné as a genuine work by the artist. We would like to thank the John Singer Sargent Catalogue Raisonné for assistance in cataloging this work.

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 1. Sargent Portrait Drawings, Forty-two Works by John Singer Sargent, Selected and with an introduction by Trevor J. Fairbrother (New York: Dover Publications, 1983), unpaginated.

$50,000-70,000

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374

375

374 Abbott Handerson Thayer (American, 18491921) Mary, A Portrait of the Artist’s Daughter Incised signature “A.H. Thayer” l.l., titled on a label affixed to the back of the frame.

Oil on canvas, 15 7/8 x 10 in. (40.5 x 25.3 cm), framed.

Condition: Lined, minor retouch, craquelure. $2,000-3,000

128

375 Agnes M. Richmond (American, 1870-1964) Profile of a Seated Girl Reading Stamped “Estate of AGNES MILLEN RICHMOND” on the reverse, with stamped signature “ARichmond” and an Elliot Galleries inventory stamp numbered “AR #444” also on the reverse.

Oil on canvas, 24 x 18 in. (60.8 x 45.5 cm), framed.

Condition: Lined. $1,500-2,500

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376

376 Ernest Lee Major (American, 1864-1950) Melisande, alternatively titled Girl with a Ring Unsigned, identified on labels from Jordan Marsh Company, Hirschl & Adler Galleries, New York, and Vose Galleries, Boston, in an envelope attached to the reverse.

Pastel on paper, sight size 25 1/4 x 19 3/4 in.

(64.1 x 50.1 cm), framed.

Condition: Pinholes at corners, c.l., and c.r., not examined out of frame.

Exhibitions: Thirteenth Annual Exhibition of Paintings, Jordan Marsh Company, May 11– May 23, 1942. $2,500-3,500

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129

377 Arthur Clifton Goodwin (American, 18661929) Statue Vendor Signed “A.C. Goodwin” l.r., identified on a loan label from the Museum of Fine Arts, Boston, affixed to the frame.

Oil on canvas, 44 x 38 1/4 in. (111.7 x 97.1 cm), framed.

Condition: Canvas with wax or similar applied to the reverse, fine, stable craquelure, surface grime.

377

Exhibitions: A.C. Goodwin, 1866-1929, Museum of Fine Arts, Boston, July 15–August 25, 1974, cat. no. 44. $5,000-7,000 378 Mortimer Luddington Menpes (British, 1855-1938) Two Portrait Sketches of J.A.M. Whistler: Face Three-quarter View and Profile with Arms Folded Both signed “Mortimer Menpes” l.r. and with Menpes collector’s marks on the reverse, Profile inscribed “Ever Young/J.A.McN. Whistler” in red/brown ink l.l.

Charcoal and chalk on blue paper, 19 1/4 x 14 in. (48.5 x 35.5 cm), matted, unframed.

Condition: Both with horizontal center creasing, minor soiling and rippling to the edges, small remnants of old hinges on the reverse, Profile irregularly trimmed along the l.r. edge, Face with small loss to u.r. corner of the sheet.

N.B. Menpes set off on a sketching tour of Brittany, France, in 1880 and thereby met James McNeill Whistler, becoming his pupil and at one stage sharing a flat with him at Cheyne Walk on the Embankment in London.

The two artists remained lifelong friends. $1,500-2,000

378 partial

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379

379 Edward Field Sanford the Younger (American, 1886-1951) Four Lion Cubs Signed and dated “Sanford/1911” on the top of the base, stamped “ROMAN BRONZE WORKS N-Y-” along the edge of the base.

Bronze with brown patina, 3 x 8 5/8 x 7 1/4 in.

(7.6 x 22.0 x 18.4 cm).

Condition: Dust and dirt to interstices.

Provenance: Private collection, Florida. $800-1,200

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131

380

380 Norman Rockwell (American, 1894-1978) Invictus Dedicated and signed “My best to Joe Cilento,/Sincerely/Norman/Rockwell” l.r.

Pencil on tracing paper, 9 x 7 1/2 in. (23.0 x 19.0 cm), framed.

Condition: Toning, loss to u.r. corner, creasing, small tears along right side, scattered minor staining, small pieces of clear tape to corners of the reverse, hinged at top of the reverse to back mat.

132

N.B. The figure with the eye-patch and halo has been identified as Mathew Culligan, a high-ranking official at the Curtis Publishing Company.

Curtis Publishing Company, founded in 1891 in Philadelphia, published many influential magazines of the early 20th century, including The Saturday Evening Post and Ladies’ Home Journal. The drawing at hand is likely an earlier version of a 1961 watercolor, Benjamin Franklin, Robert Sherrod and Mathew Culligan, archived by the Norman Rockwell Museum as E97 in the Norman Rockwell Definitive Catalog. $8,000-12,000

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380A William Andrew (Willy) Pogany (Hungarian, 1882-1955) Gifts for The Children Unsigned on recto.

Watercolor and gouache on paper, sight size 17 7/8 x 16 1/8 in. (45.5 x 41.2 cm), framed.

Condition: Not examined out of frame. $1,500-2,500 380B Arthur Burdett Frost (American, 1851-1928) Figures in a Colonial Interior Signed and dated “A.B. FROST ‘84” l.r.

Gouache and ink en grisaille on paper, sheet size 11 3/4 x 14 5/8 in. (29.8 x 37.2 cm), framed.

Condition: Minor losses to l.r. corner.

N.B. The lot is accompanied by a copy of the exhibition catalog Arthur Burdett Frost: Artist and Humorist (Chadds Ford: Brandywine River Museum, 1986). $800-1,200

380A

380B

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133

381

381 Gertrude Katherine Lathrop (American, 1896-1986) Sammy Houston Signed and dated “G·K·LATHROP/©1928” on the top of the base, stamped “GORHAM CO. FOUNDERS/QGEY” on the side of the base.

Bronze with brown patina, height 5 in. (12.5 cm).

Condition: Scratches to sides of the base, dust and dirt to interstices. $1,000-1,500

134

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382

382 Frederick George Richard Roth (American, 1872-1944) Circus Elephant Signed “FGR·ROTH ©” in the bronze at the back of the barrel.

Bronze with dark brown patina, height 6 1/4 in. (16.0 cm), on a black marble plinth.

Condition: Dust and dirt to interstices. $1,000-1,500

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135

383

383 Margaret Fitzhugh Browne (American, 1884-1972) Studying Her Reflection Signed “MARGARET FITZHUGH BROWNE” l.l.

Oil on canvas, 30 x 25 in. (76.0 x 63.0 cm), framed.

Condition: Faint stretcher bar marks, minor craquelure. $1,000-1,500 384 Boris Izrailovich Anisfeld (Russian, 18791973) Flowers in a Blue Vase Signed “Boris Anisfeld” l.l.

Watercolor and graphite on paper, 21 x 14 7/8 in. (53.2 x 37.8 cm), unmatted, unframed.

Condition: Creases to lower corners, soiling to edges of the sheet. $1,500-2,000

384

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385

385 Louis Kronberg (American, 1872-1965) Mademoiselle Tamara Gross (from Rome) Signed “L KRONBERG” l.r., monogrammed “LYK” u.l., titled and dated “...1953” on the reverse.

Pastel on paper affixed to board, board size 25 1/8 x 19 1/2 in. (63.9 x 49.5 cm), framed.

Condition: Minor crease in sheet/board l.r., small loss u.r., not examined out of frame. $1,200-1,800 386 Ivan Kozlov (Russian, b. 1920) Portrait of the Artist’s Wife Signed in Cyrillic and dated “50” l.r.

Oil on canvas, 12 x 15 1/4 in. (48.0 x 38.5 cm), framed.

Condition: Scattered paint losses, flaking, retouch. $800-1,200

386

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137

387

387 Leon Kroll (American, 1884-1975) The Kitchen Door Unsigned, stamped “Estate of Leon Kroll/Leon Kroll/Certified,” titled twice, inscribed, and dated “(1934)” on the stretcher.

Oil on canvas, 24 x 18 in. (61.0 x 45.5 cm), unframed.

Condition: Retouch, stretched over panel. $4,000-6,000

138

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388

388 Leon Kroll (American, 1884-1975) Drina Signed “Leon Kroll” l.r., titled and stamped “Estate of Leon Kroll/Leon Kroll/Certified” on a partial stretcher bar affixed to the new stretcher, inscribed “#509 Leon Kroll-Drina (1928)...” on a second piece of stretcher similarly affixed, identified on labels from ACA Galleries and Keogh and Riehlman Fine Art, both of New York, affixed to the frame backing.

Oil on canvas, 35 1/2 x 27 in. (89.0 x 68.5 cm), framed.

Condition: Lined, stretcher replaced. $7,000-9,000

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139

389

389 Robert Douglas Hunter (American, 19282014) Still Life with Shells Signed “ROBERT DOUGLAS HUNTER” l.r., titled on the reverse of the frame u.l.

Oil on canvas, 24 1/4 x 46 in. (61.5 x 116.8 cm), framed.

Condition: Small dent and crack u.l., cracking and tenting c.l. $1,800-2,200

140

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390

390 John Gable (American, b. 1944) The Blueberry Pickers Signed “John Gable” l.r., inscribed “©John Gable 1982 The Blueberry Flats-82 cropped by the artist” l.r., identified on a label affixed to the reverse of the frame.

Watercolor on paper, 26 x 40 1/2 in. (66.0 x 102.8 cm), framed.

Condition: Taped to mat at corners, right side cropped 3 3/4 inches, cropped portion affixed to sheet with tape and covered by window mat, adhesive residue at corners, pinholes at edges of sheet. $1,000-1,500

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141

391 Max Kuehne (American, 1880-1968)

391

Decorative Panel with Two Deer in a Floral Landscape Signed “Max Kuehne” l.r.

Incised wood with silver leaf and pigment, 33 x 31 1/2 in. (84.0 x 80.0 cm), with an integral frame.

Condition: Scattered paint losses, fine craquelure, surface grime. $2,000-3,000 391A Elliot Offner (American, 1931-2010) Great Blue Heron (Miniature), c. 1987 Signed “© offner” on the top of the base, inscribed “Smith College” on the side of the base, and stamped “JM” in an oval and inscribed “edition 150” on the back edge of the base.

Bronze with brown patina, height 7 3/8 in.

(19.0 cm).

Condition: Minor dust and grime.

391A

142

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N.B. Elliot Offner taught at Smith College from 1960 until his retirement in 2004. His large bronze Great Blue Heron is a familiar sculpture on the Smith campus. The bird’s twin was the first piece of public art commissioned for the city of Darien, Connecticut, in 1987, and is now in the Darien Public Library courtyard. $1,200-1,800

392 Wilhelm Hunt Diederich (American, 18841953) Two Cats Monogrammed “WHD” on the top of the base, stamped “ROMAN BRONZE WORKS N-Y-” along the edge of the base.

Bronze with brown patina, height 8 in. (20.3 cm), with an integral base.

Condition: Good.

Provenance: Private New York estate, acquired from a private collection, Virginia.

Literature: American Contemporary Sculpture, 1929, Catalogue of the National Sculpture Society, p. 78 (listed); F. Newlin Price, International Studio, June 1925, p. 173 (illus.); National Sculpture Society Exhibition Catalogue, 1923, p. 50 (illus.) $3,500-5,500 393 Elliot Offner (American, 1931-2010)

392

Asian Pheasant Signed “offner” on the top of the base.

Bronze with gold/brown patina, 17 x 25 x 7 1/2 in. (43.2 x 63.5 x 19.0 cm), on a wood plinth.

Condition: Dust and dirt to interstices.

Provenance: Purchased from Vose Galleries, Boston, Massachusetts; Collection of Robert Bradford Newman (1917-1983), professor of architectural acoustics at Massachusetts Institute of Technology School of Architecture and the Harvard Graduate School of Design, and co-founder of Bolt, Beranek and Newman Inc., Cambridge, Massachusetts. $1,000-1,500

393

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143

394 Agnes Weinrich (American, 1873-1946) Floral Still Life Signed “A. Weinrich” l.r.

Pastel on paper, 15 1/4 x 10 in. (38.7 x 25.4 cm), framed.

Condition: Hinged to mat with tape on reverse at top corners, deckling along right edge, small tear at u.l. edge, small tears and losses throughout repaired with adhesive on reverse. $1,000-1,500 395 Arbit Blatas (Lithuanian, 1908-1999) Still Life with Fruit and Wine Bottle Signed and dated “A. BLATAS/44” l.r.

Gouache and ink on paperboard mounted to canvas, 28 3/4 x 36 in. (73.0 x 91.5 cm), framed (without glass).

Condition: Toning, some surface deformation to lower corners, minor surface grime. $1,500-2,500

394

395

144

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396

396 Louis Valtat (French, 1869-1952) Boules de neige et pavot Signed “L. Valtat” l.l., identified in a brochure from Wally F Galleries, Inc., New York, and on a photo-certificate from Galerie Marcel Bernheim, Paris (see below).

Oil on canvas, 18 x 14 3/4 in. (46.0 x 37.5 cm), framed.

Condition: Minor craquelure in areas of heaviest impasto.

Provenance: The estate of Walter F. Goodman.

Literature: Jean Valtat, Louis Valtat: catalogue de l’oeuvre peint 1869-1952 (Neuchâtel: Ed. Ides et Calendes, 1977), p. 300 (ill.), as no.

2693.

N.B. The lot is accompanied by a brochure about Valtat from Wally F Galleries, Inc., New York, the final page of which is a guarantee of authenticity for this work signed by Walstein C. Findlay, Jr., dated January, 1966, and by a photo-certificate signed by Yves Hémin, Galerie Marcel Bernheim, Paris, dated November 10, 1965. $15,000-25,000

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145

397 Edgar Degas (French, 1834-1917) Preparatory Drawing for Semiramis Building Babylon Unsigned, stamped (faded) “ATELIER ED. DEGAS” l.l. and “Douane Paris Centrale” on the verso l.r.

Tissue paper mounted onto paperboard, 27 3/4 x 17 in. (70.4 x 43.1 cm), unframed.

Condition: Tears, creases, mat burn, toning.

Provenance: Maurice Exteens, Paris; Galerie Kornfeld, Bern (1960); Walter Feilchenfeldt, Zürich; Erich Maria Remarque, Porto Ronco (1961); Paulette Goddard Remarque, Porto Ronco (1970).

Literature: Thomas F. Schneider and Inge Jaehner with Walter M. Feilchenfeldt and Suzanne Schwarz Zuber, Remarques Impressionisten: Kunstsammeln und Kunsthandel im Exil = Remarque’s Impressionists: Art Collecting and Art Dealing in Exile (Göttingen and Bristol, CT: Vandenhoeck & Ruprecht, 2013), pp. 392-3.

Exhibitions: Choix d’une collection privée.

Sammlungen G.P. und M.E. Impressionisten, Neoimpressionisten, Spätimpressionisten, Klipstein und Kornfeld, Bern, Oct. 22–Nov. 30, 1960, no. 7, p. 12 (exhibition catalog).

N.B. This work is accompanied by a certificate of authenticity from Brame & Lorenceau and will be included in the forthcoming catalogue raisonné. $30,000-50,000

397

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398

398 Auguste Rodin (French, 1840-1917) The Juggler, alternatively titled The Acrobat or Fauns Playing Signed and inscribed “A. Rodin/No 3” on the side of the supporting figure’s head, stamped “Georges Rudier/Fondeur PARIS” on the underside.

Bronze (sand cast) with brown-green patina, height 11 1/2 in. (29.2 cm).

Condition: Dust and dirt to interstices.

Provenance: A private New Hampshire collection, previously on loan to the Currier Museum of Art, Manchester, New Hampshire.

Literature: Antoinette Le Normand-Romain, Hélène Marraud, Diane Tytgat, Dominique Viéville, Jacques Vilain, Ruth Butler, and Auguste Rodin, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin (Paris: Musée Rodin, 2007), pp. 475-6.

N.B. It is believed that Rodin conceived the idea for this sculpture of two acrobats between 1892 and 1895, at the time he was researching movement and different ways to present the figure. The artist may have found inspiration for the composition in the circus, in fairground stalls, and in the dance halls of Montmartre.

Rodin was known to combine fragments of works into new combinations. This pair of acrobats is made of a male nude, known from a terra-cotta sketch now at the Musée Rodin, and a small seated female figure, both of which have appeared in various other Rodin compositions.

This bronze is No. 3 of the twelve casts by Georges Rudier between 1953 and 1960.

Cast No. 0 was created for the Musée Rodin in 1953. Since cast No 8 is dated to c. 1956, it would suggest that this particular cast, No. 3, was cast prior to 1956. $25,000-35,000

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147

399

400

399 Leonid Terentevich Chupyatov (Russian, 1890-1942)

400 Yuri Pavlovich Annenkov (Russian, 18891974)

Orientalist Costume Design for a Man Initialed in Cyrillic l.r.

Watercolor, ink, and metallic silver pigment on paper, 16 7/8 x 12 1/16 in. (42.7 x 30.5 cm), unmatted, unframed.

Condition: Glue spots or similar to u.l. quadrant, staining, soiling to the edges of the sheet. $800-1,200

Costume Study for Two Baroque Gentlemen Signed “...Annenkov� l.r.

Gouache and metallic ink on gray paper, 12 x 8 3/4 in. (30.3 x 22.4 cm), framed.

Condition: Minor scuff marks, trimmed along the top edge, paper laid down on thin paperboard support, abrasions to the back of the support. $800-1,200

148

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401

401 Fedor Fedorovich Fedorovsky (Russian, 1883-1955) Costume Sketches for Prince Igor (Opera

by Borodin) Signed indistinctly and dated “... 29� l.r.

Watercolor and graphite on paper, 14 1/8 x 19 in. (36.0 x 48.0 cm), unmatted, unframed.

Condition: Losses to u.r. and l.l. corners, creasing, soiling.

N.B. These designs likely date from the 1934 costumes for the opera Prince Igor by Alexander Borodin, staged by the Bolshoi Ballet. $1,000-1,500

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149

402

402 David Davidovich Burliuk (American/ Ukrainian, 1882-1967) Mother and Child Signed and inscribed “BURLIUK/NAZARE/ PORTUGAL” l.l., dated “1957” l.r.

Oil on canvas, 24 x 18 in. (61.0 x 45.5 cm), framed.

Condition: Canvas rippling to l.r. corner, varnish discoloration.

150

N.B. This painting has been reviewed and accepted for the David Burliuk catalogue raisonné. $8,000-12,000

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403

403 Philippe Maliavine (Russian, 1869-1940) Baba or Baba, Winter Signed “Ph. Maliavine” l.l., titled on a presentation plaque.

Oil on canvas, 32 x 25 1/2 in. (81.0 x 64.5 cm), framed.

Condition: Small dots of retouch l.r., minor canvas deformation, areas of fine craquelure.

Provenance: Sotheby’s New York, Russian Art, April 21, 2005, Lot 34, to a private collection in Rhode Island. $75,000-125,000

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151

404

152

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404 Philippe Maliavine (Russian, 1869-1940) Russian Peasants Singing Signed “Ph.Maliavine.” l.l., identified on a presentation plaque, dated “1899” on a gummed label on the stretcher, titled on an exhibition label affixed to the stretcher.

Oil on canvas, 23 3/4 x 36 1/8 in. (60.5 x 91.5 cm), framed.

Condition: Lined, drying cracks.

Provenance: Sotheby’s New York, Russian Art, April 23, 2004, Lot 20, to a private collection in Rhode Island.

Exhibitions: Petit Palais-Gèneve, PostImpressionisme (1880-1910), July 1– September 30, 1980.

N.B. Philippe Maliavine (Filipp Malyavin) was one of the leading Russian painters of the early 20th century. Born into a large and very poor peasant family in the village of Kazanka, Maliavine developed an early love of art from the exposure to icons brought to the village by travelling monks. He convinced his family to send him to Mount Athos to study icon painting, and with the help of the village, at age 16 he made the journey to Greece. He was disappointed when he arrived to learn that the monks there were actually copying Russian icons, but since he lacked the money to return home, he became a novice assigned to paint icons and murals. Through the generosity of the artist Vladimir Beklemishev, who visited the monastery and recognized the talent of the young artist, Maliavine returned to Russia in 1892 to study at the St. Petersburg Academy of Arts, entering the studio of Ilya Repin. There Maliavine developed his skills as a gifted portrait painter and also began his paintings of Russian peasants, a theme which while initially controversial would become his lasting legacy. Laughter (1899), his bold painting of peasant women in flowing red dresses in a green meadow, created as his graduation work for the Academy of Arts, was actually rejected by the Academy, but subsequently earned Maliavine the Gold Medal at the World Exhibition in Paris (1900).

The more conservative Academy awarded Maliavine the title of “Artist” based on the quality of his work in portraiture, while his peasant canvases found favor abroad and were purchased by museums in Paris and Venice.

From 1901 through 1910 Maliavine lived in Ryazan province, where he developed his paintings of large scale peasant figures, who appeared as strong-willed and independent individuals. In these compositions sometimes of single figures, other times showing two or three together, the figures are brought to the foreground and are presented from a low angle to increase their monumentality. These peasants are not always beautiful, but they radiate inner strength and integrity, and they reveal age, character, and mood.

Maliavine’s style developed as a fusion of Russian Impressionism and traditional folk themes with abstraction, influenced by French painting and by the Swedish artist Anders Zorn. His works are noted for his expressive brushwork, sweeping movement, and love of strong color, especially reds. However, by 1910 Maliavine was falling out of favor with the official art critics. He was not banned, but was considered “decadent” by the influential critic Vladimir Stasov, for whom the lively, healthy, and colorful peasants of Maliavine did not coincide with the political image of the oppressed people of the countryside. By the 1920s the Russian hierarchy would only permit the exhibition of paintings deemed to have “educational value,” and the country’s rich holdings of Impressionist, Post-Impressionist, and Fauve works were removed from view.

Maliavine immigrated to Paris in 1922, and lived there and in Nice through the 1930s.

During World War II he fled to Brussels, where he was arrested by the Gestapo in 1940 and accused of espionage. He was subsequently released and is said to have walked all the way back to Nice, where he died the next year.

Maliavine’s name takes various forms as translated into French and English, and variations may be spelled Phillipe Maliavine, Filip, Filipp, or Philip Malyavin, Maljavin, or Maljawin. $150,000-250,000

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406

405

405 Abraham Walkowitz (American 1878-1965)

406 Abraham Walkowitz (American 1878-1965)

Isadora Duncan Signed “A. Walkowitz” and “Abraham Walkowitz” both l.l., identified and dated “c. 1915” on two labels affixed to the frame backing paper.

Ink, watercolor, and pencil on paper, sight size 13 5/8 x 8 in. (34.8 x 25.0 cm), framed.

Condition: Glue stains or similar along top edge, subtle rippling, not examined out of frame.

Isadora Duncan Signed “A. Walkowitz” l.c., identified and dated “c. 1915” on two labels affixed to the frame backing paper.

Ink, watercolor, and pencil on paper, 13 7/8 x 8 1/4 in. (35.0 x 21.0 cm), framed.

Condition: Toning, sheet mounted to supporting paper, not examined out of frame.

Provenance: Ex-collection Anne Wilson Wangh, International Chair, Dance Library of Israel.

Exhibitions: Nassau Country Museum of Art, Roslyn Harbor, New York, Dance, Dance, Dance, June 11–September 17, 2000. $1,200-1,800

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Provenance: Ex-collection Anne Wilson Wangh, International Chair, Dance Library of Israel.

Exhibitions: Nassau Country Museum of Art, Roslyn Harbor, New York, Dance, Dance, Dance, June 11–September 17, 2000. $700-900

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407

407 Francisco Zúñiga (Mexican, 1912-1998) Mujeres con Rebozo Signed and dated “Zga/1966” l.r., identified on a label from Oscar I. Herner, Galerias Iturbida S.A., Mexico, affixed to the frame backing.

Charcoal and watercolor on paper, 19 3/4 x 25 5/8 in. (50.0 x 65.0 cm), framed.

Condition: Acid burn, subtle toning and handling creases. $3,000-5,000

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155

408

408 Käthe Schmidt Kollwitz (German, 18671945) Mutter schützt ihr Kind I (Mother Protecting Her Child I) Inscribed “Kollwitz” c.l. of bottom edge and stamped with the foundry mark “H.Noack Berlin” l.r. of bottom edge.

Bronze relief, 6 7/8 x 6 7/8 x 1 1/2 in. (17.3 x 17.4 x 4.1 cm).

Condition: Minor surface grime, tape residue on reverse.

N.B. A posthumous cast, probably from 1955 or later. $7,000-9,000

156

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409

409 Käthe Schmidt Kollwitz (German, 18671945) Mutter schützt ihr Kind II (Mother Protecting Her Child II) Inscribed “Kollwitz” u.r. of lower side edge and stamped with the foundry mark “H.Noack Berlin” u.l. of right side edge, numbered “5472” on tape affixed to the reverse.

Bronze relief, 7 1/8 x 7 3/16 x 3 in. (17.8 x 18.2 x 7.6 cm).

Condition: Minor surface grime.

N.B. A posthumous cast, probably from 1955 or later. $7,000-9,000

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157

410

410 James Edward Fitzgerald (American, 18991971) Gayle Unsigned, titled on a statement of authenticity (see below).

Oil on canvas, 17 5/8 x 13 5/8 in. (44.7 x 34.6 cm), framed.

Condition: Canvas trimmed and affixed to foamcore, minor paint losses around perimeter of canvas, lifting.

N.B. The lot is accompanied by a statement of authenticity signed by Anne M. Hubert, dated 1993. $4,000-6,000

158

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411

411 Daniel O’Neill (British, 1920-1974) Mother and Children Signed “D O’NEILL” u.r.

Oil on Masonite, 18 x 14 in. (45.7 x 35.5 cm), framed.

Condition: Surface grime. $4,000-6,000

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159

412

412 Jack Levine (American, 1915-2010) Study for Adam & Eve, Head of Adam Signed “J. Levine” l.l., identified on a label from ACA Galleries, New York, affixed to the strainer.

Oil and gouache on paper/board, sight size 18 3/4 x 24 7/9 in. (47.5 x 65.2 cm), framed.

Condition: Not examined out of frame. $3,000-5,000 413 Maryse Ducaire-Roque (French, 1911-1992) Nu Signed “MDucaire” l.l., numbered “20568” on the stretcher.

Oil on canvas, 9 1/2 x 6 1/4 in. (24.0 x 16.0 cm), framed.

Condition: Minor craquelure.

N.B. The painting is accompanied by a brochure including a certificate of authenticity from Wally F Galleries, New York, signed by Walstein C. Findlay, Jr., and dated February 9, 1966.

Provenance: The estate of Walter F. Goodman. $300-500

413

160

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414

414 Jack Levine (American, 1915-2010) Study for Adam & Eve, Head of Eve Signed “J. Levine� l.r.

Oil and gouache on paper/board, sight size 18 3/4 x 24 7/9 in. (47.5 x 65.2 cm), framed.

Condition: Not examined out of frame. $3,000-5,000

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161

415

415 William Crosbie (Scottish, 1915-1999) Dum Vivimus Vivamus Signed “Crosbie.� l.r., identified on two labels from the Royal Scottish Academy affixed to the Masonite backing.

Oil on canvas stretched over panel, 3 7/8 x 16 1/8 in. (10.0 x 41.0 cm), framed.

Condition: Fine, stable craquelure, minor frame abrasions to corners, surface grime, panel mounted to a secondary sheet of Masonite.

Exhibitions: Royal Scottish Academy of Painting, Sculpture and Architecture: Festival Exhibition, August 20 to September 18, 1960, Edinburgh, Scotland. $800-1,200 416 Konstantin Alexseyevitch Korovin (Russian, 1861-1939) Flowers Signed in Cyrillic l.r.

Gouache on paper, 13 3/4 x 11 in. (35.0 x 28.0 cm), framed.

Condition: Minor rippling. $1,200-1,800

416

162

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417

417 José María Mijares (Cuban, 1921-2004) Woman with Flowers Signed and dated “Mijares/1950” l.r.

Oil on paperboard, 23 11/16 x 16 3/4 in. (60.1 x 42.5 cm), framed.

Condition: Taped to window mat around perimeter of reverse, tear at u.r. corner repaired with tape on reverse, small tears c.r. and l.l., dent u.l. $1,000-1,500

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163

418

418 José María Mijares (Cuban, 1921-2004) Portrait of a Woman Signed “Mijares” l.l., signed, dated, and inscribed “Jose Mijares/1972/Miami” on the reverse.

Oil on canvas, 30 x 24 in. (76.2 x 60.9 cm), framed.

Condition: Craquelure. $1,000-1,500 419 Vladimir Lebedev (Russian/American, 1910-1991) Mother and Child Unsigned, stamped “ESTATE OF/V.L./ VLADIMIR LEBEDEV” within an oval on the reverse.

Oil on Masonite, 12 x 9 in. (30.2 x 22.8 cm), framed.

Condition: Good. $800-1,200

419

164

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420

420 Miguel Covarrubias (Mexican, 1904-1957) Head of a Balinese Woman Signed “COVARRUBIAS” l.r., stamped “PROPRIEDAD DE BANCO DEL PERU” and with a label from the Ministerio de Cultura of Peru, both on the reverse of the frame.

Pastel on paper, 11 13/16 x 9 in. (30.0 x 22.8 cm), framed.

Condition: Toning and minor surface grime, not examined out of frame.

N.B. A “Certificado de Bienes No Pertenecientes al Patrimonio Cultural con Fines de Exportación” issued by the Ministry of Culture of Peru accompanies the lot. $3,500-5,500

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165

421

421 Lawren Stewart Harris (Canadian, 18851970) Abstraction Signed “LAWREN/HARRIS” l.l., identified and dated “1939 New Mexico/Member of the Transcendental Paint Movement located in Santa Fe/...” on an unattributed gummed label affixed to the reverse, and with a partial typed label on the reverse bearing a quote from Dane Rudhyar, and a small foil label from the 1939 World’s Fair of San Francisco Bay also on the reverse.

Oil on panel, 23 1/2 x 17 5/8 in. (60.0 x 45.0 cm), framed.

Condition: Fine vertical crack to panel surface on the right side, natural pigment fluorescence.

166

N.B. The Transcendental Group (TPG) was comprised of New Mexico artists dedicated to the promotion of abstract and non-objective art. Their stated purpose in their manifesto was “to carry painting beyond the appearance of the physical world through new concepts of space, color, light and design, to imaginative realms that are idealistic and spiritual.” The group exhibited actively between 1938 and 1942. Members included Raymond Jonson, Emil Bisttram, Lawren Harris, Ed Garman, Robert Gribbroek, William Lumpkins, Agnes Pelton, Florence Miller Pierce, Horace Towner Pierce, and Stuart Walker. Dane Rudhyar and Alfred Morang may also have been members.

Works by Emil Bisttram are included in this auction as Lots 429 and 437. $2,500-3,500

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422

422 Paul Kelpe (American, 1902-1985) Abstract Composition Signed and dated “PAUL KELPE/1928� l.l. (beneath the mat) and l.r.

Ink, pastel, and pencil on sandpaper, 13 5/16 x 9 13/16 in. (33.8 x 23.3 cm), framed.

Condition: Hinged to window mat u.l., adhesive residue along top edge (also on reverse), tear and loss at u.l. of sheet, small loss at c.r. edge, pinholes in each corner. $8,000-12,000

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167

423

423 Rafael Soriano (Cuban, 1920-2015) Untitled Signed “SORIANO” l.r.

Pastel on watermarked Arches paper, 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm), framed.

Condition: Good. $1,000-1,500 424 Abraham Walkowitz (American, 1878-1965) Two Drawings of Isadora Duncan Each signed “A. Walkowitz 1934” l.l. and l.c., respectively.

Pencil on Hammermill Deluxe watermarked paper, 10 1/2 x 6 3/4 in. (26.6 x 17.1 cm), framed.

Condition: Small stain to u.l., not examined out of frames. $1,200-1,800

424 partial

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425

425 Dmitry Mikhailovich Krasnopevtsev (Russian, 1925-1995) Metaphysical Still Life with Broken Tree and Hanging Bell Initialed and dated “K-81� l.r., identified on a Russian Union of Artists sales certificate/label affixed to the reverse.

Oil on textured pressed paperboard, 17 1/2 x 14 5/8 in. (44.7 x 37.1 cm), unframed.

Condition: Surface loss and damage to l.l. corner, possible retouch to the background, surface imperfection to l.r. corner, scattered dents, surface grime.

Provenance: Purchased by the current owner in Moscow at the Russian Union of Artists gallery. $5,000-7,000

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169

426

426 Paul Nabb (American, fl. circa 1953) Woodland Abstract Signed and dated “NABB ‘55” l.r.

Gouache on paperboard, sight size 29 1/4 x 39 1/8 in. (74.0 x 99.5 cm), in a period frame.

Condition: Areas of fine craquelure, scattered paint losses including to letters of signature. $1,500-2,500

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427

427 Richard Filipowski (American, 1923-2008) Virgo Unsigned, inscribed “6-71� in ink on the base.

Phosphor, bronze, and silver with golden/ brown patina, 48 1/2 x 34 in. (123.0 x 84.8 cm), mounted to a granite base.

Condition: Wear to the patina.

Provenance: Collection of Robert Bradford Newman (1917-1983), professor of architectural acoustics at Massachusetts Institute of Technology School of Architecture and the Harvard Graduate School of Design, and co-founder of Bolt, Beranek and Newman Inc., Cambridge, Massachusetts. $1,000-1,500

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171

428

428 Giorgio Cavallon (American, 1904-1989) Abstraction with Red, Green, and Orange Signed and dated “GIORGIO CAVALLON 50” l.r.

Watercolor on paper, 15 x 22 in. (38.1 x 55.8 cm), framed.

Condition: Punctures l.r. and u.l., toning. $4,000-6,000

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429

429 Emil James Bisttram (American, 18951976) Geometric Abstraction Signed and dated “BISTTRAM 41� l.r.

Mixed media on paper, 10 1/2 x 7 1/2 in. (26.5 x 19.0 cm), framed.

Condition: Sheet with toning to the reverse, hinged to back mat at two places on the reverse. $600-800

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173

430 Fernand Leduc (Canadian, 1916-2014) Untitled, 1963 Signed and dated “F. Leduc 63” l.r., identified on labels from Gerard Gorce Beaux-Arts, Inc., and Waddington & Gorce, Inc., both of Montreal, and the Musée des Beaux-Arts de Montréal, and on an unattributed handwritten label on brown paper, all on the frame backing paper.

Pastel on paper, 16 x 12 in. (31.0 x 41.7 cm), framed.

Condition: Minor rippling perhaps due to mounting, sheet with perforated edge left side, floated within the frame, not examined out of frame.

Provenance: Gerard Gorce Beaux-Arts, Montreal, to the Art Sales & Rental Gallery of the Musée des Beaux-Arts de Montréal, to Waddington & Gorce Inc., Montreal, to the current owner.

N.B. The labels from Gorce indicate that the work is also signed on the reverse, but the frame was not opened to confirm this. $2,000-2,500 431 Anthony Donaldson (British, b. 1939) 430

Untitled Signed “Anthony Donaldson” l.c., identified and dated “1967” on a stamped label from Rowan Gallery, London, on the frame backing board, with a gummed label from The Cleveland Museum of Art inscribed “TR/17839/30” on the strainer.

Acrylic on paper, 22 x 22 in. (55.5 x 55.5 cm), framed.

Condition: Subtle handling creases, not examined out of frame. $800-1,200

431

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432

432 Elena Varnavovna Nagaevskaya (Russian, 1900-1989) Three Abstract Geometric Compositions Signed in Cyrillic l.r.

Watercolor on paper, each 15 3/4 x 15 3/4 in.

(40.0 x 40.0 cm), unmatted, unframed.

Condition: Toning, staining, handling creases, creases to some corners $1,200-1,800

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175

433 Natalia Sergeevna Goncharova (Russian, 1881-1962) Two Drawings: Peasants Gathering Apples and Peasants Gathering Grapes Initialed “N.G.” l.l. and l.r., respectively, inscribed in Cyrillic along the bottom edges, Apples stamped “Marcus Olivier/31 Kensington Gardens/London SW1” three times on the reverse, Grapes stamped “Marcus Olivier/31 Kensington Gardens/ London SW1” and “Darius Talyarken/31 Pont Street/London...” on the reverse.

Charcoal on laid watermarked paper, 22 7/8 x 14 1/8 in. (58.0 x 36.2 cm), unmatted, unframed.

Condition: Minor rippling, soiling to the edges of the sheets.

Literature: Anthony Parton, The Art and Design of Natalia Goncharova (Suffolk, England: Antique Collectors’ Club, Ltd., 2010), illustrated p. 204, Plates 204 and 205.

N.B. These two charcoal drawings were preliminary studies for Goncharova’s large-scale painting of 1912 titled Peasant Gathering Grapes. $6,000-8,000 434 Paul Nabb (American, fl. circa 1953) 433 partial

434

176

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Abstract Composition Signed and dated “NABB ‘53” l.r., with the stenciled letter “a” within the composition l.l. corner.

Watercolor and gouache on paperboard, sight size 25 1/2 x 19 1/2 in. (65.0 x 49.5 cm), framed.

Condition: Toning, not examined out of frame. $700-900

435

435 Marino Marini (Italian, 1901-1980) Two Figures and a Horse Signed and dated “Marino 1952� l.r.

Gouache and tempera on paper, 24 1/4 x 17 in. (61.5 x 43.1 cm), framed.

Condition: Minor paint loss, craquelure, toning.

Provenance: From a Toronto collection before 1970, then by descent to the current owners.

N.B. Accompanied by a certificate of authenticity from The Foundazione Marino Marini, archival number 743. $40,000-60,000

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177

436

436 Mario Bencomo (Cuban, b. 1953) Abstraction Signed and dated “Bencomo ‘90” l.r.

Acrylic on paper, sight size 25 1/2 x 40 1/2 in.

(64.77 x 102.8 cm), framed (under glass).

Condition: Sheet laid down onto the mat, mold or similar along right edge of sheet and mat, vertical bulge in paper at right edge, possibly due to water damage.

N.B. As per the artist in informal correspondence, the painting has been trimmed from its original dimensions which were 30 x 40 inches. $2,500-3,500

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437

437 Emil James Bisttram (American, 18951976) Abstraction Signed “BISTTRAM� l.r.

Pastel on paper laid down on paperboard, sight size 17 3/4 x 13 1/2 in. (45.0 x 34.2 cm), framed.

Condition: Affixed to mat at upper and lower edges. $1,500-2,000

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179

438

438 Alexander Calder (American, 1898-1976) Aula Magna Inscribed “AULA MAGNA/-Caracas” l.l. and “STAGE RIGHT” l.c., dated and signed “July 2, 1952/A. Calder” l.r.

Gouache, pencil, and ink on blueprint paper, sheet size 13 3/8 x 24 in. (33.8 x 61.0 cm), framed.

Condition: Toning, mat burn, tack holes to l.l. corner, handling creases, acid burn, remnants of old hinges at intervals around perimeter of the reverse.

Provenance: Gift (1952) from the artist to Robert Bradford Newman (1917-1983), professor of architectural acoustics at Massachusetts Institute of Technology School of Architecture and the Harvard Graduate School of Design, and co-founder of Bolt, Beranek and Newman Inc., Cambridge, Massachusetts; to Mary Shaw Newman in 1983; to the estate of Mary Shaw Newman.

Literature: Robert B. and Mary S. Newman Collection (Boston: J. Schwartz Design, 2014), illustrated (color) p. 11.

180

N.B. This work is registered in the archives of the Calder Foundation, New York, as application number A26188.

By the 1950s, Alexander Calder had become an internationally recognized and respected artist. He was chosen to represent the United States in the 1952 Venice Biennale at which he won the grand prize for sculpture. That same year, he designed sets and costumes for the play Nuclea which opened in Paris, he worked on the design for a fountain for architect Eero Saarinen’s General Motors Technical Center project in Michigan, and he accepted a commission from architect Carlos Raúl Villanueva to design an acoustic ceiling for Aula Magna, the auditorium of the Universidad Central de Venezuela.

Initially, Villanueva suggested Calder create a mobile for the lobby of Aula Magna. Calder, however, preferred the idea of making something for the auditorium. Villanueva conceded, with the caveat that Calder would need to collaborate with the acoustical consulting firm, Bolt, Beranek and Newman.

Calder and Robert Newman, a professor at M.I.T. and a scholar of physics, architecture and acoustics, worked together to create

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large round and oval shapes, some as long as thirty feet, that would serve as acoustic reflectors. Calder used the abstract forms and primary colors characteristic of his mobiles for the panels, which would hang from the ceiling and be affixed to the walls of the auditorium.

Calder and Newman developed a system of steel cables and pulleys to suspend the objects from the ceiling, allowing them to be adjusted for different types of performances.

As a memento of their partnership, Calder gave this study for the design of the auditorium to Newman.

The post-war building boom of the 1950s and 1960s increased the demand for public art in sites such as corporate lobbies, city plazas, and airports. Calder eagerly accepted hundreds of commissions for large-scale sculptures. His fun, light-hearted, and graceful designs coordinated well with the International Style of mid-twentieth century architecture and delighted viewers. The Aula Magna project proved successful, as both a grand art installation and a sound acoustical design. $25,000-35,000

439

439 Alexander Calder (American, 1898-1976) Profils Signed “Calder” and dated “74” within the composition l.r.

Gouache and ink on watermarked Cason paper, 28 7/8 x 42 3/4 in. (73.4 x 108.8 cm), framed.

Condition: Minor ink smudges to reverse.

Provenance: Galerie Maeght, Paris; to James Lodge, Lincoln, Nebraska, in 1976; to Elaine Horwitch Gallery, Scottsdale, Arizona; to Myra Perlstein Gerelick in the late 1970s; through to the current owner by family descent.

N.B. This work is registered in the archives of the Calder Foundation, New York, as application number A12662.

Alexander Calder’s fascination with the circus began with his first job after art school. As an illustrator for the National Police Gazette, he spent two weeks in 1925 observing the Ringling Brothers and Barnum and Bailey Circus at Madison Square Garden in New York. He was so intrigued with the dynamism of the show, that he followed the circus to Sarasota, Florida. The resulting drawings are linear and very realistic. Calder was not interested in the drama and daredevil antics of the performers, but rather in their feats of balance and movement. These ideas became the impetus for his first great sculptural work, a miniature kinetic circus (Cirque Calder, 1926-1931, now in the collection of the Whitney Museum of American Art, New York), and the circus became a theme that Calder returned to throughout his career and explored in a wide variety of media. He created this gouache in 1974, capturing the balancing act of a tightrope walker and the reactions of the spectators.

The notions of balance and movement remained central for all of Calder’s work— most obvious in his kinetic sculptures and mobiles, but also important in the distribution of objects and space in his paintings, drawings, and prints. In Profils, Calder addressed these themes literally with the central figure. He included a tightrope walker in his Cirque Calder and also created early wire sculptures and drawings of performers struggling to maintain their equilibriums while moving across high wires. In the 1950s, he developed a strong interest in gouache. He painted both abstract and figural compositions in the medium, and returned to familiar themes including the circus, as he did for this work. $70,000-90,000

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440

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440 Alexander Calder (American, 1898-1976) Untitled (Standing Mobile, c. 1965) Unsigned.

Sheet metal, brass, wire, and paint, height 5 3/4 in. (14.6 cm), width 5 in. (12.5 cm) including the mobile element, depth 2 3/4 in.

(7.0 cm).

Condition: Paint losses.

Provenance: Purchased at a charity auction in Roxbury, Connecticut, approximately sixty years ago by Martin and Anne Wangh, through to the current owner by descent.

N.B. This work is registered in the archives of the Calder Foundation, New York, as application number A28062.

By the 1960s, Alexander Calder had established a successful, international career as an artist. During that decade, he received numerous awards, exhibited his sculptures and paintings in gallery shows in New York and Paris and in museum retrospectives at the Tate Gallery in London, the Solomon R. Guggenheim Museum in New York, and the Musée National d’Art Moderne in Paris. At the same time, Calder maintained a very high rate of production, working on large-scale sculpture commissions as well as small works like this untitled standing mobile.

Though born into a family of artists, Calder initially rejected an artistic career, choosing instead to study mechanical engineering.

Ultimately, he conceded to his artistic roots and enrolled in the Art Students League in New York in 1923 and soon afterwards began making regular visits to Paris where he worked on and exhibited small, figurative wire sculptures. In Paris, Calder met fellow artists Joan Miró, Fernand Léger, and Piet Mondrian, all of whom influenced Calder’s progression to abstract forms in his works. Calder created his first kinetic sculptures in 1931, and Marcel Duchamp began referring to the works as “mobiles.” At first, Calder’s mobiles were motorized, but he quickly realized that he could propel his works through ambient air currents.

Calder worked persistently throughout his career on variations of his abstract mobiles (suspended moving sculptures), standing mobiles (anchored moving sculptures), and stabiles (stationary constructions). The scale of his sculptures varies widely, from colossal outdoor stabiles to diminutive standing mobiles. Though he often made small maquettes as part of the design process for large sculptures, he meant the majority of his small sculptures to be artworks in their own rights. For this untitled standing mobile, Calder employed his hallmark form—colorful, abstract shapes suspended on carefully balanced systems of wire hangers.

Calder’s interests in physics, astronomy, and kinetics, coupled with his involvement in the Abstraction-Création group of artists in Paris, informed the primary colors and geometric and organic shapes he used in his carefully engineered constructions. The sturdy, tripod base of this tiny standing mobile gives way to a thin, delicate wire that sits on the tip of the base via a tiny dimple on the underside of the wire. Calder weighted the circular shapes on either end of the wire to enable it to balance perfectly. Engineering skill, artistic genius, elegance, and playfulness all characterize Calder’s œuvre. Describing his motives, Calder told an interviewer, “I want to make things that are fun to look at, that have no propaganda value whatsoever.”1 1. “Calder” in Selden Rodman, Conversations with Artists (New York, 1957), pp. 136-42; Martha Prather, Alexander S.C. Rower, and Arnauld Pierre, Alexander Calder: 18981976 National Gallery of Art, Washington (New Haven and London: Yale UP, 1998), exh. cat.

$150,000-250,000

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183

441

441 Arie Smit (Dutch/Indonesian, 1916-2016) Temple in Bali Signed “Arie� l.l., provenance inscribed on the frame backing.

Gouache on paper, 21 5/8 x 18 9/16 in. (54.8 x 47.2 cm), framed.

Condition: Laid down on cardboard support.

184

Provenance: Collection of Robert Bradford Newman (1917-1983), professor of architectural acoustics at Massachusetts Institute of Technology School of Architecture and the Harvard Graduate School of Design, and co-founder of Bolt, Beranek and Newman Inc., Cambridge, Massachusetts; purchased from the artist in January, 1971, in Bali. $2,000-4,000

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442

442 François Angiboult (Ukrainian, 1887-1950) Cubist Still Life Signed “F. Angiboult” l.l.

Oil on canvas, 27 1/2 x 19 1/2 in. (70.0 x 50.0 cm), framed.

Condition: Canvas deformation to u.r. corner.

N.B. Hélène, La Baronne d’Œttingen, flourished in the avant-garde culture in Paris in the early 20th century. She was the daughter of a Polish aristocrat and married to a Russian officer, Baron Otto von Œttingen. Assuming male pseudonyms, Hélène wrote novels under the nom de plume of Roch Grey and poetry as Léonard Pieux. She also had a passion for painting, influencing and influenced by the avant-garde movements of Cubism and Futurism, signing her works as François Angiboult.

Hélène organized soirées in Montparnasse which brought together figures of the French and Russian avant-garde including Apollinaire, Archipenko, Henri Rousseau, Léger, Modigliani, Vlaminck, and Zadkine. She is said to have taught Russian to Picasso, and she sat for portraits by Modigliani and Léopold Survage.

Hélène’s many facets as an artist and catalyst were thoughtfully chronicled by Jeanine Warnod in her book Chez la Baronne d’Œttinger, Paris russe et avant-gardes (1913-1935) (Paris: Edition de Bonti, 2008). Further information on the artist may be accessed at http://www.artrz. ru/search/Angiboult/1804787714.html. $10,000-15,000

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185

443

443 Yossi Stern (Israeli, 1923-1992) Fishermen on the Shore Signed “pGl” l.l., with a label from Safrai Art Gallery Ltd., Jerusalem, on the frame backing paper.

Watercolor with wax resist on paper/board, sight size 18 x 26 3/8 in. (46.0 x 67.0 cm), framed.

Condition: Not examined out of frame. $1,000-1,500 444 Samuel Marcus Adler (American, 18981979) Evening Prayer Signed and dated “S.M. Adler-51” l.r., numbered and signed “M. 83/S.M.Adler/...” on the reverse, titled in an inscription on the frame backing.

Mixed media encaustic on heavy pressed paperboard, 12 x 9 7/8 in. (30.7 x 25.0 cm), in an original frame.

Condition: Framed directly against the glass. $1,000-1,500 444

186

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445

445 Guillaume Cornelis van Beverloo, called “Corneille” (Dutch, 1922-2010) Un Oiseau traverse l’été Signed and dated “Corneille/’67” l.r., titled, signed, and dated “.../Corneille ‘67” on the reverse, partial label from Lefebre Gallery, New York, affixed to the stretcher.

Acrylic on canvas, 31 1/2 x 31 1/2 in. (80.0 x 80.0 cm), framed.

Condition: Tacking edges covered with adhesive tape, bulges l.l. and l.c., paint losses l.c., u.l., and u.r., surface grime.

Provenance: Lefebre Gallery, New York; Estate of Richard E. Anderson, New York, New York/Redding, Connecticut. $15,000-25,000

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187

447

446

446 Gen Paul (French, 1895-1975)

447 Robert Beauchamp (American, 1923-1995)

Horse and Rider Signed “GenPaul” u.l., inscribed “#10 GOODMAN” on the reverse.

Oil on paperboard mounted to Masonite, 13 1/8 x 8 1/2 in. (33.2 x 21.4 cm), framed.

Condition: Good.

Woman Holding a Yellow Flower Signed and dated “R. Beauchamp/1987” on the reverse.

Oil on canvas, 60 x 40 in. (152.5 x 101.5 cm), framed.

Condition: Good.

Provenance: The estate of Walter F. Goodman. $2,000-3,000

Provenance: Acquired from the estate of the artist by the current owner.

N.B. A copy of the purchase receipt from the estate of Robert Beauchamp, signed by his widow, Nadine Beauchamp, will be provided to the buyer. $2,000-3,000

188

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448

448 Pierre Alechinsky (Belgian, b. 1927) No. 635: La déception du visiteur, 1962 Signed “Alechinsky” l.l.

Oil on canvas, 18 x 21 1/2 in. (46.0 x 55.0 cm), framed.

Condition: Surface grime, cracks and losses in some areas of impasto, mildew or other stain on canvas edges on the reverse.

Provenance: Lefebre Gallery, New York; Ex-collection Peter Findlay Gallery, New York; Estate of Richard E. Anderson, New York, New York/Redding, Connecticut.

N.B. Title and provenance provided in informal correspondence with the artist. $15,000-25,000

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189

449

449 Miguel Martinez (American, b. 1951) Amanda Signed and dated “M Martinez 89� l.r., titled on the stretcher.

Oil on canvas, 46 x 56 in. (116.8 x 142.2 cm), framed.

Condition: Minor surface grime.

N.B. The lot is accompanied by a signed copy of The Art of Miguel Martinez: A Retrospective (San Bernardino, CA: Act 1 Publishing, 1992). $2,000-3,000

190

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450

450 Miguel Covarrubias (Mexican, 1904-1957) Portrait of a Man (Possibly Miguel Alemán Valdés) Unsigned.

Pastel on paper, 21 1/2 x 15 in. (54.6 x 38.1 cm), framed.

Condition: Multiple tears throughout and an abrasion u.l. repaired with tape on the reverse, creasing, buckling (possible water damage), toning, mat burn, sheet taped to window mat on the reverse along the top edge, tape remnants at intervals along the perimeter of the reverse.

N.B. While working in New York in the 1920s and 1930s, Miguel Covarrubias developed a reputation as a skilled portrait artist and celebrity caricaturist. His illustrations were published in Vanity Fair, the New Yorker, and Vogue, and his American subjects included Emily Post, Ernest Hemingway, and Calvin Coolidge. Covarrubias returned to Mexico in 1940 and held various academic positions in anthropology and the arts during the presidential administration of Miguel Alemán Valdés, 1946-1952.

A letter of authenticity, signed by Covarrubias scholar Adriana Williams and dated November 30, 2016, accompanies the lot. $40,000-60,000

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191

451

451 Aaron Fink (American, b. 1955) Double Bulb Signed and dated “AARON/FINK/1997” on the reverse, identified on a label from Alpha Gallery, Boston, affixed to the stretcher.

Oil on linen, 36 x 60 in. (91.2 x 152.4 cm), framed.

Condition: Good.

Provenance: Citizens Bank, Providence, Rhode Island. $700-900 452 Nicholas Mariscano (American, 1908-1991) Nude Signed “marsicano” u.l.

Oil on canvas, 42 1/4 x 36 in. (107.3 x 91.4 cm), framed.

Condition: Cracking u.l. and u.r., surface grime.

Provenance: Acquired from the estate of the artist by the current owner. $1,500-2,000

452

192

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453

453 Tom Liesegang (American, b. 1955) Composition in Nightshade & Blue Signed “Liesegang” along the bottom edge, signed, inscribed, dated, and titled “Liesegang/BKF 4·5/16/...” on the reverse.

Oil and cement on canvas, 20 x 14 in. (51.5 x 36.0 cm), framed.

Condition: Good.

N.B. The inscription on the reverse indicates that this work was painted in Brookfield, Massachusetts. $1,000-1,500 454 Aaron Fink (American, b. 1955) Red Light Signed and dated “AARON/FINK/1998” on the reverse, identified on a label from Alpha Gallery, Boston, affixed to the stretcher.

Oil on linen, 72 x 50 in. (182.9 x 127.0 cm), framed.

Condition: Good.

Provenance: Citizens Bank, Providence, Rhode Island. $700-900

454

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193

455

455 Alexander Liberman (Russian/American, 1912-1999) Surge Stamped with edition number, initials, and date “19-30 AL 1976” on the base, stamped “TREITEL-GRATZ Co INC.” on the base.

Polished aluminum, 13 1/2 x 8 1/4 x 8 1/4 in.

(34.3 x 21.0 x 21.0 cm).

Condition: Good.

Provenance: The estate of Irving Penn, New York. $2,000-3,000

194

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456

456 LeRoy Neiman (American, 1921-2012) Mary Decker Signed and dated “LeRoy Neiman ‘84” l.r., titled on a certificate of authenticity from Hammer Galleries, New York (see N.B.).

Oil on canvas, 42 x 30 in. (106.7 x 76.0 cm), framed.

Condition: Good.

Provenance: A private Massachusetts collection.

N.B. The lot is accompanied by a certificate of authenticity from Hammer Galleries, New York, signed by Richard Lynch and dated July 19, 2002. $35,000-55,000

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195

457

457 Keith J. Tabellione (American, 1971-2007) Headrest No visible signature.

Patinated steel and bronze, 10 1/2 x 26 x 5 1/2 in. (26.7 x 66.0 x 14.0 cm), on an integral plinth.

Condition: Missing one spike in far right row, minor surface grime.

Provenance: Purchased from the School of the Museum of Fine Arts, Boston; the estate of Mary Newman.

N.B. Keith Tabellione graduated from The School of the Museum of Fine Arts and won the Fifth Year Traveling Scholars Award. He received the Copley Society of Boston’s Student Show Award, the Photography Award, the Sculpture Award, and the Museum School Boit Award two consecutive years, and he was featured on the cover of the Boston Globe Magazine on May 5, 1996.

458

196

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Tabellione exhibited at the Museum School of Fine Arts, Bernard Toale Gallery, Copley Society, Collusion Gallery, Art Space Gallery, Li’l Red Shack, Seattle, and Julian’s of Providence, Rhode Island. $1,500-2,000

459

458 Pérez Celis (Argentinian, 1939-2008)

459 George Marinko (American, 1908-1989)

Noche Sol en la Pampa Signed and dated “Pérez Celis 66” l.c., inscribed “’NOCHE SOL en la PAMPA’/Pérez Celis/B.S.As. 1966” on the reverse.

Oil on canvas, 51 x 38 in. (129.5 x 96.5 cm), framed.

Condition: Small loss u.r., fine craquelure, small abrasions l.c., surface grime. $1,500-2,500

Rouge et Noir Signed “MARINKO” l.r., titled, numbered, and signed “.../10 [within a circle]/MARINKO” on the reverse in a vertical orientation.

Oil on canvas, 30 x 35 in. (76.0 x 88.7 cm) Condition: Scattered minor paint losses, minor surface grime. $2,000-3,000 460 No lot.

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197

462

461

461 Aaron Ashkenazi (Bulgarian/Israeli, 19121993) Standing Figure Signed in Hebrew on the top of the base.

Bronze with dark brown patina, height 40 in.

(102.0 cm), mounted to a wood pedestal.

Condition: Small area of uneven patina or accretion on the reverse, minor dust and grime. $2,000-3,000

198

462 Augustin Ubeda (Spanish, 1925-2007) Still Life with Rooster Unsigned.

Oil on canvas, 32 x 39 1/2 in. (81.2 x 10.3 cm), framed.

Condition: Tear u.c., cracking, tenting, surface grime. $1,500-2,500

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463

463 Augustin Ubeda (Spanish, 1925-2007) Woman with Two Birds Signed “A. UBEDA” l.r.

Oil on canvas, 32 x 25 1/2 in. (81.2 x 64.7 cm), framed.

Condition: Cracking, lifting at center, bulges at corners, surface grime. $1,500-2,500 464 Irving Kriesberg (American, 1919-2009) The Russian Engineer Signed and dated “IK 53” l.l., signed and titled “Irving Kriesberg/...” on the stretcher, identified on labels from the Art Lending Service of the Museum of Modern Art, New York, and Duveen-Graham Gallery, New York, affixed to the stretcher, inscribed “COLL. PHILIP D. HEILMAN” on the stretcher.

Oil on canvas, 30 x 26 in. (76.2 x 66.0 cm), framed.

Condition: Stretcher marks, bulges at corners, small puncture and abrasion l.l., small abrasion u.l., not examined out of frame.

Provenance: Duveen-Graham Gallery, New York, collection of Philip Douglas Heilman, to the current owner. $800-1,200

464

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199

465

465 Donald De Lue (American, 1897-1988) Adam and Eve Signed “D. De Lue” and “De Lue,” respectively, in the bronze, both dated, inscribed, and numbered “SC 1978/© 1986 6/12” in the bronze beneath the signature, and with “TX” Tallix foundry marks.

Bronze with brown patina, Eve height 10 1/2 in. (26.7 cm), Adam height 9 1/2 in. (24.1 cm), on marble plinths.

Condition: Dust and dirt to interstices.

200

Provenance: A private Florida collection.

N.B. Donald De Lue’s figurative sculptures, often symbolic or mythological, reveal his mastery of human anatomy. The expressive postures of these two figures, expelled from the Garden of Eden, are reminiscent of the tension and emotion found in works by Michelangelo. $7,000-9,000

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466

466 Philip Pearlstein (American, b. 1924) Nude Signed “PEARLSTEIN� l.l.

Graphite on paper, 13 5/8 x 11 in. (34.6 x 27.9 cm), framed.

Condition: Not examined out of frame.

Provenance: A private Massachusetts collection. $800-1,200

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201

467 Robert Jessup (American, b. 1952) Open Window-White Light Signed “RJ” l.r., inscribed “...Robert Jessup 1994” on the stretcher.

Oil on canvas, 66 x 62 in. (167.6 x 157.4 cm), unframed.

Condition: Surface grime, small abrasions u.l., tears at u.r. and l.l. corners, loss u.r., scratch l.r. $3,000-5,000 468 Juan Manuel Caneja (Spanish, 1905-1988) Abstract Landscape Signed “M Caneja” l.r.

Oil on canvas, 19 1/2 x 26 in. (49.5 x 66.0 cm), framed.

Condition: Mold across the back of the canvas, areas of craquelure, possible lifting, canvas deformation, surface grime.

Provenance: Dorothy Braude Edinburg; excollection Thomas and Donalyn Schofield. $3,000-5,000

467

468

202

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469

469 Manoucher Yektai (American, b. 1922) Flowers Signed and dated “Yektai 54� u.l., titled on a label on the backing board.

Oil on canvas laid down on canvasboard, 14 1/2 x 11 3/4 in. (36.8 x 29.8 cm), framed.

Condition: Some craquelure to impasto throughout, surface grime. $5,000-7,000

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203

470

470 John Way [Wei Letang] (Chinese/American, 1921-2012) October 1962 Signed and dated “John Way ‘65” u.l., titled on a label from Joan Peterson Gallery, Boston, affixed to the frame backing.

Oil on paper, sight size 14 3/4 x 22 7/8 in.

(36.7 x 58.0 cm), framed.

Condition: Paper with a Strathmore embossed stamp, not examined out of frame.

Provenance: Ex-collection Garland Knitting Mills. $2,000-3,000

204

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471

471 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way Feb 1962� l.l.

Oil on paper, sight size 19 1/8 x 14 3/4 in.

(48.5 x 37.5 cm), framed.

Condition: Not examined out of frame. $2,000-3,000

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205

472 Lynda Benglis (American, b. 1941) Pi Signed, titled, and dated “Benglis...‘73” u.c.

Acrylic paint and glitter on cotton bunting and plaster over an aluminum screen, 31 1/2 x 11 1/2 x 11 in. (80.0 x 29.2 x 27.9 cm).

Condition: Surface grime and dust, small area of wear and tearing to cloth at u.l., unraveling of cloth at l.c., several small cracks in paint.

Provenance: Purchased by the current owner from Hansen Fuller Gallery, San Francisco, 1974.

N.B. This work is from the artist’s Sparkle Knot series. The lot includes the original bill of sale from Hansen Fuller Gallery and a handwritten letter from the artist outlining her recommendations for the care of the work. $15,000-20,000

472

473-475 No lots.

206

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476

476 Robert A. Birmelin (American, b. 1933) Street Crossing-Acid Yellow Signed “© R.BIRMELIN” l.c., identified on labels from Sherry French Gallery, New York, and possibly from the artist, both affixed to the frame backing.

Acrylic on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed.

Condition: Minor surface grime. $1,000-1,500

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207

477

477 Allan Rohan Crite (American, 1910-2007) The Bambara Peoples Signed “Allan R Crite/1974� l.l., identified within the composition.

Pencil, ink, and watercolor on paper, sight size 9 3/4 x 12 3/4 in. (24.7 x 32.3 cm), framed.

Condition: Toning to edges of sheet, not examined out of mat. $1,000-1,500

208

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478

478 Steve Mills (American, b. 1959) The Tip Signed and dated “Steve Mills/01� l.l., identified on a label affixed to the stretcher.

Oil on canvas, 26 x 36 in. (60.9 x 91.4 cm), unframed.

Condition: Good. $3,000-5,000

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209

479

479 Joel Shapiro (American, b. 1941) Untitled Incised with the artist’s signature, numbered, and dated “1/6 1987-1988/SHAPIRO” on the underside.

Bronze with gold patina, 9 x 8 1/2 in. (22.8 x 21.5 cm).

Condition: Scattered surface abrasions, scratches, and rubbing of the bronze throughout, most of which may be inherent to the artist’s working method, mounting holes on underside that appear to be original to the work, small area of oxidization on underside, white accretions to bottom arm.

Provenance: Purchased from Paula Cooper Gallery, New York; Estate of Richard E. Anderson, New York, New York/Redding, Connecticut. $15,000-25,000

210

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480

480 Jennifer Losch Bartlett (American, b. 1941) In the Garden 4 Unsigned, titled and dated “…/1980” on labels affixed to the reverse of each plate.

Conté crayon on paper under glass, 36 x 30 in. (91.4 x 76.2 cm); baked enamel and silkscreen grid, enamel on six steel plates, each plate 12 x 12 in. (30.4 x 30.4 cm), unframed.

Condition: Sheet: top edge deckled, pinholes at each corner, l.c., u.c., and center, small creases at l.l. and l.r., foxing along bottom edge, adhesive residue to l.l. edge; enamel plates: scratches l.c. and u.l., flaking along upper edge (plate 1); scratch measuring 1 1/4 in., c.r. (plate 2); small scratches l.c. and l.l., abrasions and flaking along upper and lower edges (plate 3); scratches l.c., l.l. (plate 5); scratch and small loss u.l. (plate 6).

Provenance: Sotheby’s New York, Contemporary Art Part II, May 19, 1999, Lot 153. $3,000-3,500

End of Sale 2977B

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211

Artist Index Adler, Samuel Marcus..................................... 444

Crosbie, William............................................... 415

Hitchcock, George.......................................... 275

Aivazovsky, Ivan Konstantinovich.................... 265

Csók, István.................................................... 368

Hodges, William (Attributed to)........................ 214 Hunter, Robert Douglas................................... 389

Aldrich, George Ames..................... 285, 288, 315 Alechinsky, Pierre............................................ 448

Dawson, Montague......................................... 295

Alken, Henry.................................................... 260

De Lue, Donald............................................... 465

Italian School, 17th Century.... 202, 205, 207–209

Allen Jr., Thomas............................................ 254

Dean, Walter Lofthouse................................... 231

Italian School, 19th Century............................ 243

Angiboult, François.......................................... 442

Degas, Edgar.................................................. 397

Anisfeld, Boris Izrailovich................................. 384

Diederich, Wilhelm Hunt.................................. 392

Jessup, Robert................................................ 467

Annenkov, Yuri Pavlovich................................ 400

Dieterle, Marie......................................... 216, 217

Jones, Hugh Bolton......................................... 279

Appel, Charles................................................. 281

Donaldson, Anthony........................................ 431

Artz, David Adolf Constant.............................. 314

Ducaire-Roque, Maryse................................... 413

Kahn, Wolf...................................................... 348

Ashkenazi, Aaron............................................ 461

Dunning, Robert Spear.................................... 270

Kauba, Carl..................................... 297, 299–301

Bail, Joseph.................................................... 240

Eaton, Charles Warren.................................... 287

Kollwitz, Käthe Schmidt........................... 408, 409

Barnes, Susan................................................. 350

English School, 19th Century.......................... 258

Korovin, Konstantin Alexseyevitch................... 416

Bartlett, Jennifer Losch.................................... 480

Enneking, Joseph Eliot.................................... 311

Kotov, Victor................................................... 320

Beauchamp, Robert........................................ 447

Ettinger, Churchill............................................ 322

Kozlov, Ivan..................................................... 386

Bencomo, Mario.............................................. 436

Evans, Jessie Benton...................................... 328

Krasnopevtsev, Dmitry Mikhailovich................. 425

Kelpe, Paul...................................................... 422

Kriesberg, Irving.............................................. 464

Benglis, Lynda................................................. 472 Benois, Albert Nikolaevich............................... 267

Farndon, Walter............................................... 331

Kroll, Leon............................................... 387, 388

Benton, Thomas Hart...................................... 307

Fedorovsky, Fedor Fedorovich........................ 401

Kronberg, Louis............................................... 385

Besnard, Albert............................................... 249

Filipowski, Richard........................................... 427

Kuehne, Max................................................... 391

van Beverloo, Guillaume Cornelis.................... 445

Fink, Aaron.............................................. 451, 454

Birmelin, Robert A........................................... 476

Fitzgerald, James Edward...................... 304, 333,

Laezza, Giuseppe............................................ 264

Birney, William Verplanck................................. 271

....................................................... 336, 344, 410

Lane, Harry..................................................... 361

Bisttram, Emil James............................... 429, 437

Frazier, Kenneth.............................................. 274

Lathrop, Gertrude Katherine............................ 381

Blacklock, William Kay..................................... 224

Frost, Arthur Burdett.....................................380B

Lebedev, Vladimir............................ 355, 366, 419

Blatas, Arbit..................................................... 395

Frère, Charles Edouard................................... 238

Lebret, Frans................................................... 218

Boksay, Josif Josifovic.................................... 340

Frère, Pierre Édouard...................................... 239

Leduc, Fernand............................................... 430 Leighton, Scott (Nicholas Winfield).................. 280

Boulard, Emile................................................. 233 Browne, George Elmer.................................... 341

Gable, John..................................................... 390

Leith-Ross, Harry............................................ 332

Browne, Margaret Fitzhugh............................. 383

Gael, Barent (Barend) (After)............................ 210

Lenoir, Charles Amable................................... 247

Burliuk, David Davidovich........................ 357, 402

German School, 19th Century.......................219A

Levine, Jack............................................ 412, 414

Gilbert, Carl Ivar............................................... 335

Liberman, Alexander........................................ 455

Calder, Alexander.................................... 438–440

Goncharova, Natalia Sergeevna...................... 433

Lidderdale, Charles Sillem............................... 256

Canal, Giovanni Antonio (After)........................ 212

Goodwin, Arthur Clifton................... 343, 358, 377

Lier, Adolf Heinrich.......................................... 226

Canaletto (After)............................................... 212

van Goyen, Jan (After)..................................... 200

Liesegang, Tom............................................... 453

Caneja, Juan Manuel....................................... 468

Green, Charles Edwin Lewis............................ 360

Loir, Luigi........................................................ 362

Cavallon, Giorgio............................................. 428

Griffin, Walter................................................... 370

Celis, Pérez..................................................... 458

Gruppé, Emile Albert............................... 316, 317

MacGeorge, William Stewart........................... 242

Central European School, 16th Century.......... 203

Guidobono, Bartolomeo (Attributed to)............ 206

Macknight, Dodge........................................... 302

Chase, William Merritt...................................... 372

Guillemet, Jean Baptiste Antoine..................... 225

Magyar-Mannheimer, Gustav.......................... 250

Chauveau, François (Attributed to).................. 204

Major, Ernest Lee............................................ 376

Chupyatov, Leonid Terentevich....................... 399

de Haas, William Frederick.............................. 293

Malyavin, Filip.......................................... 403, 404

Claxton, Adelaide............................................ 255

Hamilton, Hamilton.......................................... 324

Marini, Marino.................................................. 435

Comerre, Léon François.................................. 248

Harpignies, Henri-Joseph (Attributed to).......... 223

Marinko, George............................................. 459

Continental School, 17th/18th Century............ 211

Harris, Lawren Stewart.................................... 421

Maris, Jacob................................................... 229

Corneille.......................................................... 445

Hekking, Joseph Antonio........................ 266, 268

Mariscano, Nicholas........................................ 452

Corot, Jean-Baptiste-Camille........................... 244

Heldner, Knute (Sven August).......................... 306

Martens, Willy.................................................. 234

Cortazzo, Oreste............................................. 245

Hendriks Jr., Willem................................. 220, 221

Martin, Henri-Jean Guillaume.................. 363, 364

Couse, Eanger Irving....................................... 235

Hervé, Jules René........................................... 371

Martinez, Miguel.............................................. 449

Covarrubias, Miguel................................. 420, 450

Herzog, Hermann............................................ 215

Matthews, William........................................... 309

Crane, Bruce................................................... 283

Higgins, Victor................................................. 305

McIntosh, Pleasant Ray................................... 353

Crite, Allan Rohan............................................ 477

Hill, James G................................................... 257

Menpes, Mortimer Luddington........................ 378

212

Mijares, José María................................. 417, 418

Sisson, Laurence Philip................................... 349

Mills, Steve...................................................... 478

Sloane, Eric............................................. 345–347

Moran, Thomas............................................... 276

Smit, Arie........................................................ 441

Morley, Malcolm.............................................. 334

Soriano, Rafael................................................ 423

Murphy, Hermann Dudley................................ 342

Spohler, Johannes Franciscus......................... 227 Stern, Yossi..................................................... 443

Nabb, Paul.............................................. 426, 434

Stevens, William Lester.................................... 318

Nagaevskaya, Elena Varnavovna..................... 432

Sully, Thomas.................................................. 269

Nakagawa, Hachiro......................................... 329

Swagers, Frans............................................... 228

Nalbandian, Dimitri.......................................... 339 Neiman, LeRoy................................................ 456

Tabellione, Keith J........................................... 457

Neuhuys, Albert Johan (Jan)............................ 236

Tate, Gayle Blair.............................................. 272

Nikolaev, Kuzma Vasilevic............................... 338

Thayer, Abbott Handerson.............................. 374

Norton, William Edward................................... 230

Townsend, Ernest........................................... 352 Tucker, Allen................................................... 356

O’Neill, Daniel.................................................. 411

Tyler, James Gale.................................... 289–291

Oerder, Frans David........................................ 241 d’Œttingen, Hélène......................................... 442

Ubeda, Augustin...................................... 462, 463

Offner, Elliot...........................................391A, 393 Ogilvie, John Clinton........................................ 282

Valenkamph, Theodore Victor Carl.................. 296

Osborn, Hillary......................................... 312, 321

Valtat, Louis.................................................... 396 Verschuur, Cornelis......................................... 222

Parrott, William Samuel................................... 298 Paul, Gen........................................................ 446

Walkowitz, Abraham........................ 405, 406, 424

Pearlstein, Philip.............................................. 466

Wall, William Allen............................................ 277

Penot, Albert Joseph....................................... 252

Walton, Henry (Attributed to)........................... 219

Petit, Charles.................................................239A

Way, John............................................... 470, 471

Pieters, Evert................................................... 237

Wei Letang.............................................. 470, 471

de Pisis, Filippo............................................... 367

Weinrich, Agnes.............................................. 394

Pissarro, Paul-Émile........................................ 369

Wheeler, Janet D............................................. 273

Pogany, William Andrew (Willy)......................380A

Whorf, John.................................................... 326

Portielje, Edward Antoon................................. 251

Wiggins, Guy Carleton..................................... 359

Potthast, Edward Henry.......................... 325, 327

Wijsmuller, Jan Hillebrand................................ 232

Poulton, James............................................... 253

Willis, Joseph Roy (J.R.).................................. 303

Prentice, Levi Wells (Attributed to)................... 278

Woodbury, Charles Herbert............................. 313

Rademaker, Abraham..................................... 213

Yektai, Manoucher.......................................... 469

Ribot, Germain-Théodore................................ 246 Richards, J. Philip.................................... 330, 351

Zerbe, Karl...................................................... 354

Richardson, Francis Henry.............................. 294

Zorach, William................................................ 323

Richmond, Agnes M........................................ 375

Zúñiga, Francisco............................................ 407

Rockwell, Norman........................................... 380 Rodin, Auguste................................................ 398 Roth, Frederick George Richard...................... 382 Sanford, Edward Field, the Younger................ 379 Santoro, Rubens............................................. 261 Sargent, John Singer....................................... 373 Schreiber, Peter Conrad.................................. 263 Schwanfelder, Charles Henry.......................... 259 Seago, Edward Brian...................................... 365 Sergeyev, Nikolai............................................. 337 Shapiro, Joel................................................... 479 Sheehan, Dennis.....................284, 308, 310, 319

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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 “as is,� 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. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. Any bidder that plans on spending in excess of $100,000 should make arrangements with the accounting department at least five (5) days in advance of the sale, as a deposit may be required to participate.

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 purchaser’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. Sales in Massachusetts, Florida, and New York are subject to the respective current sales taxes. Dealers, museums, and other qualifying parties may be exempt from sales tax upon submission of proper documentation.

10. A premium equal to 23% of the final bid price up to and including $100,000, plus 20% of the final bid price from $100,001 up to and including $1,000,000, plus 12% of the final bid price from $1,000,001 and over will be applied to each lot sold, to be paid by the buyer as part of the purchase price.

11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and 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 catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, 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 exclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit.

Revised January 21, 2015

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Absentee Bid Form Sale Title

Absentee Bid

Sale Date

or

Phone Bid

Customer #

Name (Please Print)

Business Name

Address City

Phone #

Alternate #

check if change in address

State

Zip Code email

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 catalog of this sale.

Signature (Required)

Lot #

Date

Description

Bid confirmation via email?

YES

Bid Price

NO

FOR OFFICE USE Marlborough

Boston

Phone

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

Fax

Mail

Person

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

Employee:

www.skinnerinc.com

Board of Directors

Departments

Chairman of the Board

20th Century Design

Discovery Auctions

Jane D. Prentiss

Carly Babione

20thcentury@skinnerinc.com

Kyle Johnson

508.970.3253

Melanie Trottier-Mitcheson

Stephen L. Fletcher Richard Albright

discovery@skinnerinc.com

John Deighton

508.970.3202

Karen M. Keane

American & European Paintings & Prints

Andrew Payne

Robin S.R. Starr Elizabeth C. Haff Michelle Lamunière

Executive Management

Kathleen M. Leland paintings@skinnerinc.com 508.970.3206

Karen M. Keane

Stephen L. Fletcher Chris Barber Christopher D. Fox americana@skinnerinc.com

Chief Financial Officer Don Kelly

Executive Vice President

Stuart G. Slavid Stephanie Opolski Gwendolyn L. Smith european@skinnerinc.com 508.970.3203

American Furniture & Decorative Arts President/Chief Executive Officer

European Furniture & Decorative Arts

Historic Arms & Militaria Joel Bohy militaria@skinnerinc.com 508.970.3215

508.970.3200

Jewelry American Indian & Ethnographic Art

Victoria Bratberg

Douglas Deihl

John Colasacco

indian@skinnerinc.com

Kaitlin Shinnick

Stephen L. Fletcher

508.970.3254

jewelry@skinnerinc.com

Managing Director

Antique Motor Vehicles

Marie Keep

617.874.4313

Jane D. Prentiss antiquemotorvehicles@skinnerinc.com 508.970.3253

Kerry Shrives Stuart G. Slavid

Asian Works of Art Judith Dowling Helen Eagles Suhyung Kim

Vice Presidents

asian@skinnerinc.com

Gloria Lieberman

rugs@skinnerinc.com

508.970.3293

Photographs Michelle Lamunière

Stuart G. Slavid

photographs@skinnerinc.com

Silver Clocks, Watches & Scientific Instruments Robert C. Cheney Jonathan Dowling

Stuart G. Slavid silver@skinnerinc.com 508.970.3203

Paul Dumanowski clocks@skinnerinc.com

305.503.4423 florida@skinnerinc.com

508.970.3264

508.970.3203

George Thomas Lewis

Florida: April L. Matteini, G.G.

508.970.3247

Ceramics ceramics@skinnerinc.com

212.787.1114 kbanser-whittle@skinnerinc.com

508.970.3216

Devon Eastland

Robin S.R. Starr

New York: Katie Banser-Whittle

music@skinnerinc.com

Lawrence Kearney

Jane D. Prentiss

413.727.2721 glewis@skinnerinc.com

Adam Tober

Oriental Rugs & Carpets

books@skinnerinc.com

Western Massachusetts:

Musical Instruments

Books & Manuscripts

Carol McCaffrey

Regional Directors

judaica@skinnerinc.com

508.970.3263

Victoria Bratberg Eric Jones

Kerry Shrives 508.970.3256

Senior Vice Presidents Marie Keep

Judaica

508.970.3201

Wine, Whisky & Ale Marie Keep Joseph Hyman Anna Ward

Maine: Bruce Buxton

finewines@skinnerinc.com

207.772.6979 bbuxton@mainerr.com

508.970.3296

218

Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services

Exhibitions & Property Boston:

LaGina Austin

Marketing

Christine E. Finn

Linsey MacDougall

Katie Fitzgerald

Jenna Nastri

Rachel Kingsley

Benjamin Evans

Jessica Pratas

Jessica R. Lincoln

Catalog Sales

Receptionist

Linsey MacDougall

Emily Gerling

508.970.3240

617.350.5400

Elizabeth Zwicker

Laura V. Sweeney Sarah L. Collins

508.970.3299

Consignment Services Patricia Walker King Rebecca Hamel Carol Zeigler

Advertising/Production

508.970.3204

Pamela Van de Houten Jeffrey R. Antkowiak

Marlborough:

Stanley P. Bystrowski

Warehouse

John Cornelius

Frederic Trottier

Kristina M. Harrison

508.970.3209

Carol McCaffrey

Kathleen Jones

Samatha Heighton

508.970.3252

Cheryl Richards Photography

Customer Relations/Human Resources

Skinner Online Kerry Shrives

Accounting

Receptionist Lindsay White 508.970.3000

Daniel Bar Judie Ochsner

Denise Johnson

Lizz Webber

Transportation

508.970.3269

online@skinnerinc.com

Eric Jones

508.970.3279

William Madden 508.970.3266

508.970.3229

Absentee & Telephone Bidding

Kevin Rota 508.970.3283

Boston: 617.874.4318 Marlborough: 508.970.3211

Auctioneers

Discovery: 508.970.3208 Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Jessica R. Lincoln, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

www.skinnerinc.com

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

130 Miracle Mile, Suite 220 Coral Gables, FL 33134 305.503.4423 Fax 305.709.2143

415 Madison Avenue, #1418 New York, NY 10017 212.787.1113 Fax 646.893.0179

219

220

Directions to Skinner’s Boston Gallery/63 Park Plaza, Boston, MA 02116 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.

221

222

Catalog Subscription Form Prices effective January 28, 2016. Catalog 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

Please check the appropriate boxes:

U.S. and Canada

Quarterly Brochure (Included with catalog subscription)

No charge

Foreign (USD only)

No charge

American Furniture & Decorative Arts

$105

$200

European Furniture & Decorative Arts

$140

$270

American & European Paintings & Prints (two books)

$105

$200

Fine Jewelry

$140

$270

20th Century Design

$70

$135

Asian Works of Art

$105

$200

Fine Oriental Rugs & Carpets

$70

$135

American Indian & Ethnographic Art

$70

$135

Fine Books & Manuscripts

$70

$135

Historic Arms & Militaria

$70

$135

Fine Musical Instruments

$70

$135

Clocks, Watches & Scientific Instruments

$70

$135

Fine Wines, Ales & Spirits

$70

$135

All Above Departments

$900

$1725

Subtotal

MA residents 6.25% sales tax

Total

MasterCard/VISA #

Exp. Date

Signature

Check enclosed

Name

Business Name

Mailing Address City email address

State

Zip Tel: (

)

Please enclose payment with subscription form and mail or fax to: Skinner, Inc., Subscription Department, 274 Cedar Hill Street, Marlborough, MA 01752 508.970.3100 For questions or single catalog purchase information please contact subscriptions@skinnerinc.com