American & European Works of Art | Skinner Auction 3029B by Bonhams Skinner

American & European Works of Art Sale 3029B | September 27, 2017 | Boston

American & European Works of Art

Specialists

Robin S.R. Starr Department Director 508.970.3259

Elizabeth C. Haff Michelle LamuniĂ¨re 508.970.3258

Kathleen M. Leland 508.970.3297

508.970.3264

Department Inquiries: 508.970.3206

Auction Information Auction 3029B

Preview

Absentee Bidding

Wednesday, September 27

Monday, September 25 12 to 5PM

T: 617.874.4318 F: 617.350.5429

Fine Prints & Photographs, 12PM Fine Paintings & Sculpture, 4PM 63 Park Plaza Boston, MA

Tuesday, September 26 12 to 8PM Wednesday, September 27 9 to 10AM

General Inquiries 617.350.5400

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View all lots online at www.skinnerinc.com cover : 58 ; interior front cover : 432 ; interior back cover : 250 ; back cover : 129

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Lot 411: Charles Green Shaw (American, 1892-1974), Geometric Abstraction, oil on canvasboard, 12 1/4 x 10 in., framed.

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Table of Contents 1

Auction & Specialist Information

Online Bidding

Upcoming Sale Announcement

Provenance

Glossary of Terms

Prints & Photographs: Lots 1–140

Paintings & Sculpture: Lots 200–442

226

Artist Index

228

Conditions of Sale

229

Absentee Bid Form

230

Company Directors & Specialty Departments

231

Administrative Staff & Client Services

232

Regional Offices

Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 228 of this catalog for the full terms and conditions governing your purchase.

Upcoming Auction The Beauty of Space: Vintage NASA Photographs November 2, 2017 | 274 Cedar Hill Street, Marlborough, MA

William Anders (American, b. 1933), First Earthrise seen by human eyes, Apollo 8, December 1968, vintage chromogenic print

Provenance The James and Pamela Alexander Collection, Virginia Shane Newell, Baker Studio Collection, Massachusetts Collection of Professor and Mrs. Jonathan Brown, Princeton The Greentree Collection of Photography and Native American Antiques Collection of John Oâ&#x20AC;&#x2122;Reilly and James Tellin, Worcester, Massachusetts Estate of Stanley A. Leary A Private Massachusetts Family Collection A Private Rhode Island Family Collection Private Collections in California, Connecticut, Florida, Maine, Massachusetts, Montana, New York, Rhode Island, Colorado, and Florida Estate of Carol J. Ferranti Estate of Lee and Grace Hasenbush of Brookline, Massachusetts Estate of Jack and Madeline Gilford, New York Estate of George Wald Estate of Mrs. T.D. Welch, Florida A New England Estate Estates in Maine, Massachusetts, and Rhode Island By descent within the Family of Abbott Handerson Thayer A Naples, Florida, Estate A Chicago Estate Descendants of the artist Frank Anderson

Descendants of the artist Frank Weston Benson The Family of Rigmor Nielsen, Maine By descent from Herbert P. Vose, Boston By descent from the Collection of Richard T. Ellis of Great Falls, Montana The Estate of Richard L. Elia, Winchester, Massachusetts Richard L. Elia (1941-2017) was an esteemed professor at Salem State College and founder and publisher of the Quarterly Review of Wines. Joining the faculty at Salem State College in 1969, Dr. Elia taught literature and writing to generations of students over 47 years. His passion for learning about wine led him to found the Quarterly Review of Wines in 1977, which grew from a newsletter to a magazine with a circulation of 175,000, and he was a generous patron of WGBH and other non-profits, supporting their fundraising efforts by organizing wine-related events.

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.

Fine Prints & Photographs Lots 1â&#x20AC;&#x201C;140 to be sold Wednesday, September 27, 12PM

1 (partial)

1 Charles François Daubigny (French, 18171878) Two Landscapes: Le ruisseau dans la clairière, from Quarante Clichés-Glaces, 1862, published in 1921 by Sagot/Le Garrec, Paris, in an edition of 150 (Delteil, 137), signed in the matrix, publisher’s stamp (Lugt, 1766a) and numbered “141/150” in pencil on the reverse, cliché-verre on paper, image/sheet size 7 7/8 x 6 1/2 in. (19.9 x 16.4 cm); and Le Berger et la Bergère, 1874, fifth state of eight (Delteil, 122), unsigned, identified within the plate, etching on laid paper, plate size 11 1/2 x 8 3/4 in. (28.9 x 22.0 cm); both matted, unframed. Condition: Minor soiling, pencil annotations to lower margin and/or versos. Provenance: A Maine estate. $300-500 2 Conrad Felixmüller (German, 1897-1977) Selbstbildnis, 1919, published in Deutsche Graphiker der Gegenwart, second state of two (Söhn, 189b). Initialed and annotated within the block, identified on a label from the Nielsen Gallery, Boston, affixed to the backing. Woodcut on paper, image size 9 1/2 x 6 5/8 in. (24.0 x 16.7 cm), framed. Condition: Gentle rippling, not examined out of frame. $200-300

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3 Paul César Helleu (French, 1859-1927) Madame Helleu écrivant à sa table—les tanagras, c. 1899-1900, edition of 50. Signed and numbered “Helleu 19/50” in pencil l.r., identified on a label from the Kovler Gallery, Chicago, affixed to the backing. Etching and drypoint in brown and black on paper, plate size 11 1/2 x 15 5/8 in. (29.0 x 39.5 cm), framed. Condition: Gentle rippling, not examined out of frame.

N.B. According to the Kovler label the work is stamped “Collection: Henri Geraldi” and “Ed Sagot, Editeur, Paris” however the construction of the frame makes it impossible to remove the work without potentially destroying the frame. $700-900 4 Max Liebermann (German, 1847-1935)

Jäger mit Hunden, 1914, edition of 28, published by Paul Cassirer (Schiefler, 61IIIb). Signed “MLiebermann” in pencil l.r., numbered “21/28” in pencil l.l. Etching and drypoint on paper, plate size 7 1/8 x 9 3/8 in. (18.0 x 23.7 cm), framed. Condition: Toning, not examined out of frame. N.B. According to the current owner the work was purchased through the estate of actor Rex Harrison. $400-600 5 Jean François Millet (French, 1814-1875) Les glaneuses, 1855-56, probably the third state of three (Melot, 12; Delteil, 12), publication text partially burnished away l.r. Etching in sepia on tissue, plate size 7 1/2 x 10 in. (18.9 x 25.3 cm), framed. Condition: Margins about 1 1/2 inches, toning/light-struck, pencil annotation to lower margin. $250-350

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6 Camille Pissarro (Danish/French, 18301903) Couple de Paysans, c. 1899, probably from the edition of 10 printed posthumously in 1923 (Delteil, 125). Unsigned. Etching and aquatint on laid paper, plate size 4 3/4 x 3 1/8 in. (11.8 x 7.8 cm), framed. Condition: Deckled edges, unobtrusive toning, pencil annotations to lower margin, brown paper tape to upper edge on verso. Provenance: A Maine estate. $200-250

6A Rembrandt van Rijn (Dutch, 1606-1669)

7 Rembrandt van Rijn (Dutch, 1606-1669)

Samuel Manasseh Ben Israel, 1636, 18th century impression (Bartsch, 269; Hind, 146; Hollstein, 269 iii/iii). Signed and dated within the plate. Etching on laid paper with partial watermark, plate size 5 15/16 x 4 1/4 in. (15.0 x 10.8 cm), unmatted, unframed. Condition: Margins about 1/8 inches, pencil annotations to lower margin and verso, thinned spots to verso near edges, old hinges/ residue near corners on verso. $1,500-2,500

Joseph Telling his Dreams, 1638, 18th century or later impression (Bartsch, 37; Hind, 160; Hollstein, 37 iii/iii). Signed and dated within the plate. Etching on paper, image size 4 3/8 x 3 1/4 in. (11.0 x 8.3 cm), framed. Condition: Trimmed to or just into the border, not examined out of frame. $1,500-2,000

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8 Rembrandt van Rijn (Dutch, 1606-1669) Christ Seated Disputing with the Doctors, 1654, 17th century impression (Bartsch, 64; Hind, 227; Hollstein, 64 only state). Signed and dated within the plate, provenance inscribed on the backing paper (see below). Etching on laid paper with partial watermark, sheet size 3 7/8 x 5 3/4 in. (9.6 x 14.4 cm), framed. Condition: Trimmed to or just within the plate mark, pale toning, adhered at all four corners to backing mat. N.B. Exhibited in For Collectors, at the Worcester Art Museum in February of 1961 from R.M. Light and Co., Boston. $3,000-5,000 9 Jusepe de Ribera (Spanish, 1591-1652) Saint Jerome Hearing the Trumpet of the Last Judgment, 1621, only state (Bartsch, 5; Brown, 4). Monogrammed and dated within the plate. Etching on laid paper with watermark of a fleur-de-lis in a circle, sheet size 12 11/16 x 9 7/16 in. (32.2 x 23.8 cm), matted, unframed. Condition: Trimmed just within the plate mark, thinned spots to verso, minor rubs to image u.r. $2,000-3,000 9

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10 Georges Rouault (French, 1871-1958)

Christ en croix, 1925, edition of 50 (Chapon & Rouault, 306). Dated and signed “1925.G.Rouault” in ink (faded) l.r., identified on labels including one from the Nielsen Gallery, Boston, affixed to the backing. Lithograph on paper, image size 12 1/8 x 9 in. (30.5 x 22.8 cm), framed. Condition: Gentle toning, not examined out of frame. Provenance: A Maine estate. $500-700 11 Georges Rouault (French, 1871-1958) Jongleur from Cirque, from Cirque, 1930, edition of 270 (Chapon & Rouault, 199; Wofsy, 212). Unsigned. Color etching and aquatint on paper, plate size 12 1/4 x 8 1/2 in., framed. Condition: Not examined out of frame. Provenance: The estate of George Wald. $200-300 12 Georges Rouault (French, 1871-1958) Saint Jean-Baptiste, 1933, edition of 175 (Chapon & Rouault, 363; Wofsy, 49). Signed “Georges Rouault” in blue ink l.r., titled, dated, and inscribed “...-1933-2e tirage” in blue ink l.l., initialed and dated within the matrix. Lithograph on paper, image size 12 1/2 x 15 7/8 in. (31.5 x 40.4 cm), framed. Condition: Margins 2 1/2 inches or more, gentle rippling, not examined out of frame.

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Provenance: The estate of George Wald. $200-300

13 Frank Hartley Anderson (American, 18901947)

14 Frank Weston Benson (American, 18621951)

15 Frank Weston Benson (American, 18621951)

Church Supper, 1936. Signed “Frank Hartley Anderson” in pencil l.r., titled in pencil l.l. Wood engraving on paper, image size 10 1/2 x 12 1/2 in. (26.6 x 31.5 cm), framed. Condition: Subtle toning, not examined out of frame. $400-600

Shoveler Drake, 1920, from the published edition of 150 (Paff, 183). Signed “FrankWBenson.” in pencil l.l. Etching on wove paper, plate size 10 x 8 in. (25.4 x 20.3 cm), unmatted, unframed. Condition: Margins 1 inch or more with deckled edges, pencil annotations l.l., subtle toning.

Dark Pool, 1920, published state of 150 (Paff, 189). Signed “FrankWBenson.” in pencil l.l., initialed and dated within the plate. Drypoint on paper, plate size 8 x 11 7/8 in. (20.3 x 30.0 cm), unmatted, unframed. Condition: Full sheet with deckled edges, pencil annotations l.r., subtle soiling to corners of margins.

Provenance: Descended within the family of the artist. $300-500

Provenance: Descended within the family of the artist. $800-1,000

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16 Frank Weston Benson (American, 18621951)

17 Frank Weston Benson (American, 18621951)

18 Frank Weston Benson (American, 18621951)

Nascaupée Indian, 1921, published state of approximately 150 (Paff, 210). Signed “FrankWBenson.” in pencil l.l. Etching on J. Whatman laid paper with watermark, plate size 7 7/8 x 5 7/8 in. (19.9 x 15.0 cm), unmatted, unframed. Condition: Deckled right and lower edges, pencil annotations l.l.

Soaring Fish Hawk, 1923, published state of 150 (Paff, 225). Signed “FrankWBenson.” in pencil l.l. Drypoint on paper, plate size 5 7/8 x 7 7/8 in. (14.8 x 20.0 cm), unmatted, unframed. Condition: Rich burr, margins over 1 3/4 inches with deckled left and lower edges, pencil annotations l.l., several pale stains and/ or fox marks to margins.

Yellowlegs No. 4, 1928, published state probably of 150 (Paff, 284). Signed “FrankWBenson.” in pencil l.l. Drypoint on laid paper, plate size 7 7/8 x 9 7/8 in. (19.9 x 25.0 cm), unmatted, unframed. Condition: Full margins with deckled right and lower edges, pencil annotations to lower margin.

Provenance: Descended within the family of the artist. $300-500

Provenance: Descended within the family of the artist. $600-800

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Provenance: Descended within the family of the artist. $800-1,200

19 Frank Weston Benson (American, 18621951)

20 Frank Weston Benson (American, 18621951)

21 Frank Weston Benson (American, 18621951)

Yellowlegs in Sunlight, 1928, published state of 150 (Paff, 285). Signed “FrankWBenson.” in pencil l.l., initialed and dated within the plate. Drypoint on laid paper with “ENGLAND” watermark, plate size 9 7/8 x 7 3/4 in. (25.0 x 17.8 cm), unmatted, unframed. Condition: Full margins with deckled edges to two sides, pencil annotations l.l., hinging residue near upper corners on verso.

Casting for Salmon, 1929, published state of 150 (Paff, 288). Signed “FrankWBenson.” in pencil l.l. Etching on laid paper, plate size 7 3/4 x 9 7/8 in. (19.5 x 25.1 cm), unmatted, unframed. Condition: Full margins with deckled left and lower edges, pencil annotations l.r.

November Moon, 1931, published state of 150 (Paff, 316). Signed “FrankWBenson.” in pencil l.l. Etching and aquatint on wove paper, plate size 9 7/8 x 8 in. (25.0 x 20.3 cm), unmatted, unframed. Condition: Full margins with deckled left and lower edges, pencil annotations to lower margin.

Provenance: Descended within the family of the artist. $600-800

Provenance: Descended within the family of the artist. $800-1,200

Provenance: Descended within the family of the artist. $500-700

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22 Thomas Hart Benton (American, 18891975)

23 Thomas Hart Benton (American, 18891975)

The Farmer’s Daughter, 1944, edition of 250, published by Associated American Artists, New York (Fath, 62). Signed “Benton” in pencil l.r. Lithograph on paper, image size 9 3/4 x 13 1/4 in. (24.6 x 33.5 cm), framed. Condition: Gentle toning and rippling, not examined out of frame. $1,200-1,800

The Corral, 1948, edition of 250, published by Associated American Artists, New York (Fath, 71). Signed “Benton” in pencil l.r. and within the matrix. Lithograph on paper, image size 9 11/16 x 13 3/4 in. (24.5 x 34.8 cm), framed. Condition: Gentle toning and rippling, not examined out of frame. $1,500-2,000

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24 Elizabeth Catlett (American, 1915-2012) Sharecropper, alternatively titled Negro Woman and Cosechadora de algodón, c. 1952. Signed “E.Catlett” in pencil l.r., initialed within the block, titled “Cosechadora de Algodón” in pencil l.l. Linocut in black and yellow on smooth paperboard, image size 17 3/4 x 16 3/4 in. (44.8 x 42.4 cm), unmatted, unframed. Condition: Margins approximately 1 inch, toning, foxing, nicks/small tears to margins, creases to corners (primarily to margins), minute surface losses to margins, thinned spots to edges on verso, probably from tape/ hinge removal.

N.B. Sharecropper is Catlett’s best known print and was originally printed in 1952. It was then published in the journal Artes de México in 1957 under the title Cosechadora de algodón. There were also two editions of sixty impressions—one in colors and one in black— published in 1970. Catlett made a number of impressions manipulating the colorways and use of highlights. $5,000-7,000

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25 John Steuart Curry (American, 1897-1946)

26 Marsden Hartley (American, 1877-1943)

27 Rockwell Kent (American, 1882-1971)

Stallion and Jack Fighting, 1943, edition of 260, published by Associated American Artists, New York (Czestochowski, 42). Signed “John Steuart Curry” in pencil l.r., initialed and dated within the matrix. Lithograph on paper, image size 11 3/4 x 15 1/2 in. (29.8 x 39.4 cm), framed. Condition: Gentle toning and cockling, not examined out of frame. $700-900

Flowers in a Goblet #3, 1923 (University of Kansas, 12). Signed and dated “Marsden Hartley 1923” in pencil l.r., identified on a label from the Barbara Mathes Gallery, New York, affixed to the backing. Lithograph on paper, image size 16 1/2 x 10 3/4 in. (41.5 x 27.2 cm), framed. Condition: Toning, not examined out of frame.

Heavy Heavy Hangs Over Thy Head, 1946, edition of 100 (Jones, 137). Signed “Rockwell Kent” in pencil l.r. Lithograph on paper, image size 9 1/8 x 12 in. (23.2 x 30.4 cm), framed. Condition: Not examined out of frame.

Provenance: A Maine estate. $800-1,200

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Provenance: A Maine estate. N.B. The image was designed as a plea for peace after World War II, and was used as the cover for a booklet titled Rally for Peace and Disarmament (1960). $200-300

28 Paul Landacre (American, 1893-1963)

Some Ingredients, 1953-54, published by The Woodcut Society, New York, edition of 250. Signed “Paul Landacre” in pencil l.r., numbered and titled “99/250...” in pencil l.l. Wood engraving on paper, image size 5 1/4 x 7 7/16 in. (13.3 x 18.7 cm), presented in the original folder/mat. Condition: Good. $400-600 29 Reginald Marsh (American, 1898-1954) Loco - Erie Watering, 1929, final state of 4, edition of 50 to 100 (Sasowsky, 85). Signed “Reginald Marsh” in pencil l.r., label from Collectors of American Art, Inc., New York affixed to verso. Etching on J. Whatman laid paper with watermark, plate size 6 7/8 x 10 in. (17.5 x 25.4 cm), matted, unframed. Condition: Deckled edges, toning, staining. $1,200-1,800

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30 Alfonso Ossorio (Filipino/American, 19161990) Et Mane Quippe in eis Factum est et Vespera, 1936. Identified, dedicated, signed, and dated “S. Augustini Confessionum Liber XIII, cap.35. FOR Howard Turner ii.xi.39 Alfonso Ossorio ‘36” in pencil beneath the image, monogrammed and dated within the block. Wood engraving on paper, image size 12 3/16 x 8 1/8 in. (30.8 x 20.5 cm), unmatted, unframed. Condition: Creases and soiling to margins. $600-800

31 Doel Reed (American, 1895-1985) Figure in Landscape, 1953, edition of 100, published by The Society of Print Connoisseurs, Hicksville, New York. Signed “Doel Reed, n.a.” in pencil l.r., signed and dated within the plate, publisher’s dry stamp l.l., identified on a label affixed to the mat. Aquatint on cream wove paper, plate size 10 x 15 in. (25.4 x 38.0 cm), matted, unframed. Condition: Deckled edges, pale mat burn and toning, several pale fox marks to margins and verso. $350-550

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32 James Abbott McNeill Whistler (American, 1834-1903) Billingsgate, 1859, final state of nine (Glasgow, 51; Kennedy, 47). Signed and dated within the plate. Etching on paper, plate size 5 7/8 x 8 7/8 in. (15.0 x 22.5 cm), framed. Condition: Not examined out of frame. Provenance: The estate of Lee and Grace Hasenbush, Brookline, Massachusetts. $700-900

33 James Abbott McNeill Whistler (American, 1834-1903)

34 James Abbott McNeill Whistler (American, 1834-1903)

35 James Abbott McNeill Whistler (American, 1834-1903)

Chelsea Bridge and Church, 1871, final state of seven (Glasgow, 102; Kennedy, 95). Unsigned. Etching and drypoint on fine laid paper, plate size 4 1/16 x 6 5/8 in. (10.2 x 16.8 cm), matted, unframed. Condition: Subtle light-striking, crease to corner of margin l.l., pencil annotations to verso.

Gants de suĂ¨de, 1890, only state, published in 1894 by The Studio, London, edition of 3,000 (Chicago, 35). Monogrammed within the matrix. Transfer lithograph on paper, image size 8 1/2 x 4 in. (21.5 x 10.1 cm), framed. Condition: Subtle toning and mat burn, not examined out of frame. $400-600

La robe rouge, 1894, second state of two, published in 1895 by The Studio, London, edition of 3,000 (Chicago, 107). Monogrammed within the matrix. Transfer lithograph on paper, image size 7 1/2 x 6 1/8 in. (18.9 x 15.4 cm), framed. Condition: Not examined out of frame. $500-700

Provenance: A Maine estate. $300-500

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36 James Abbott McNeill Whistler (American, 1834-1903) Mother and Daughter, alternatively titled La mère malade, 1897, only state (Chicago, 174). Monogrammed within the matrix. Transfer lithograph on China paper, image size 7 3/8 x 6 3/8 in. (18.6 x 16.1 cm), framed. Condition: Areas of fine cockling to right margin, not examined out of frame. $400-600 37 Carla Accardi (Italian, 1924-2014) Two Works: Blu and Rosso, 2000. Both signed “Accardi” in pencil within the image l.r. and numbered “XVIII/L” and “52/60,” respectively, in pencil within the image l.l., dry stamp l.l. Color lithographs on paper, image/ sheet sizes 27 1/2 x 19 3/4 in. (69.8 x 50.0 cm), unmatted, unframed, presented in the original folders. Condition: The former with deckled edges. $600-800

38 Karel Appel (Dutch, 1921-2006) Untitled (The Yellow Elephant), c. 1975, edition of 50. Signed “Appel” in pencil within the image l.r., numbered “11/50” in pencil l.c. Color etching with carborundum on paper, image/sheet size 19 7/8 x 26 in. (50.4 x 65.8 cm), framed. Condition: Deckled edges, floated within the frame, not examined out of frame.

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Provenance: A Maine estate. $200-250

39 Jean (Hans) Arp (French, 1886-1966) De la famille des étoiles, 1965, edition of 100, published by L’Oeuvre Gravée, Paris & Zurich (Arntz, 359). Signed “Arp” in pencil within the image l.l., numbered “16/100” in pencil within the image l.r., dry stamped “L’OEUVRE GRAVE” l.r. Color lithograph on paper, image size 28 3/4 x 20 1/2 in. (72.9 x 51.9 cm), framed. Condition: Gentle rippling, not examined out of frame. Provenance: A Maine estate. $400-600 40 Nine Culture Carriers—Stamp Out Art Project Envelopes:

Derek Boshier (British, b. 1937), Octagon; David Hockney (British, b. 1937), Tulips; Allen Jones (British, b. 1937), Heel and Mail Order; Christopher Logue (British, 1926-2011), The Slave Who Likes to be...; Eduardo Paolozzi (Scottish, 1924-2005), Space Man (Red) and Space Man (Blue); Ralph Idris Steadman (British, b. 1936), Portrait; Joe Tilson (British, b. 1928), Lips, each from 1971. Each initialed by the artist. Each lithograph affixed to an envelope addressed to art critic Anthony HadenGuest, measuring 6 x 9 in. (15.2 x 22.8 cm), presented in a common frame. Condition: Unobtrusive toning and soiling, not examined out of frame. $2,000-4,000

40 (partial)

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41 Andrea Bowers (American, b. 1965) Fall in Love, from the series Dance Dance Revolution, 2001, edition of 25. Signed and dated “Andrea Bowers 2001 ©” in pencil on the verso l.r., numbered “22/25” in pencil on the verso l.l., dry stamp l.r. Color screenprint on paper, image/sheet size 28 7/8 x 38 7/8 in. (73.3 x 98.7 cm), unmatted, unframed. Condition: Minor wear and creases to corners, crease near edge u.l. $300-500 42 Georges Braque (French, 1882-1963) La charrue, 1960, edition of 150 plus proofs, published and printed by Maeght, Paris (Vallier, 150). Signed “G Braque” in pencil l.r., numbered “65/150” in pencil l.l. Color lithograph on Japan paper, image size 12 x 19 in. (30.3 x 48.0 cm), unmatted, unframed. Condition: Deckled upper and lower edges, several pale fox marks to margins, unobtrusive creases near corners of margins, pencil annotations to verso.

N.B. A photocopy of the purchase receipt from Maeght Éditeur, Paris, dated October 2, 1965, accompanies the lot. $1,500-2,000 43 After Georges Braque (French, 1882-1963) La barque sur la grève, c. 1955, edition of 300, published and printed by Maeght, Paris (Maeght, 1040). Signed “G Braque” in pencil l.r., numbered “170/300” in pencil l.l., printer’s/publisher’s dry stamp l.l. Color lithograph on cream wove paper, image size 12 1/8 x 28 7/8 in. (30.7 x 73.3 cm), unmatted, unframed. Condition: Deckled edges to three sides, pinholes and wear to corners, subtle toning and mat burn, pencil annotations to verso. N.B. A photocopy of the purchase receipt from Maeght Éditeur, Paris, dated October 2, 1965, accompanies the lot. $800-1,200

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44 (partial)

44 Christopher Brown (American, b. 1951)

45 Bernard Buffet (French, 1928-1999)

46 Bernard Buffet (French, 1928-1999)

Two Prints: Zig and Zag I and Zig and Zag II. Each signed and dated “Christopher Brown 1991” in pencil l.r. and numbered “4/40” in pencil l.l., at least one with “X” and “©” dry stamps. Color woodcuts on paper, image sizes 18 x 18 in. (45.5 x 45.5 cm), framed. Condition: One not examined out of frame, sheet with deckled edges.

La Rochelle, 1954, edition of 100 (RheimsFrancony, 6). Signed “Bernard Buffet” in pencil l.r., numbered “93/100” in pencil l.l. Drypoint on Rives paper with watermark, plate size 20 3/4 x 28 in. (52.5 x 71.0 cm), framed. Condition: Toning to margins, pale fox marks, pencil annotations and fingerprints to verso. $600-800

Le chrysanthème du Japon, plate 15 from Herbier, 1966, total edition of 230 (Sorlier, 81). Signed “Bernard Buffet” in pencil l.r., numbered “VI/XXX” in pencil l.l., descriptive page from the portfolio adhered to the backing. Color lithograph on paper, image size 14 1/4 x 11 1/4 in. (36.2 x 28.5 cm), framed. Condition: Not examined out of frame.

Provenance: Purchased from Fletcher/ Priest Gallery, Worcester, 1993, by a private Massachusetts collector.

Provenance: A Massachusetts estate. $200-250

N.B. A photocopy of the invoice accompanies the lot. $1,500-2,500

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47 Bernard Buffet (French, 1928-1999) Le pont de la Concorde, 1968, outside of the edition of 125 (Sorlier, 125). Signed “Bernard Buffet” in pencil l.r., inscribed “E.A.” in pencil l.l. Color lithograph on paper, image size 20 1/2 x 17 3/4 in. (52.0 x 45.0 cm), framed. Condition: Not examined out of frame. $600-800 48 Alexander Calder (American, 1898-1976) Untitled (Pyramids). Signed “Calder” in pencil l.r., inscribed “E.A.” in pencil l.l. Color lithograph on paper, image size 12 1/2 x 9 7/8 in. (31.6 x 25.0 cm), framed. Condition: Not examined out of frame. Provenance: A Maine estate. $300-500 49 Marc Chagall (Russian/French, 1887-1985) Elijah on Mount Carmel, plate 86 from The Bible, 1956, edition of 275 plus proofs (Cramer, Books, 29). Signed within the plate. Etching on paper, plate size 11 1/2 x 9 3/4 in. (29.2 x 24.6 cm), framed. Condition: Not examined out of frame. $400-600

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50 Enzo Cucchi (Italian, b. 1949) Lire, 2001, edition of 100. Signed “E. Cucchi” in pencil l.c., numbered “98/100” in pencil l.l. Color lithograph on wove paper, image/sheet size 31 3/4 x 24 5/8 in. (80.5 x 62.5 cm), unmatted, unframed. Condition: Deckled edges, minor wear/soiling to edges. $300-500 51 Sam Francis (American, 1923-1994)

Very First Stone, 1959-68, edition of 25, printed and published by ULAE, West Islip, New York (Lembark, 96). Signed “Sam Francis” in pencil l.r., numbered, titled, and dated “15/25...1959-1968” in pencil l.l., publisher’s dry stamp l.l., identified on a label from the Lee Gallery, Belmont, Massachusetts, affixed to the backing, temporary loan label from the Smith College Museum of Art affixed to the backing. Color lithograph on paper, image size 20 1/4 x 16 in. (51.3 x 40.5 cm), framed. Condition: Deckled edges, pale foxing and/ or staining (primarily to lower margin), floated within the frame, not examined out of frame. $1,500-2,500

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52 Rudolph Carl Gorman (American, 19322005)

53 Rudolph Carl Gorman (American, 19322005)

54 Rudolph Carl Gorman (American, 19322005)

Su-sho-bah, 1980, first state, outside of the edition of 100, published by Origin Press, Tucson. Signed and dated “R.C. Gorman 1980” in pencil within the image l.l., inscribed “A/P” in pencil within the image l.r., publisher’s dry stamp l.r., artist’s dry stamp l.l., unidentified dry stamp l.c. Color lithograph on paper, image/sheet size 30 x 22 3/8 in. (76.0 x 56.7 cm), framed (without glass). Condition: Full margins with deckled edges, floated within the mat, not examined out of frame. $500-700

Monica, 1982, edition of 210. Signed and dated “R.C. Gorman 1982” in pencil within the image l.l., numbered “117/210” in pencil within the image l.l., chop mark l.r. Color woodcut on paper, image size 19 1/2 x 14 7/8 in. (49.4 x 37.7 cm), framed. Condition: Not examined out of frame.

Night Watch, 1992, edition of 225, published by Origin Press, Tucson. Signed and dated “R.C. Gorman 1992” in pencil within the image l.l., numbered “35/225” in pencil within the image l.r., publisher’s dry stamp l.r. Color lithograph on paper, image/sheet size 27 1/4 x 36 1/4 in. (69.0 x 92.0 cm), framed (without glass). Condition: Full margins with deckled edges, floated within the mat, not examined out of frame. $500-700

Provenance: A Maine estate. $200-250

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55 Rudolph Carl Gorman (American, 19322005) Gracias, 2000, edition of 100. Signed and dated “R.C. Gorman Jan. 1, 2000” in pencil within the image l.l., inscribed “Publisher’s Proof” in pencil within the image l.r., dry stamp “HOUSTON” l.r. Color lithograph on paper, image/sheet size 32 1/8 x 26 1/8 in. (81.5 x 66.2 cm), framed (without glass). Condition: Full margins with deckled edges, floated within the mat, not examined out of frame. $600-800

56 Keith Haring (American, 1958-1990)

57 Keith Haring (American, 1958-1990)

The Great Peace March, 1986. Signed, dated, and monogrammed “K. Haring 86...” in marker c.l. Color offset poster, sheet size 20 7/8 x 17 1/4 in. (52.9 x 43.6 cm), unmatted, unframed. Condition: Minor wear to edges. $400-600

Autographed Copy of the Book Eight Ball, 1989. Signed, dated, and monogrammed “K. Haring 89...” in marker on the title page. 12 1/4 x 9 1/4 in. (31.0 x 23.2 cm). Condition: Minor wear. $600-800

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58 David Hockney (British, b. 1937) Caribbean Tea Time, from the series Moving Focus, 1985-87, edition of 36 plus proofs, published by Tyler Graphics, Ltd., Mount Kisco, New York (MCA Tokyo, 288). Numbered and signed “AP VII/X David Hockney” in pencil on right-most panel l.c. Color lithograph with hand-coloring, and collage on eight sheets of TGL handmade paper, assembled together in a fourpanel, folding, contoured, lacquered, and hand-painted wood floor screen, with four screenprinted plastic panels, all designed by the artist, full size 86 x 136 in. (218.4 x 345.5 cm). Condition: Deckled edges and floated as originally presented by the artist, areas of cracking/loss to frame, several rubs to Plexiglas, screenprinted panels somewhat yellowed.

N.B. Hockney is a virtual jack-of-all-trades, embracing both traditional and newer media— from acrylic paint to PhotoShop—and working as a painter, print-maker, photographer, and even a set designer. He is considered one of Britain’s most dominant Pop artists, although it is a categorization that he dislikes. From 1984 through 1987 Hockney created the series Moving Focus. What makes this series of 29 prints unusual is the seeming disconnect of the subjects of the works. They include interior views, portraits, and still lifes, and vary wildly in size. The title of the series discloses the unifying principal: each plays with the depiction of space and the potential for multiple points of view. The series has been described as “Hockney’s dialogue with Picasso.”

Provenance: A private Massachusetts collection.

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Caribbean Tea Time employs simple lines and blocks of bright, saturated color to depict an interior with a shifting, Cubist space that is both highly descriptive and playfully vertiginous. The sense is heightened by the scale of the work, and the fact that as a floor screen, it is generally viewed accordioned rather than flat so that our space and the screen’s interpenetrate. $75,000-95,000

59 David Hockney (British, b. 1937) Kyoto, 1993, edition of 38. Signed “David Hockney” in black ink l.r., numbered “35/38” in black ink l.l., titled and dated within the matrix, identified on a label from Galerie Maurice, Chestnut Hill, Massachusetts, affixed to the backing. Color laser prints on six sheets of paper, total image size 16 1/4 x 63 in. (41.0 x 160.0 cm), framed. Condition: Not examined out of frame. $2,000-3,000 60 Paul Jenkins (American, 1923-2012) Aviary, 1971, proof impression. Signed, inscribed, and dated “Paul Jenkins trial proof 1971” in pencil within the image l.r., identified on a label from Solomon & Co., New York, affixed to the backing. Color lithograph on paper, sight size 29 3/4 x 22 in. (75.4 x 55.8 cm), framed. Condition: Toning, not examined out of frame. $500-700

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61 Alex Katz (American, b. 1927) Olympic Swimmer, 1976, edition of 200 plus proofs, printed by Larry Rosen, Chiron Press, New York, published by Kennedy Graphics Inc., New York (Maravell, 86). Signed and numbered “Alex Katz 91/200” in pencil within the image l.l. Color screenprint on paper, image/sheet size 40 1/8 x 24 7/8 in. (101.8 x 63.0 cm), framed. Condition: Minute nicks/creases to edges of sheet, floated within the frame, not examined out of frame. Provenance: A Maine estate. $1,000-1,500 62 Alex Katz (American, b. 1927) Unfamiliar Image, 2001, edition of 100, published by Alberico Cetti Serbelloni Editions, Milan (Katz, 346). Signed and numbered “Alex Katz 39/100” in pencil within the image l.l. Screenprint in grays on paper, sheet/image size 30 x 44 in. (76.2 x 111.5 cm), unmatted, unframed. Condition: Deckled edges, handling creases near lower edge (some creating fine breaks to ink), minor wear to deckles. $800-1,200

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63 William Kentridge (South African, b. 1955)

64 Le Corbusier (French/Swiss, 1887-1965)

65 Le Corbusier (French/Swiss, 1887-1965)

Plate from the Series Domestic Scenes, 1980, edition of 30. Signed and dated “WKentridge ‘80” in pencil l.r., numbered “1/30” in pencil l.l. Etching and aquatint on paper, plate size 4 9/16 x 5 1/4 in. (11.5 x 13.2 cm), framed. Condition: Not examined out of frame.

Plate 17, from the series Unité, 1953, edition of 130, published in 1965 by A.C. Mazo & Cie., Paris. Monogrammed and dated within the plate, numbered “115/130” in pencil l.l., identified on a label from the Nielsen Gallery, Boston, affixed to the backing. Aquatint on paper, plate size 16 5/8 x 12 5/8 in. (42.2 x 32.0 cm), framed. Condition: Deckled edges, minor creases to upper edge, floated within the frame, not examined out of frame.

Autrement que sur terre, 1963, from the 1969 edition (Weber, 68). Signed, initialed, and dated within the matrix. Color lithograph on Arches paper with watermark, image size 23 1/4 x 17 3/4 in. (58.9 x 45.0 cm), hinged to a backing mat, unframed. Condition: Deckled right edge, unobtrusive toning and pale foxing.

Provenance: A gift from the artist’s mother, Felicia Kentridge, to the current owner. $1,800-2,200

Provenance: A Maine estate. $300-500

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66 Sol LeWitt (American, 1928-2007)

67 Sol LeWitt (American, 1928-2007)

Plate One, from the suite Pyramids, 1987, edition of 19 plus proofs, printed and published by Parasol Press, Ltd., New York (Krakow, 1987.03). Signed and numbered “LeWitt 16/19” in pencil l.r., identified on a label from the Obelisk Gallery, Boston, affixed to the backing. Color etching with aquatint on paper, image size 20 7/8 x 33 1/8 in. (52.8 x 84.0 cm), framed. Condition: Deckled edges, floated within the frame, not examined out of frame. $1,000-1,500

Plate Four, from the suite Pyramids, 1987, edition of 19 plus proofs, printed and published by Parasol Press, Ltd., New York (Krakow, 1987.03). Signed and numbered “LeWitt 16/19” in pencil l.r., identified on a label from the Obelisk Gallery, Boston, affixed to the backing. Color etching with aquatint on paper, image size 20 7/8 x 33 1/8 in. (52.8 x 84.0 cm), framed. Condition: Deckled edges, floated within the frame, not examined out of frame. $1,000-1,500

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68 Roy Lichtenstein (American, 1923-1997) Guild Hall East Hampton, 1980. Signed and dated “Roy Lichtenstein ‘80” in pencil l.r., identified within the matrix. Color screenprint on paper, sheet size 31 7/8 x 34 1/4 in. (96.0 x 86.9 cm), unmatted, unframed. Condition: Nicks and creases to edges (just affecting image at corner u.l.), handling creases. $1,000-1,500 69 Roy Lichtenstein (American, 1923-1997) Set of Six Plates, c. 1990, edition of 3,000, published by Rosenthal, Germany. Each marked with artist’s signature and “Rosenthal GERMANY Künstlerplatzteller...ROY LICHTENSTEIN Limitierte Auflage 3000/...” on the underside. Serigraph in colors on glazed porcelain, diameters 12 1/4 in. (31.0 cm), each wired for hanging. Condition: Good. Provenance: A Massachusetts estate. $2,000-3,000

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70 Marino Marini (Italian, 1901-1980)

71 Roberto Matta (Chilean, 1911-2002)

Reminiscenza, 1956, outside of the edition of 75 (Guastalla & Schulz-Hoffman, A51). Signed “MARINO” in pencil l.r., numbered “II/ XV” in pencil l.l., identified on a label from the Nielsen Gallery, Boston, affixed to the backing. Etching and plate tone on Japan paper, plate size 16 3/4 x 11 3/4 in. (42.4 x 29.8 cm), framed. Condition: Deckled edges to two sides, floated within the frame, not examined out of frame.

Personnages III, 1968, edition of 95, published by L’Oeuvre Gravée, Paris (Sabatier, 200). Signed “Matta” in pencil l.r., numbered “49/95” in pencil l.l. Color aquatint on paper, plate size 21 5/8 x 16 1/2 in. (54.8 x 41.8 cm), framed. Condition: Unobtrusive toning, not examined out of frame. $400-600

Provenance: A Maine estate. $300-500

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72 Michael Burton Mazur (American, 19352009) An Image of Salome/A Bound Portfolio, 1958, edition of 34, published by Apiary Press, Northampton, Massachusetts. Numbered and signed “19 Michael B. Mazur” in ink on the colophon page. Twenty woodcuts and wood engravings of varying sizes on Troya paper, sheet size 23 5/8 x 17 1/2 in. (59.8 x 44.4 cm), bound in original cover (soiling, staining, abrasions). Condition: Staining to pages at edges. $300-500

73 Joan Miró (Spanish, 1893-1983) Lavis bleu et rouge, from Serie II, 1961, edition of 30, printed and published by Maeght, Paris (Mourlot, 222). Signed “Miró” in pencil within the image l.r., numbered “19/30” in pencil within the image l.l. Color lithograph on paper, image/sheet size 17 3/4 x 23 3/4 in. (45.0 x 60.2 cm), framed. Condition: Subtle toning to edges, floated within the frame, not examined out of frame. $800-1,200 74 Joan Miró (Spanish, 1893-1983) Le chef des équipages, 1973, edition of 50 plus proofs, published by Maeght Éditeur, Paris (Dupin, 574). Signed and numbered “Miró 8/50” in pencil within the image l.c. Color aquatint with etching and carborundum on paper, image/sheet size 54 1/8 x 23 3/4 in. (137.3 x 60.3 cm), framed. Condition: Deckled edges, crimps and wear to deckles, minor handling creases near left edge, floated within the mat, gentle rippling, not examined out of frame. $6,000-8,000

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75 Shiko Munakata (Japanese, 1903-1975) 75

Untitled, 1956, cover for Munakata no Saku, printed in 1985. Signed with a chop l.l., identified in Japanese printed text beneath image and typography on verso. Woodcut on Japan paper, image size 16 1/2 x 12 in. (41.7 x 30.4 cm), unmatted, unframed. Condition: Creases near edges (just affecting image near upper margin), stain to left margin. $500-700 76 LeRoy Neiman (American, 1921-2012) Elephants Nocturne, 1984, edition of 500. Signed “LeRoy Neiman” in pencil l.r., numbered “472/500” in pencil l.l. Color screenprint on paper, image size 28 3/4 x 38 1/4 in. (72.8 x 97.0 cm), framed. Condition: Unobtrusive toning to margins, not examined out of frame. $400-600 77 Ben Nicholson (British, 1894-1982) Olympic Fragment, 1965, edition of 50, published by Ganymed and Marlborough, London (Lafranca, L9). Numbered, signed, and dated “31/50 Nicholson 65” in pencil l.l., identified on a label from the Nielsen Gallery, Boston, affixed to the backing. Etching with plate tone on paper, plate size 8 x 9 3/4 in. (20.3 x 24.6 cm), framed. Condition: Pale fox marks to margins, gentle rippling, not examined out of frame.

Provenance: A Maine estate. $500-700

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78 Claes Oldenburg (American, b. 1929) Colossal Screw in Landscape-Type I, from the series Screw, 1975-76, edition of 35 plus proofs, published and printed by Gemini G.E.L., Los Angeles (Axsom & Platzker, 142; Gemini, 38.38). Signed “Oldenburg” in pencil l.r., numbered “26/35” in pencil l.l., artist’s and publisher’s dry stamps l.r., identified on a label from the Obelisk Gallery, Boston, affixed to the backing. Lithograph on paper, image size 50 1/8 x 25 in. (127.3 x 63.4 cm), framed. Condition: Deckled edges, unobtrusive toning, floated within the frame, not examined out of frame. Provenance: A Massachusetts estate. $1,200-1,800 79 Mimmo Paladino (Italian, b. 1948) Sguardo a destra, 2000, edition of 100. Signed and dated “M. Paladino 2000” in pencil l.r., numbered “25/100” in pencil l.l. Color etching and aquatint on wove paper, plate size 15 7/16 x 23 1/4 in. (39.0 x 59.0 cm), unmatted, unframed. Condition: Full margins with deckled edges, creases to margins near both left-hand corners. $250-350

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80 Pablo Picasso (Spanish, 1881-1973) Tête de jeune femme, 1947, proof outside of the edition (Bloch, 458). Unsigned, dated “24Juin47” (reversed) within the matrix. Lithograph on paper, image size 23 3/4 x 17 7/8 in. (60.3 x 45.3 cm), framed. Condition: Gentle rippling, not examined out of frame. Provenance: Fernand Mourlot/Archives of the Atelier Mourlot, Paris, to Eric Mourlot, Boston; purchased from Fletcher/Priest Gallery, Worcester, 1994, by a private Massachusetts collector. N.B. A photocopy of the invoice accompanies the lot, as does a certificate from Editions Mourlot. $5,000-7,000

81 Pablo Picasso (Spanish, 1881-1973) Jeunesse, 1950, first state of two (Bloch, 675). Signed and dated “Picasso 23Mai50” within the matrix, inscribed “188 1e etat” in pencil on the reverse. Lithograph on Arches paper with watermark, image size 19 7/8 x 25 5/8 in. (50.4 x 65.0 cm), framed. Condition: Deckled edges, toning, foxing, and staining near edges, handling creases to margins. Provenance: Fernand Mourlot/Archives of the Atelier Mourlot, Paris, to Eric Mourlot, Boston; purchased from Fletcher/Priest Gallery, Worcester, 1994, by a private Massachusetts collector. N.B. A photocopy of the invoice accompanies the lot, as does a certificate from Editions Mourlot. There is confusion as to whether there were in fact two states of this work or three (see Gauss, 543-545, for more information), but the state presented here is the one made before the editioned state of 50. $6,000-8,000 81

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82 After Pablo Picasso (Spanish, 1881-1973) Intérieur Rouge avec Transatlantique Bleu, 1959-60, edition of 300, published by Atelier Crommelynck, Paris. Signed “Picasso” in red pencil l.r., numbered “223/300” in red pencil l.l., publisher’s dry stamp l.l. Color aquatint on Rives paper with watermark, plate size 16 x 13 in. (40.5 x 33.0 cm), framed. Condition: Margins over 3 1/4 inches, mat burn and other staining from a previous mat, gentle toning to sheet, masking tape residue to upper edge on verso, pale fox marks (primarily on verso), pencil annotation to verso. $5,000-7,000

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83 Robert Rauschenberg (American, 19252008) Publicon--Station IV, from Publicons, 1978, edition of 30 plus proofs, published by Gemini G.E.L., Los Angeles (NGA/Gemini, 41.119). Signed, numbered, and dated “RAUSCHENBERG 8/30 78” in marker on a label from the publisher affixed to the reverse. Mixed media multiple including lacquered wood with collage of fabrics, bicycle wheel, enamel over polished aluminum, Plexiglas, and fluorescent light fixture, closed size 28 3/8 x 36 x 13 in. (72.0 x 91.4 x 33.0 cm). Condition: Rubs to exterior (especially top), tears to fabric on door, fading/discoloration to sliding side panels, cord to light fixture cut/ missing plug. Provenance: A Massachusetts estate. $4,000-6,000 84 James Rosenquist (American, 1933-2017)

Spring Cheer, 1978, second state, edition of 78 plus proofs (Glenn, 129A). Signed and dated “Rosenquist 1978” in pencil l.r., numbered and titled “32/78...2 State” in pencil l.l. Etching and aquatint in dark brown on paper, plate size 17 5/8 x 35 7/8 in. (44.7 x 91.0 cm), framed. Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame. Provenance: A Maine estate. $300-500

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87 (partial)

85 James Rosenquist (American, 1933-2017)

86 George Segal (American, 1924-2000)

87 Ettore Sottsass (Italian, 1917-2007)

Talking, Flowers Ideas, 1987, edition of 200, published by the Hearst Corporation, New York. Signed and dated “Rosenquist 1987” in pencil l.r., numbered and titled “133/200...” in pencil l.l. Color offset lithograph on paper, image size 20 1/4 x 35 7/8 in. (51.3 x 91.0 cm), framed. Condition: Not examined out of frame. $500-700

GS-9, alternatively titled Girl in Wicker Chair—Nude Back, 1978, edition of 100. Signed and dated “G Segal 78” in pencil within the image l.r., numbered “60/100” in pencil within the image l.l., identified on a label from Makler Gallery, Philadelphia, affixed to the backing. Color lithograph on paper, image/ sheet size 29 7/8 x 22 in. (75.8 x 55.8 cm), framed. Condition: Floated within the mat, not examined out of frame. $500-700

Two Works: Il Futuro and La Torre di Babele, 2001, both editions of 100. Both numbered and signed “.../100 Sottsass” in pencil l.r. and identified within the matrix. Color lithographs on wove paper, sheet sizes 27 7/8 x 19 3/4 in. (70.7 x 50.0 cm), unmatted, unframed. Condition: Deckled edges, staining to right edge (into image) of former. $700-900

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88 Andy Warhol (American, 1928-1987) Liz, 1964, edition of about 300, published by Leo Castelli Gallery, New York (Feldman & Schellmann, II.7). Signed and dated â&#x20AC;&#x153;Andy Warhol 64â&#x20AC;? in ballpoint pen l.r. Offset color lithograph on paper, image size 22 x 22 in. (56.0 x 56.0 cm), framed. Condition: Full margins, bright colors, laid down, mat burn and pale toning visible to margins. $25,000-35,000

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89 Andy Warhol (American, 1928-1987)

Plate 11, from Flash—November 22, 1963, 1968, edition of 200, published by Racolin Press Inc., Briarcliff Manor, New York (Feldman & Schellmann, II.42). Signed “Andy Warhol” in blue ballpoint pen on the reverse. Color screenprint on paper, image/sheet size 21 x 21 in. (53.3 x 53.3 cm), framed. Condition: Pencil mark to corner l.l., subtle rubs near corner u.r., hinged near upper corners and floated within the mat. Provenance: A Maine estate. N.B. The signature is visible through a window cut in the backing. The lot is accompanied by one of the teletype text folders from the portfolio. $2,500-3,500 90 Andy Warhol (American, 1928-1987) Mao, 1974, published for a Warhol exhibition at the Musée Galleria, Paris, by Factory Additions, New York (Feldman & Schellmann, II.125A). Signed “Andy Warhol” in marker l.r., identified within the matrix. Screenprint in purple and black on wallpaper, sheet size 40 1/8 x 29 5/8 in. (101.8 x 75.2 cm), unmatted, unframed. Condition: Minor wear/creases to very edges, toning to verso. Provenance: A private Massachusetts collection. $8,000-12,000

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91 Andy Warhol (American, 1928-1987) Saint Apollonia, 1984, edition of 250 plus proofs, published by Dr. Frank Braun, Düsseldorf (Feldman & Schellmann, II.332). Numbered and signed “144/250 Andy Warhol” in pencil within the image l.l. Color screenprint on paper, sight size 29 3/4 x 21 3/4 in. (75.4 x 55.2 cm), framed. Condition: Not examined out of frame.

92 Andy Warhol, Producer (American, 19281987) The Velvet Underground and Nico, 1967. 33 rpm vinyl album with dust jacket signed by Warhol, 12 3/8 x 12 3/8 in. (31.3 x 31.3 cm). Condition: Staining and wear to jacket, album not played, but scratches are visible on surface. $400-600

93 Tom Wesselmann (American, 1931-2004) Untitled. Signed “Wesselmann” in ballpoint pen l.l., dedicated, dated, and signed “...1979 Tom” in ballpoint pen on the verso. Color screenprint on paperboard, image size 3 1/2 x 8 in. (8.8 x 20.3 cm), framed. Condition: Minor wear to corners, floated within the frame, not examined out of frame. $300-500

Provenance: A Maine estate. $3,000-5,000

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Fine Photographs

94 Julia Margaret Cameron (British, 18151879)

James Thomas Fields, 1869. Inscribed, signed, and dated “From Life Registered Photograph Copyright Julia Margaret Cameron...” in brown ink below the image. Albumen print mounted to board, image/sheet size 13 3/16 x 10 5/16 in. (33.4 x 26.0 cm), framed. Condition: Scratches to u.r. quadrant, small tear l.r., scattered minor foxing and staining to the mount. N.B. Julia Margaret Cameron received her first camera as a gift in 1863 when she was forty-eight years old. Over the following decade, in a studio converted from a hen house on the grounds of her home in Freshwater on the Isle of Wight, she achieved unparalleled success as an artist. Cameron photographed some of the era’s greatest personalities, including Charles Darwin, Henry Wadsworth Longfellow, and American poet, editor, and publisher James Thomas Fields. $1,500-2,500

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95 Edward Sheriff Curtis (American, 18681952)

95 (partial)

Nine Photogravures from Volume 15 and One from Volume 16 from The North American Indian, both published 1926, including Plate 512, A Serrano Woman of Tejon; Plate 522, Desert Cahuilla Woman; Plate 523, Andres Canon; Plate 526, A Diegueno of Capitan Grande; Plate 527, A Diegueno Woman of Santa Ysabel; Plate 530, A Diegueno Woman of Campo; Plate 532, A Diegueno of Santa Ysabel; Plate 534, Shores of Walker Lake; and Plate 574, Paguate. Photogravures on Japon vellum except for Plate 523, which is on Japanese tissue, and Plate 574, which is on Van Gelder paper, image sizes to 15 5/8 x 11 5/8 in. (39.5 x 29.4 cm), several matted, all unframed. Condition: Vellum sheets with deckled edges, 522, 523, 532, and 534 gently light-struck, all with slightly discolored edges. Provenance: A private Massachusetts collection. N.B. Edward Sheriff Curtis is best known for his herculean effort to document the North American Indian through photographs and recordings of song and speech. As the western United States was developed, he endeavored to record the vanishing cultures of the landâ&#x20AC;&#x2122;s original inhabitants, creating a body of work that at the time defined the countryâ&#x20AC;&#x2122;s popular vision of Native American culture. Curtis began his fieldwork in 1906 with the support of financier J. Pierpont Morgan, and by 1930 he had documented more than eighty tribes and made over 40,000 photographs. $1,500-2,500

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96 (partial)

96 Edward Sheriff Curtis (American, 1868-1952) Four Photogravures from The North American Indian, Volume 20, published 1930, including Plate 694, Woman and Child-Nunivak; Plate 695, Ready for Sealing–Nunivak; Plate 717, A Family Group, Noatak; and Plate 719, Nungoktok–Noatak. Photogravures on Japon vellum, except for Plate 718, which is on Van Gelder paper, image sizes to 11 5/8 x 15 5/8 in. (29.4 x 39.5 cm), several matted, all unframed. Condition: Vellum sheets with deckled edges, 695 and 717 gently light-struck, 719 with minor foxing, all with slightly discolored edges. Provenance: A private Massachusetts collection. $700-900 97 Edward Sheriff Curtis (American, 1868-1952) An Owens Valley Mono, 1924. Signed “Curtis” in black ink l.r., typewritten title “4110...” on the verso u.l., identified on a label from Marcy Burns, American Indian Arts, New York, New York, affixed to the backing. Glossy gelatin silver print, image size 7 1/2 x 6 in. (18.9 x 15.0 cm), framed. Condition: Minor staining in sheet margin at u.r. corner, unobtrusive emulsion losses at l.r. and l.l. corners, old hinge residue along top edge of the verso. 97

Provenance: The Greentree Collection of Photography and Native American Antiques. $1,000-1,500

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97A (partial)

97A American School, 20th Century Twenty-three Photographs of Athletes, from the first half of the 20th century. Gelatin silver prints, sight sizes to 7 1/2 x 9 5/8 in. (18.8 x 24.3 cm), individually framed. Condition: Some with minor fading and silver mirroring. Provenance: Collection of John O’Reilly and James Tellin, Worcester, Massachusetts. N.B. The group includes studio portraits and snapshots depicting such activities as rowing, baseball, biking, football, calisthenics, and gymnastics. $500-700 98 Alfred Eisenstaedt (American, 1898-1995) Repairing the Hull of the Graf Zeppelin During the Flight over the Atlantic, 1934, printed later. Signed “Eisenstaedt” in ink below the image l.r., numbered “154/250” in ink below the image l.l. Gelatin silver print, image size 15 1/2 x 21 1/4 in. (39.3 x 53.8 cm), framed. Condition: Not examined out of frame. N.B. German-born photographer Alfred Eisenstaedt worked as a freelance photojournalist before devoting himself full time to photography in 1929. His camera of choice was a hand-held 35 mm Leica, which allowed him to make candid portraits and capture spontaneous moments as demonstrated by this image. After immigrating to the United States in 1935, Eisenstaedt was hired by LIFE magazine which debuted in 1936. Over the course of his 35-year career with the magazine, he produced over 2,500 picture stories and ninety covers.

A certificate of authenticity from the LIFE Gallery of Photography and a receipt from the Granary Gallery, Martha’s Vineyard, dated 7/18/98 accompanies the lot. $3,000-5,000

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99 Lotte Jacobi (American, 1896-1990) Four Photographs, including Lieselotte Felger, dancer, 1931, a portrait of Alfred Stieglitz, 1936, Photogenic, 1950s, and an undated portrait of the artist, all printed later. Each signed “Lotte Jacobi” in pencil below the image l.r., image sizes to 4 1/4 x 3 in. (10.5 x 7.4 cm), within a common frame. Condition: Not examined out of frame. Provenance: A private Massachusetts collection. $800-1,200 100 Cole Weston (American, 1919-2003) Portrait of Edward Weston, 1946. Signed and dated “Cole Weston...” in pencil on the mount l.r. Gelatin silver print mounted to board, image/sheet size 7 5/8 x 9 1/2 in. (19.3 x 24.0 cm), framed. Condition: Not examined out of frame. 100

Provenance: A private Massachusetts collection. $700-900

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101

101 Harry Callahan (American, 1912-1999) Eleanor, 1949, printed later. Signed “Harry Callahan” with a stylus below the image l.r., signed “Harry Callahan” in pencil on the verso u.c. Gelatin silver print, image size 7 7/8 x 9 5/8 in. (19.8 x 24.4 cm), matted, unframed. Condition: Slight rippling to sheet, minor wear at corners. N.B. One of the most significant American photographers of the 20th century, Harry Callahan is known for his bold and innovative explorations of form and content in nature, the urban landscape, and everyday life. This is also true of a series of images depicting his wife Eleanor made in the late 1940s and 50s. Callahan’s portraits were not intended to capture personality or emotion but rather to serve as a vehicle for visual explorations into light, form, and composition. $4,000-6,000 102 Harry Callahan (American, 1912-1999) Eleanor, 1947, printed later. Signed “Harry Callahan” in pencil below the image l.r., signed “Harry Callahan” in pencil on the verso u.c. Gelatin silver print on Agfa paper, image size 4 1/2 x 2 5/8 in. (11.2 x 6.5 cm), matted, unframed. Condition: Good. $5,000-7,000 102

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103 Herman Leonard (American, 1923-2010) Dexter Gordon, Royal Roost, New York City, 1948, printed later. Titled, dated, and signed “...©Herman Leonard” in black ink below the image. Gelatin silver print, image size 12 x 9 3/8 in. (30.3 x 23.7 cm), matted, unframed. Condition: Good. $1,500-2,500 104 Eve Arnold (American, 1912-2012) Paul Newman at the Actor’s Studio, New York, 1955, printed later. Signed in pencil on the verso l.r. Gelatin silver print, image size 13 1/8 x 19 1/8 in. (33.2 x 48.5 cm), matted, unframed. Condition: Slight rippling to sheet. $3,000-4,000

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104

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105

107

106

105 Lillian Bassman (American, 1917-2012)

106 Brett Weston (American, 1911-1993)

107 Brett Weston (American, 1911-1993)

Anne Saint-Marie, New York (Chanel Advertising Campaign), 1958, printed later. Signed “Lillian Bassman” in pencil on the verso at center, numbered and inscribed “ed 15/25 SW 213149” in pencil on the verso l.r. Gelatin silver print, image size 9 5/8 x 12 3/4 in. (24.3 x 32.3 cm), matted, unframed. Condition: Good.

Dunes, White Sands, 1946, printed 1989. Signed “Brett Weston” in pencil on the mount l.r., numbered “20/25” in pencil on the mount l.l. Gelatin silver print mounted to board, image/sheet size 18 7/8 x 23 1/2 in. (47.8 x 59.5 cm), unmatted, unframed. Condition: Good.

Cracked Paint, Garrapata, 1951, printed 1989. Signed “Brett Weston” in pencil on the mount l.r., numbered “20/25” in pencil on the mount l.l. Gelatin silver print mounted to board, image/sheet size 23 1/2 x 18 1/2 in. (59.5 x 46.8 cm), unmatted, unframed. Condition: Good.

Provenance: A private Massachusetts collection.

Provenance: A private Massachusetts collection. $1,000-1,500

N.B. From 1950 through 1965 Lillian Bassman worked as a fashion photographer for Harper’s Bazaar under the guidance of the magazine’s influential art director Alexey Brodovitch. Bassman was known for manipulating her images in the development process to achieve blurring, bleaching, and staining effects. $4,000-6,000

N.B. For his final portfolio, printed in 1989 in an edition of 25, Brett Weston made largescale prints from what he selected as his best negatives. Each negative was retired upon the completion of the project and eventually destroyed. $1,000-1,500

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108

108 Brett Weston (American, 1911-1993) Guatemala Landscape, 1968, printed 1989. Signed “Brett Weston” in pencil on the mount l.r., numbered “20/25” in pencil on the mount l.l. Gelatin silver print mounted to board, image/sheet size 19 x 23 1/2 in. (48.1 x 59.5 cm), unmatted, unframed. Condition: Good. Provenance: A private Massachusetts collection. $1,000-1,500 109

109 Brett Weston (American, 1911-1993) Landscape, Germany. Signed and dated “Brett Weston 1960” in pencil on the mount l.r. Gelatin silver print mounted to board, image/sheet size 7 3/8 x 9 3/8 in. (18.8 x 23.8 cm), framed. Condition: Minor lifting at l.l. corner. $1,500-2,500 110 Minor White (American, 1908-1976) Rock and Water Abstraction, c. 1950s-60s. Unsigned. Gelatin silver print on Agfa paper, image size 7 x 9 3/4 in. (17.6 x 24.8 cm), framed. Condition: Good. Provenance: A private Massachusetts collection. $1,000-1,500

110

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112 111

111 Will McBride (American, b. 1931) Mike Washing at School, Salem, Germany, 1963, printed later. Titled, dated, and signed “...McBride” in pencil on the verso l.c. Gelatin silver print, image size 12 7/8 x 8 1/2 in. (32.5 x 21.5 cm), framed. Condition: Good. $1,500-2,500

112 Ruth Bernhard (American, 1905-2006)

113 Ruth Bernhard (American, 1905-2006)

At the Pool, 1951, printed later. Signed “Ruth Bernhard” in pencil on the mount l.r. Gelatin silver print mounted to illustration board, image/sheet size 13 3/8 x 10 1/2 in. (33.8 x 26.8 cm), unmatted, unframed. Condition: Good.

Spanish Dancer, 1971. Signed “Ruth Bernhard” in pencil on the mount l.r., titled, dated, and signed “...Ruth Bernhard” in pencil on the mount reverse, copyright stamp in black ink on mount reverse. Selenium-toned gelatin silver print mounted to board, image/ sheet size 8 x 13 3/8 in. (20.2 x 33.8 cm), matted, unframed. Condition: Good.

Provenance: The estate of George Wald. $1,000-1,500

N.B. Although Ruth Bernhard began her career as a commercial photographer, it was a chance meeting with Edward Weston that convinced her of the creative possibilities of the photographic medium. Distinguished by their exquisite use of light and shadow, her photographs of nudes aimed “to transform the complexities of the figure into harmonies of simplified form revealing the innate reality, the life force, the spirit, the inherent symbolism.”1 1. Quoted in Peter C. Bunnell, Ruth Bernhard: Photographs, exhibition brochure, Princeton University Art Museum, 1996.

$5,000-7,000

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114

114 Ruth Bernhard (American, 1905-2006) Folding, 1962. Signed “Ruth Bernhard” in pencil on the mount l.r., titled, dated, and signed “...Ruth Bernhard” in pencil on mount reverse, copyright stamp in black ink on mount reverse. Gelatin silver print mounted to board, image/sheet size 10 5/8 x 13 3/4 in. (26.8 x 34.8 cm), matted, unframed. Condition: Good. $5,000-7,000

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115 Terry O’Neill (British, b. 1938) Winston Churchill, 1962, printed later. Signed “Terry O’Neill” in black ink l.r., numbered “18/50” in black ink l.l. Gelatin silver print, image size 17 x 12 7/8 in. (43.0 x 32.5 cm), matted, unframed. Condition: Good. $1,000-1,500 116 Terry O’Neill (British, b. 1938) Audrey Hepburn with Dove, St. Tropez, 1967, printed later. Signed “Terry O’Neill” in black ink l.r., numbered “3/50” in black ink l.l. Gelatin silver print, image size 30 x 19 7/8 in. (76.0 x 50.4 cm), matted, unframed. Condition: Minor rippling to sheet. $3,000-5,000 117 Garry Winogrand (American, 1928-1984) Laughing Woman with Ice Cream Cone, from the series Women Are Beautiful, 1968, printed later by Paul McDonough. Unsigned. Gelatin silver print, image size 8 1/2 x 12 5/8 in. (21.5 x 32.0 cm), framed. Condition: Rippling to sheet, hinged to overmat with linen tape, subtle discoloration to sheet verso. Provenance: Collection of John O’Reilly and James Tellin, Worcester, Massachusetts. $800-1,200 116

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118

119

118 Ernst Haas (Austrian/American, 1921-1986)

119 Ernst Haas (Austrian/American, 1921-1986)

Lights of New York City, 1970, printed 2017. Titled, dated, numbered “11/50,” and signed by Alexander Haas in ink on a Haas Studio label. Chromogenic print, image size 17 3/8 x 26 1/8 in. (44.0 x 66.2 cm), unmatted, unframed. Condition: Good.

Route 66, Albuquerque, New Mexico, 1969, printed 2017. Titled, dated, numbered “16/100,” and signed by Alexander Haas in ink on a Haas Studio label. Chromogenic print, image size 12 x 18 in. (30.3 x 45.5 cm), unmatted, unframed. Condition: Good. $3,000-5,000

N.B. A passionate photojournalist and onetime member of the photography collective Magnum, Haas is perhaps best known as one of the pioneers of color photography. His 1962 retrospective at New York’s Museum of Modern Art was that institution’s first color photography exhibition. $3,000-5,000

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120 Yousuf Karsh (Canadian, 1908-2002) Muhammad Ali, 1970, printed later. Signed “Karsh” in black ink l.l. Gelatin silver print, image size 11 x 8 1/2 in. (27.8 x 21.5 cm), matted, unframed. Condition: Slight rippling to sheet. $5,000-7,000 121 Judy Dater (American, b. 1941) Lucia, 1972. Signed “Judy Dater” in pencil on the mount l.r., titled and dated in pencil on the mount verso l.r. Gelatin silver print mounted to board, image/sheet size 9 1/2 x 7 5/8 in. (24.0 x 19.2 cm), framed. Condition: Good. Provenance: A private Massachusetts collection. $600-800 122 Judy Dater (American, b. 1941)

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Imogen and Twinka at Yosemite, 1974, printed 2007. Numbered, dated, titled, signed, and copyrighted “7/20...©Judy Dater 1974” in pencil on the verso along lower edge. Gelatin silver print, 9 1/4 x 7 1/4 in. (23.4 x 18.3 cm), matted, unframed. Condition: Good. $3,000-4,000

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123 Terry O’Neill (British, b. 1938) Frank Sinatra Serenades His Ex-Wife Ava Gardner at the Royal Albert Hall, London, 1975, printed later. Signed “Terry O’Neill” in black ink l.r., numbered “2/50” in black ink l.l. Gelatin silver print, image size 15 1/4 x 23 1/8 in. (38.6 x 58.6 cm), matted, unframed. Condition: Good. $1,500-2,500

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124 Ko Si-Chi (Taiwanese, b. 1929) Study in Blue (Country House and Lane), 1978. Signed and dated “Si Chi Ko ‘78” in pencil on the mount l.r., numbered “5/75” in pencil on the mount l.l. Dye-transfer print mounted to board, image/sheet size 18 1/8 x 22 3/4 in. (38.3 x 57.7 cm), framed. Condition: Good. $800-1,200 125 Willard Van Dyke (American, 1906-1986) Ireland, 1980. Signed and dated “Willard Van Dyke...” in ballpoint pen below the image l.r. Dye transfer print, image size 7 3/4 x 9 5/8 in. (19.5 x 24.3 cm), framed. Condition: Slight rippling to sheet, signature faded. Provenance: A private Massachusetts collection. $800-1,200

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126

126 Steve McCurry (American, b. 1950) Afghan Girl (Sharbat Gula), Refugee Camp, Pakistan, 1984, printed 2011. Signed â&#x20AC;&#x153;Steve McCurryâ&#x20AC;? in black ink on the verso l.r., a Steve McCurry studio label affixed to the verso l.l. Chromogenic print on Fuji Crystal Archive paper, image size 21 3/8 x 14 1/4 in. (54.0 x 36.0 cm), matted, unframed. Condition: Good. N.B. This now iconic portrait was featured on the cover of the June 1985 issue of National Geographic. $10,000-12,000

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127 Robert Mapplethorpe (American, 19461989) Tulip, 1984. Inscribed, titled, dated, and numbered “1401...ed 5/10” in black ink on the mount verso l.l., signed by Michael Ward Stout, executor, in blue ink and dated in black ink in photographer’s estate copyright credit stamp on the mount verso l.c., inscribed “RMG # M9304.D43-C” in pencil on the mount verso l.c. Gelatin silver print mounted to thin board, image size 15 3/16 x 15 5/16 in. (38.5 x 38.7 cm), framed. Condition: Good.

Provenance: Purchased from the Fletcher/ Priest Gallery, Worcester, Massachusetts, 1994, by a private Massachusetts collector. N.B. A photocopy of the invoice accompanies the lot. $15,000-25,000

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128 Robert Mapplethorpe (American, 19461989) Flowers, 1984. Inscribed, titled, dated, and numbered “1396...ed 8/10” in black ink on the mount verso l.l., signed by Michael Ward Stout, executor, in blue ink and dated in black ink in photographer’s estate copyright credit stamp on the mount verso l.c., inscribed “RMG # M9401 101-C” in pencil on the mount verso l.r. Gelatin silver print mounted to thin board, image size 15 1/4 x 15 3/8 in. (38.6 x 38.8 cm), framed. Condition: Good.

Provenance: Purchased from the Fletcher/ Priest Gallery, Worcester, Massachusetts, 1994, by a private Massachusetts collector. N.B. A photocopy of the invoice accompanies the lot. $15,000-25,000

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129

129 Robert Mapplethorpe (American, 19461989) Calla Lily, 1988. Inscribed, titled, dated, and numbered “1833...8/10” in black ink on the mount verso l.l., signed by Michael Ward Stout, executor, in blue ink and dated in black ink in photographer’s estate copyright credit stamp on the mount verso l.c., inscribed “RMG # M9401 080-C” in pencil on the mount verso l.r. Gelatin silver print mounted to thin board, image size 19 5/16 x 19 3/8 in. (48.8 x 49.0 cm), framed. Condition: Good.

Provenance: Purchased from the Fletcher/ Priest Gallery, Worcester, Massachusetts, 1994, by a private Massachusetts collector. N.B. Robert Mapplethorpe’s extensive and provocative body of work has established him as one of the most important artists of the twentieth century. Remarkable for their technical and formal mastery, Mapplethorpe made photographs that simultaneously challenge and adhere to classical aesthetic standards. What unites his diverse subjects— male and female nudes, homoerotic images, floral still lifes, and studio portraits of artists and celebrities—is the constancy of his approach and technique. The surfaces of his prints offer a seemingly endless gradation of blacks and whites with rich interplays of shadow and light. Regardless of subject,

his images are both elegant and suggestive. This is particularly true of his flowers, which draw on a rich history of artists’ depictions of flora while also displaying an intense and alluring sensuality. A photocopy of the invoice accompanies the lot. $20,000-30,000

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130 Toshio Shibata (Japanese, b. 1949) Ichihara City, Chiba Prefecture, 1992. Signed “T. Shibata” in pencil on the verso at center, dated and numbered “1/25” in pencil on the verso l.c., artist’s copyright stamp in black ink on the verso l.r., identified on a label from Tepper Takayama Fine Arts, Boston, affixed to the backing. Gelatin silver print, image size 17 1/2 x 21 7/8 in. (44.3 x 55.4 cm), framed. Condition: Good. Provenance: Collection of John O’Reilly and James Tellin, Worcester, Massachusetts. $1,500-2,500

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131 Phil Bergerson (Canadian, b. 1947) Untitled (Independence, Missouri), 1997. Signed, dated, and numbered “Phil Bergerson...15/25” in black ink on the recto l.r., identified on a label from the Bernard Toale Gallery affixed to the backing. Chromogenic print, image size 15 1/2 x 15 1/2 in. (39.3 x 39.3 cm), framed. Condition: Subtle fading. Provenance: Purchased from the Bernard Toale Gallery, 2002, by the current owner. $500-700 132 Chip Hooper (American, b. 1962) Dune #2, 1994, printed 1999. Signed and dated “Chip Hooper 1994” in pencil on the mount l.r., numbered “23/90” in pencil on the mount l.l., titled, dated, numbered, and signed in pencil within an artist stamp in black ink on the backing at center. Gelatin silver print mounted to board, image/sheet size 9 7/8 x 23 1/2 in. (25.0 x 59.5 cm), framed. Condition: Not examined out of frame. $700-900

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134

133 David Hilliard (American, b. 1964)

134 David Hilliard (American, b. 1964)

Iceland, 1997. Unsigned. Three chromogenic prints mounted on aluminum, each panel 19 x 15 1/4 in. (48.1 x 38.6 cm), unframed. Condition: Overall pink tone to the prints, surface grime and minor dust.

Tobey Pond, 2000. Unsigned. Three chromogenic prints mounted on aluminum, each panel 22 1/2 x 18 1/2 in. (57.0 x 46.8 cm), unframed. Condition: Minor dust and surface grime.

Provenance: Purchased from the Bernard Toale Gallery, 1999, by the current owner. N.B. According to information provided by the consignor, this work is numbered 2 from an edition of 5. $3,000-5,000

Provenance: Purchased from the Bernard Toale Gallery, 2000, by the current owner. N.B. According to information provided by the consignor, this work is numbered 5 from an edition of 10. $3,000-5,000

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135 Abelardo Morell (Cuban/American, b. 1948) Camera Obscura Image of Boston View Looking Southeast in Conference Room, 1998. Signed, numbered, titled, and dated “ABELARDO MORELL #17/30...” in pencil on the verso at bottom (visible through an opening in the backing). Gelatin silver print, sight size 17 7/8 x 22 1/4 in. (45.3 x 56.4 cm), framed. Condition: Not examined out of frame. N.B. Photographer Abelardo Morell is noted for his series of works made using camera obscura techniques. He describes the process in this way: “In setting up a room..., I cover all windows with black plastic in order to achieve total darkness. Then, I cut a small hole in the material I use to cover the windows. This opening allows an inverted image of the view outside to flood onto the back walls of the room. Typically then I focused my large-format camera on the incoming image on the wall then make a camera exposure on film... One of the satisfactions I get from making this imagery comes from my seeing the weird and yet natural marriage of the inside and outside.”1 1. http://www.abelardomorell.net/project/camera-obscura/

$3,000-5,000 136 William Wegman (American, b. 1943)

136

Bowling. Numbered, titled, signed, and dated “7/50...William Wegman 03” in pencil below the image. Pigment print, image size 7 7/8 x 7 7/8 in. (19.8 x 19.8 cm), matted, framed. Condition: Not examined out of frame. $800-1,200

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138

137 Sebastião Salgado (Brazilian, b. 1944)

138 Sebastião Salgado (Brazilian, b. 1944)

Site of the Now Dried Lake Faguibine, Mali, 1985, printed later. Signed, inscribed, and dated “S. Salgado MALI...” in pencil on the verso c.l., embossed copyright stamp on the recto l.l. Gelatin silver print, image size 13 1/4 x 20 3/8 in. (33.0 x 51.5 cm), matted, unframed. Condition: Good.

Ubumbwe in Mist over the Forest of the Bisoke Volcano, Rwanda, from the series Genesis, 2004, printed 2007. Signed, inscribed, and dated “S. Salgado RWANDA...” in pencil on the verso c.l., embossed copyright stamp on the recto l.l. Gelatin silver print, image size 14 1/2 x 20 1/4 in. (36.6 x 51.3 cm), matted, unframed. Condition: Good.

N.B. At its fullest Lake Faguibine ranked among the largest lakes in West Africa, but since the Sahel drought in the 1970s and 1980s it has slowly dried up, making the traditional livelihoods of fishing, agriculture, and livestock herding impossible. $5,000-7,000

N.B. In 2014-15, work from Sebastião Salgado’s Genesis series was exhibited at the International Center of Photography in New York. $4,000-6,000

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139 Sebastião Salgado (Brazilian, b. 1944)

140 Sebastião Salgado (Brazilian, b. 1944)

View of the Nyiragongo Volcano in the Virungas, Democratic Republic of Congo, from the series Genesis, 2004, printed 2006. Signed, inscribed, and dated “S. Salgado CONGO...” in pencil on the verso c.l., embossed copyright stamp on the recto l.l. Gelatin silver print, image size 15 x 20 1/2 in. (38.0 x 52.0 cm), matted, unframed. Condition: Good. $4,000-6,000

Bushman, Botswana, 2008. Signed, inscribed, and dated “S. Salgado BOTSWANA...” in pencil on the verso c.l., embossed copyright stamp on the recto l.l. Gelatin silver print, image size 14 1/2 x 20 1/8 in. (36.8 x 51.0 cm), matted, unframed. Condition: Good. $4,000-6,000

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Fine Paintings & Sculpture Lots 200â&#x20AC;&#x201C;442 to be sold Wednesday, September 27, 4PM

200 Dutch School, 17th Century Bust-length Portrait of a Woman in an Oval with Swags Unsigned, with a red wax seal on the back of the frame. Oil on panel, 13 1/2 x 11 1/4 in. (34.0 x 28.5 cm), framed. Condition: Retouch, mold, fine craquelure, surface grime, panel beveled on two sides.

200

Provenance: A private Massachusetts family collection. $2,000-3,000 201 Attributed to Luca Cambiaso (Italian, 15271585) The Temptation of St. Anthony Inscribed indistinctly “L...” in charcoal l.r. and “Luca Cambia...” in pencil l.r., inscribed indistinctly on the reverse. Ink and wash on laid paper, no visible watermark, 16 x 11 1/2 in. (40.7 x 29.0 cm), framed. Condition: Sheet is lined over 7/8ths of the reverse with only the left edge of the reverse left uncovered, edges of the sheet reinforced with a thin line of paper tape on the reverse, losses to the paper surface and cuts along the outlines of the figures from iron gall ink, creasing, foxing. Provenance: The collection of Professor and Mrs. Jonathan Brown, Princeton. $1,000-1,500

201

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202 Attributed to Cornelius Janssen van Ceulen (English, 1593-1661)

202

Woman in Brown Adorned with Pearls Unsigned, attributed on a presentation plaque. Oil on canvas, 31 7/8 x 25 1/2 in. (81.0 x 65.0 cm), framed. Condition: Lined, scattered retouch, craquelure, surface grime. Provenance: Grogan & Company, The April Auction-American & European Paintings, Drawings, Sculpture and Prints, April 13, 1997, Lot 18; through to the current Boston collection. $3,000-5,000 203 Continental School, 16th Century Style St. Clare of Assisi Holding a Monstrance with the Consecrated Host Unsigned. Oil on panel, 15 5/8 x 11 1/2 in. (39.5 x 29.2 cm), framed. Condition: Warping and vertical splits to the panel, which is also partially cradled; retouch, paint losses, craquelure with area of lifting, surface grime. Provenance: A Maine estate. $300-500

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204 Italian School, 16th/17th Century Praying Figure Inscribed “Giovanni Mauro della Rovere (il Fiammenghino) c. 1575-1640/Lanino?” in pencil on the back of the window mat, inscribed “Milan late 16th Cent.” on the frame backing paper. Ink, black chalk, and bodycolor on gray laid paper, 6 1/2 x 6 5/8 in. (16.5 x 17.0 cm), framed. Condition: Small holes and losses, foxing, staining, creasing, minor losses to bodycolor, sheet affixed to the front of a window mat along the perimeter of the reverse so that the back is visible, with a paper patch affixed to the c.r. edge of the reverse. $500-700 205 Italian School, 17th Century The Assumption Unsigned, inscribed “Guido?” in pencil on the reverse, inscribed “Francesco Albani/1578-1660” on the back of the mat. Pencil and white chalk on paper, 11 5/8 x 9 5/8 in. (29.5 x 24.3 cm), framed. Condition: Paper with a painted ground, water staining or similar to some edges, rippling, foxing, old glue spots to the reverse where the sheet was affixed to the back mat, folded paper tape hinge along right side of the reverse (still hinged at the lower section). $800-1,200

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206 Attributed to Bernardino Campi (Italian, 1522-c. 1590)

206

Baptism of Christ Unsigned, attributed to Campi in a pencil inscription on the mat, old attribution to Parmigianino (Italian, 1503-1540) on the verso. Black chalk, bodycolor, and ink wash on paper, 12 1/4 x 8 5/8 in. (31.2 x 22.0 cm), framed. Condition: Squared, presumably for transfer, small tear to c.r., creasing and areas of thinning to paper, small tears and wear along the edges of the sheet. Provenance: The collection of Professor and Mrs. Jonathan Brown, Princeton. N.B. Provenance is inscribed on the mat and on the reverse as J. Mayer, New York, Victor Winthrop Newman (New York), Dr. Max A. Goldstein (St. Louis). Unknown collectorâ&#x20AC;&#x2122;s stamp inside the window mat. $700-900 207 No lot.

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208 Italian School, 16th/17th Century The Crucifixion Unsigned, inscribed “AS” within a circle l.l., inscribed “Donato Creti?” in pencil on the mat, with an unknown collector’s stamp on the inside of the window mat. Graphite, ink, and wash on laid paper, 7 7/8 x 5 3/8 in. (20.0 x 13.5 cm), matted, unframed. Condition: Foxing, crease to l.r. corner, affixed to a supporting paper along the top edge of the reverse. Provenance: The collection of Professor and Mrs. Jonathan Brown, Princeton. $300-500 209 Italian School, 16th Century Trophies of War Unsigned, inscribed “Almono... (or Almond...)/6” on the reverse l.r., attributed to Pordenone (1483-1539) on the mat. Pencil on laid paper, no watermark, 7 1/8 x 6 13/16 in. (18.0 x 17.3 cm), framed. Condition: Toning, foxing, creasing, drawing partially incised for transfer, affixed to front of window mat around the edges of the reverse. 208

Provenance: The collection of Professor and Mrs. Jonathan Brown, Princeton. $800-1,200

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210 School of Luca Giordano (Italian, 16341705) Madonna and Child with Adoring Saint Unsigned, inscribed indistinctly in pencil on the reverse of the lining sheet. ContĂŠ crayon, ink, and wash on paper, 5 5/8 x 7 1/4 in. (14.3 x 18.5 cm), framed. Condition: Toning, soiling, pale foxing, two small holes l.c., and tack holes to corners of the original sheet, which is lined with a supporting sheet and hinged to a new mat board support. Provenance: The collection of Professor and Mrs. Jonathan Brown, Princeton. $1,000-1,500

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211 William LeStrange (British, 1782-1846) Vessels in Storm Signed “LeStrange” l.r., titled and dated “...ca. 1825” on a label from The William Benton Museum of Art affixed to the frame on the reverse. Oil on panel, 12 1/4 x 15 3/4 in. (31.0 x 40.2 cm), framed. Condition: Gentle curvature to panel, unobtrusive surface grime, craquelure. Provenance: Skinner, Inc., September 22, 2000, Sale 2018, Lot 213.

212 Manner of Francesco Guardi (Italian, 17121793)

213 Attributed to Samuel Scott (British, 17031772)

Isola di San Giorgio, Venice Unsigned. Oil on canvas, 14 x 18 in. (35.6 x 45.7 cm), framed. Condition: Lined, retouch, areas of skinning.

Dundee Unsigned, identified on a presentation plaque. Oil on canvas, 43 1/4 x 53 3/4 in. (110.0 x 136.4 cm), framed. Condition: Lined, retouch, areas of skinning, stable craquelure, discolored varnish, surface grime.

Provenance: Christie’s East, May 30, 1991, Sale 7195, Lot 24; through to Richard G. Canott, by gift to the current owner in 1990. $1,200-1,800

N.B. We would like to thank Charles Lanagan for his assistance cataloging this lot. $10,000-15,000

Exhibitions: Connecticut’s Quiet Corner Collects, The William Benton Museum of Art, University of Connecticut, March 20–May 21, 1989. $1,000-1,500

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214 Thomas Lawrence (British, 1769-1830) Lady Sefton Unsigned, identified in an inscription on the reverse, on a handwritten label affixed to the frame backing, and on a presentation plaque. Pencil and watercolor on paper, sight size 10 3/4 x 9 5/8 in. (27.4 x 24.5 cm), framed. Condition: Handling creases, toning, fox marks, soiling, minor losses and wear to the edges of the sheet, hinged along left edge to back mat, brown paper tape to top edge of the reverse from a former mounting. Provenance: Collection of Bellingham Smith, Esq., Collection of Jules Bache, New York, Parke-Bernet Galleries, Inc., New York, Old Masters, including Raphaelâ&#x20AC;&#x2122;s Peruzzi Madonna, a Notable Frans Hals, and British XVIII Century Portraits, as Lot 49, March 2, 1950, to Carol J. Ferranti, through to the estate of Carol J. Ferranti. N.B. A photocopy of the Parke-Bernet catalog page accompanies the lot. $3,000-5,000 214

215 Attributed to Joshua Reynolds (British, 1723-1792) Head of a Boy Unsigned, identified on letterhead from The English Gallery, Boston, Massachusetts, and Cambridge, England, affixed to the frame backing paper. Watercolor and gouache on paper, 8 3/8 x 6 5/8 in. (21.3 x 17.0 cm), framed. Condition: Subtle toning, laid down on cardboard support. Provenance as provided by The English Gallery: From the estate of Sir Joshua Reynolds, to M.M. Beale, by family descent to her granddaughter Dame Kathleen Courtney D.B.E., to Dr. H.C. Maingay, Bergh Apton, Norwich, England (Dame Courtneyâ&#x20AC;&#x2122;s physician), to The English Gallery (William H. Ash), Boston, Massachusetts, purchased by Richard L. Elia, August 11, 1983; to the estate of Richard L. Elia, Winchester, Massachusetts. $700-900

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216 Attributed to Pietro Antonio Rotari (Italian, 1707-1762) Portrait of a Russian Woman Hiding Her Smile Behind a Fur Cuff Unsigned. Oil on canvas, 18 x 14 1/4 in. (45.8 x 36.2 cm), unframed. Condition: Lined, retouch, areas of skinning or thinned paint, craquelure. $8,000-12,000

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217 Manner of David Teniers the Younger (Dutch, 1610-1690) Animated Tavern Scene Unsigned. Oil on canvas, 25 x 30 in. (64.0 x 76.5 cm), framed. Condition: Lined, minor retouch, surface grime. Provenance: A private Massachusetts family collection. $4,000-6,000

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218 School of David Teniers the Elder (Flemish, 1582-1649) Interiorâ&#x20AC;&#x201C;Boors Playing Cards Unsigned, identified on an old printed auction label affixed to the cradling on the reverse. Oil on cradled panel, 8 x 10 1/2 in. (20.5 x 27.5 cm), in a Samuel Coombes, London, frame. Condition: Retouch, horizontal cracks to the panel and paint surface, craquelure, surface abrasions. $800-1,200 219 Manner of David Teniers the Younger (Dutch, 1610-1690) Two Tavern Scenes with Men Smoking Pipes Unsigned. Oil on copper, 8 x 6 5/8 in. (20.0 x 17.0 cm), framed. Condition: Fine craquelure, surface grime. Provenance: A private Massachusetts family collection. $1,500-2,500

219 (partial)

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220 Gustave David (French, 1824-1891) Respite at an Army Encampment Signed “G. DAVID.” l.l. Watercolor and gouache on paper/board, sight size 14 3/8 x 11 in. (36.5 x 27.8 cm), framed. Condition: Gentle toning, not examined out of frame. $1,500-2,000 221 Eugène Girardet (French, 1853-1907) General Jean-Baptiste Kléber Initialed “EG” l.r., inscribed “Kleber-Girardet” in pencil on the reverse, identified on a painted presentation plaque on the mount. Pencil on wove paper, 8 3/16 x 5 9/16 in. (20.8 x 14.2 cm), framed. Condition: Scattered fox marks, toning, handling creases, affixed to French mat mount along the top edge of the reverse, with pale adhesive spots on the l.r. and u.r. corners of the reverse and cellophane tape at the c.l. edge of the reverse. $400-600

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222 Paul Emile Léon Perboyre (French, 18511929) The Cossack Signed “P.E.L.Perboyre” l.r., titled in an inscription on the reverse. Oil on panel, 8 1/2 x 6 1/4 in. (21.5 x 15.5 cm), framed. Condition: Scattered small abrasions with paint loss, frame abrasions, minor surface grime. $800-1,200 223 Wladyslaw Karol Szerner Jr. (Polish, 18701936) Gathering Intelligence Signed “Wladyslaw Szerner” l.r. Oil on panel, 15 1/2 x 24 in. (39.4 x 61.0 cm), framed. Condition: Retouch, frame abrasions, paint losses to edges, pinholes to lower edge and center, crack to c.r.

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

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224 Cesare Auguste Detti (Italian, 1847-1914) Cavalier Studying a Musical Score Signed “C. Detti” l.r., identified on a presentation plaque, with a partial label from McClees Galleries, Philadelphia, affixed to the back of the frame. Oil on canvas, 23 3/4 x 18 in. (60.5 x 46.0 cm), in a period frame. Condition: Lined, retouch to the background, stable craquelure, minor varnish inconsistencies. $7,000-9,000 225 Isidore Patrois (French, 1815-1884) Young Woman Sketching in an Interior Signed and dated “I. PATROIS/1878” l.r., with a label from J.P. Beaumont, London, affixed to the stretcher. Oil on canvas, 18 1/8 x 15 in. (46.0 x 38.0 cm), framed. Condition: Lined, craquelure, surface accretions. $1,000-1,500

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226 Charles Robert Leslie (British, 1794-1859) Scottish Family Group Signed and dated “C.R. Leslie 1852” l.l. Oil on canvas, 30 x 24 in. (76.0 x 61.0 cm), framed. Condition: Lined, retouch, craquelure. $2,000-3,000 227 Fernando Tirado (Spanish, 1862-1907) The Concert Signed and dated “F. Tirado/1883.” u.r., signed, dated, and inscribed “F. Tirado/1883, Paris” on the reverse. Oil on panel, 11 x 7 3/8 in. (28.0 x 18.5 cm), framed. Condition: Scattered minor retouch, fine craquelure. $800-1,200

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228 Attributed to Horatio McCulloch (Scottish, 1805-1867) Scottish Landscape, Possibly Castle Campbell Unsigned, titled on an unattributed label affixed to the reverse. Oil on canvas, 26 x 36 in. (66.0 x 91.4 cm), framed. Condition: Craquelure, flaking, retouch, scattered small paint losses, abrasion u.l., surface grime. Provenance: Charles Auction Galleries, Flushing, New York, 1969; by descent to the current private collection, New York. $1,200-1,800 229 Paul Vernon (French, 1796-1875) Three Girls at the Edge of a Wood Signed â&#x20AC;&#x153;Paul.Vernonâ&#x20AC;? l.l., with a canvas stencil from Bernheim, Paris, on the reverse. Oil on canvas, 18 1/2 x 15 in. (46.5 x 38.0 cm), framed. Condition: Craquelure, subtle rippling, heavy varnish layer. $1,000-1,500

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230 Julien Dupré (French, 1851-1910) Shepherdess in a Landscape Signed “JULIEN DUPRÉ” l.l., artist identified on a presentation plaque. Oil on panel, 21 3/4 x 12 1/2 in. (55.0 x 31.5 cm), framed. Condition: Minor frame abrasion, surface grime. $12,000-18,000

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231 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. Provenance: A private Massachusetts collection. $7,000-9,000 232 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. Provenance: A private Massachusetts collection. $4,000-6,000

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233 Hermann David Salomon Corrodi (Italian, 1844-1905) Shrine at Venice, Sundown Signed and inscribed â&#x20AC;&#x153;H. Corrodi Romaâ&#x20AC;? l.l. Oil on canvas, 25 5/8 x 49 in. (65.0 x 124.5 cm), framed (in a liner). Condition: Lined, scattered minor retouch. $7,000-9,000

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234 Rosa Bonheur (French, 1822-1899) Chevreuil de désaltérant/Roebuck quenching his thirst Signed “Rosa Bonheur” l.l., with a red wax seal “Vente Rosa Bonheur” affixed to the stretcher, inscribed “Rosa Bonheur/M. KNOEDLER” on a cardboard label tacked to the back of the frame, inscribed “Rosa Bonheur (132) (‘96)” on the back of the frame. Oil on canvas, 16 1/2 x 26 in. (42.0 x 66.0 cm), framed (under glass). Condition: Lined, unobtrusive surface grime, craquelure. Literature: Rosa Bonheur and M.L. RogerMilès, Atelier Rosa Bonheur, Tome I, Tableaux (Paris: Imprimerie Georges Petit, 1900), No. 331, p. 76. $5,000-7,000 235 John Martin Tracy (American, 1843-1893) Two Hunting Dogs in a Landscape Signed “J.M. Tracey” l.r. Oil on canvas, 14 1/8 x 20 1/8 in. (36.0 x 50.8 cm), framed. Condition: Two pinhole-sized wax repairs to the reverse with corresponding minor retouch on the recto.

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Provenance: Purchased by the grandfather of the current owner probably before 1920. $3,000-5,000

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236 Rosa Bonheur (French, 1822-1899) Dappled Gray Horse, Facing Right Signed “Rosa Bonheur” l.r., faint inscription or initials at u.l. corner. Oil on paper mounted to canvas, 12 1/2 x 15 1/4 in. (31.8 x 38.7 cm), framed. Condition: Tack holes to corners, areas of possible skinning, minor retouch to cover frame abrasion. $4,000-6,000 236A Wilhelm Hunt Diederich (American, 18841953) Rearing Stallion Monogrammed “WHD” on the underside of the bronze base. Bronze with brown patina, height 4 3/4 in. (12.1 cm). Condition: Minor wear to patina, dust and dirt to interstices. $1,200-1,800

236A

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237 Charles Herbert Woodbury (American, 1864-1940) Sailing Vessel Beached at Low Tide Signed “Chas Herbert Woodbury” l.r., possibly dated “92” after the signature. Oil on canvas, 9 x 13 in. (22.9 x 33.0 cm), framed. Condition: Lined, retouch, craquelure. Provenance: The estate of Richard L. Elia, Winchester, Massachusetts. $2,500-3,500 238 Marshall Johnson Jr. (American, 18501921)

238

On the Hudson River, New York Signed and dated “M JOHNSON Jr./86” l.l., identified on a typed label affixed to the frame backing. Oil on canvas, 10 1/4 x 14 1/4 in. (25.7 x 36.0 cm), framed. Condition: Lined, retouch to fill craquelure and cover frame abrasion, craquelure, minor surface grime. Provenance: The estate of Richard L. Elia, Winchester, Massachusetts. Literature: Richard L. Elia, “Marshall Johnson Jr., marine painter,” The Magazine Antiques, November, 1981, vol. CXX, no. 5, pp. 121821, illus. p. 1219, figure 3 (as Seascape). A photocopy of the article which was written by Richard L. Elia accompanies the lot. $1,000-1,500

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239 Marshall Johnson Jr. (American, 1850-1921) Schooner Leaving a Harbor Signed and dated “MARSHALL JOHNSON JR/89” l.l. Oil on canvas, 14 x 10 in. (35.5 x 25.5 cm), framed. Condition: Thinly brushed retouch to the sky and sails, craquelure, minor surface grime. Provenance: The estate of Richard L. Elia, Winchester, Massachusetts. N.B. A copy of an appraisal from Marine Arts Gallery, Salem, Massachusetts, dated September 13, 1977, accompanies the lot. $1,200-1,800 240 Marshall Johnson Jr. (American, 1850-1921) Fishing Boats Beached Signed and dated “...Johnson JR/84” l.l., titled, signed, and dated “...Marshall Johnson JR/84” in ink on the reverse, also inscribed faintly “...Broad Sound/Boston Harbor” on the reverse, and with a partial handwritten label inscribed “Newbury St./Boston” affixed to the stretcher. Oil on canvas, 12 1/8 x 18 1/8 in. (30.8 x 46.0 cm), framed. Condition: Craquelure, frame abrasion, varnish discoloration, surface grime, canvas trimmed and restretched (long ago) so that the first name of the signature is now part of the tacking edge.

239

Provenance: Purchased from Marine Arts Gallery, Salem, Massachusetts, January 9, 1978 (copy of receipt accompanies the lot); to the estate of Richard L. Elia, Winchester, Massachusetts. $1,000-1,500

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241 Alfred Thompson Bricher (American, 18371908)

242 William Trost Richards (American, 18331905)

Rocky Cove with House Nestled in the Trees Monogram signature “ATBricher” l.l. Watercolor and gouache on paper, 14 3/16 x 20 5/8 in. (36.0 x 52.2 cm), framed. Condition: Sheet laid down on paperboard support, crease with broken paper fibers or tear to u.r. quadrant, abrasions to the c.l. edge, subtle toning.

Towering Cliffs and Surf Signed and dated “Wm.T. Richards, 01” l.l. Watercolor on paperboard, 7 3/4 x 9 1/4 in. (19.6 x 23.5 cm), framed, with an oval mat. Condition: Rectangular sheet, glue stains and paper fragments along the top and bottom edges, minor soiling. $800-1,200

243 Frank Anderson (American, 1844-1891) View of the Hudson at West Point Initialed and dated “F.A./-82.” l.r. Oil on canvas, 14 5/8 x 24 in. (37.2 x 60.8 cm), framed. Condition: Lined, minor retouch, stable craquelure. $4,000-6,000

Provenance: Purchased from Marine Arts Gallery, Salem, Massachusetts, July 10, 1980 (copy of receipt accompanies the lot); to the estate of Richard L. Elia, Winchester, Massachusetts. $3,000-5,000

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244 Henri Edmond Rudaux (French, 1870-1927) French Battleships at Sea Dedicated, signed, and dated “à S.A. le Prince Nicolas 1er de Montènegro/Hommage reconnaissant de l’Auteur/Henri Rudaux/1891” l.r., identified on labels from Taylor|Graham Gallery, New York, and The Greenwich Gallery, Greenwich, Connecticut, affixed to the frame backing. Oil on canvas, 21 x 31 3/4 in. (54.0 x 80.5 cm), framed. Condition: Lined, scattered minor retouch, fine craquelure. $3,500-5,500

245 Marshall Johnson Jr. (American, 18501921) Sailing Ships on a Foggy Sea Signed “MARSHALL JOHNSON” l.l. Oil on canvas, 16 x 20 in. (40.8 x 50.8 cm), framed. Condition: Lined, craquelure. Provenance: The estate of Richard L. Elia, Winchester, Massachusetts. N.B. A copy of an appraisal from Marine Arts Gallery, Salem, Massachusetts, dated July 28, 1978, accompanies the lot. $1,200-1,800

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246 Mauritz Frederik Hendrik de Haas (American, 1832-1895) Sailing Through Storms Estate stamped “M.F.H. de HAAS, N.A.” l.r., identified on a label on the stretcher (see below) and on a label from Taylor|Graham Gallery, New York, affixed to the back of the frame. Oil on canvas, 12 5/8 x 18 7/8 in. (32.0 x 48.0 cm), framed. Condition: Strip lined, small area of retouch to u.r. corner. Provenance: Acquired through trade, private dealer; Bonhams, New York, American Paintings, May 21, 2008, Lot 1023.

247

N.B. There is a printed label on the stretcher that reads: “We hereby certify that this is one of a number of pictures painted by the late M.F.H. de Haas, N.A., but left unsigned by him, by reason of his sudden death. This picture is sold by order of the Surrogate’s Court of the City and County of New York, filed December 18, 1895.” $3,500-5,500 247 Roy Cross (British, b. 1924) State Yachts, c. 1660 Signed “ROY CROSS” l.l., titled in an inscription on the frame backing. Watercolor and gouache en grisaille on paper, sight size 15 1/4 x 19 in. (39.0 x 48.5 cm), framed. Condition: Not examined out of frame. $2,000-4,000

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248 William Frederick de Haas (American, 1830-1880) Off Agamenticus, Maine Titled and signed â&#x20AC;&#x153;..../William F. de Haasâ&#x20AC;? on the reverse, identified on a label from Taylor|Graham Gallery, New York, affixed to the frame backing. Oil on panel, 10 7/16 x 18 1/4 in. (26.5 x 46.4 cm), framed. Condition: Scattered retouch. $2,500-3,500

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249 Edward Moran (American, 1828-1901) Fishing Fleet at Sunset Signed “E. Moran” l.l., identified and dated “...circa 1875-1882” on a label from Taylor|Graham Gallery, New York, affixed to the back of the frame. Oil on canvas, 15 1/4 x 25 1/4 in. (38.5 x 64.0 cm), framed. Condition: Minor retouch, faint stretcher bar mark, craquelure. Provenance: Mrs. Mary Goldenberg and the late Mr. Harry Goldenberg, Longport, New Jersey; Gilda’s Club, South Jersey, Linwood, New Jersey. $5,000-7,000

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250 Washington Allston (American, 1779-1843) Robbers Fighting with Each Other for the Spoils Over a Murdered Traveler Unsigned, identified and dated “...1801” on a presentation plaque, loan label from Fogg Art Museum (see below), and handwritten provenance label on the reverse. Oil on panel, 18 7/8 x 26 1/8 in. (48.0 x 64.0 cm), framed. Condition: Retouch, varnish inconsistencies, hairline horizontal crack to panel 6 inches down from the top, fine craquelure, varnish discoloration, panel beveled on vertical edges, subtle warping to panel. Provenance: Thomas Lindall Winthrop (17601841); Robert Charles Winthrop (1809-1894); Charles Russell Lowell Sr. (1782-1861); New York State private collection; to the present California private collection. Literature: The Boston Athenaeum Art Exhibition Index, 1827-1874, compiled by Robert F. Perkins, Jr. and William J. Gavin III (Boston: The Library of the Boston Athenaeum, 1980), p. 11; Finding Aid for Washington Allston Materials, as compiled by H.W.L. Dana (1881-1950), Longfellow National Historic Site, Cambridge, Massachusetts, Number 96, Photograph 160, p. 32 and Number 85, Photograph 257, p. 37; William Dunlap, History of the Rise and Progress of The Arts of Design in the United States, Vol. II, first published 1834 (New York: Benjamin Blom, Inc., 1965), p. 301; Jared B. Flagg, The Life and Letters of Washington Allston (New York: Charles Scribner’s Sons, 1892), p. 33; Edgar Preston Richardson, Washington Allston: A study of the romantic artist in America (Chicago: University of Chicago Press, 1948), p. 187, no. 25 (Ref.: Dunlap, II, 156; Dana, No. 6); Robert L. White, “Washington Allston: Banditti in Arcadia,” American Quarterly, Vol. 13, No. 3 (Autumn 1961), p. 388, article pp. 387-401; William H. Gerdts & Theodore E. Stebbins Jr., “A Man of Genius” The Art of Washington Allston (Boston: Museum of Fine Arts, 1979), p. 24, ill.; The Correspondence of Washington Allston, Nathalia Wright, editor (Lexington, Kentucky: The University Press of Kentucky, 1993), pp. 23, 240, 333, 565; Kerry Dean Carso, American Gothic Art and Architecture in the Age of Romantic Literature (Cardiff: University of Wales Press, 2014), pp. 34-35. Exhibitions: Second Exhibition of Paintings in the Athenaeum Gallery, The Boston Athenaeum Gallery, May 1, 1828, as The Robbers, painted in 1809, lent by Dr. Lowell, no. 183.

N.B. Described by sculptor Horatio Greenough as “America’s first born poet painter,”1 Washington Allston holds a prominent place in American art history as one of our earliest Romantic artists. Allston was among the first American artists to paint using the sophisticated techniques of the Old Masters, particularly the Venetians (Titian, Tintoretto, and Veronese) and Rubens, and his canvases were admired by his contemporaries for their glazing, rich color, and fine draftsmanship, as well as for their more challenging “grand themes” that included landscape, historical, Biblical, and literary subjects.

Shortly after this work was painted, Allston left Charleston for London where he studied with Benjamin West, further absorbing the lessons of the Old Masters and expanding his subject matter. He continued his education with sojourns in France and Italy. Since his Harvard days, Allston had a fascination with Italy and found inspiration in the works of Nicolas Poussin and Claude Lorraine. While Allston returned to the United States to make his home in Cambridge, Massachusetts, he would continue to visit Europe regularly, finding there the most kindred intellectual spirits and artistic milieu. He continued to exhibit at the Boston Athenaeum regularly from 1828 until his death.

The son of a prominent South Carolina family, Allston was educated privately in Newport, Rhode Island, and then at Harvard College, where he graduated in 1800, honored as Class Poet. Returning home to Charleston, Allston disclosed his favorite painting subject at that time to be banditti, or as he later described it “bandittimania,” a theme most scholars agree was partly inspired by the 17th century Italian Proto-Romantic artist Salvator Rosa, whose works Allston may have known firsthand. Kerry Dean Carso also points out that Allston was likely influenced by novelist Ann Ward Radcliffe’s rich descriptions of banditti set amidst romantic, foreign landscapes, as in The Mysteries of Udolpho: A Romance.2 Allston reflected on the painting at hand in a letter to William Dunlap in July 1833, writing, “Up to this time my favorite subjects, with an occasional comic intermission, were banditti.—I remember one of these, where I thought I had happily succeeded in cutting a throat! The subject of this precious performance was, robbers fighting with each other for the spoils, over the body of a murdered traveller. And clever ruffians I thought them. I did not get rid of this banditti mania until I had been over a year in England.”3

As noted above, the work at hand bears a label from the Fogg Art Museum which was affixed to the painting when it was brought to the Museum for photography in February 1949 by Mr. Henry Wadsworth Longfellow Dana. The description at the time was “Bandits Robbing Man with Horse and Wagon” by Washington Allston. The work was returned a few days later to 105 Brattle Street which is the address of the current Longfellow National Historic Site, where H.W.L. Dana was compiling the papers of Washington Allston. Allston had deep connections with the Dana family and maintained friendships across several generations after meeting Edmund T. Dana and Richard Henry Dana at Harvard. Allston married Martha Dana, sister of Richard Henry Dana, in 1830.

The painting is described by William Gerdts in “A Man of Genius” The Art of Washington Allston, based on a photograph in the Longfellow National Historic Site (this painting’s location was unknown at the time of publication in 1979). Dr. Gerdts wrote, “The picture appears rather fluidly, in parts sketchily, handled with an arbitrary drama of light and dark, but a great deal of vigor and activity, and a sense of violent abandon consonant with the subject. The forms are rendered roundly and solidly, in a manner that suggests some acquaintance with actual examples of Flemish seventeenth-century art, and more specifically, with the style of the Dutch artist Philip Wouvermans.”4

An old handwritten label on the reverse records T.L. Winthrop as owner, and mentions a second, illegible name, “Judge H... Long,” whom the note records as having left the painting to T.L. Winthrop. The note also says the painting was left for safekeeping with Mrs. R.C. Winthrop. 1. Horatio Greenough letter to Richard Henry Dana, The Correspondence of Washington Allston, Nathalia Wright, editor, pp. 553-54. 2. Kerry Dean Carso, American Gothic Art and Architecture in the Age of Romantic Literature, pp. 34-35. 3. Jared B. Flagg, The Life and Letters of Washington Allston (New York: Charles Scribner’s Sons, 1892), p. 33. 4. William H. Gerdts and Theodore E. Stebbins Jr., “A Man of Genius” The Art of Washington Allston (1779-1843), p. 24.

$70,000-90,000

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251 John La Farge (American, 1835-1910) On the Bayou Teche, Louisiana Signed “John La Farge” l.r., titled and dated “.../circa 1860” on a label from Spanierman Gallery, New York, affixed to the frame backing. Oil on canvas, 28 3/4 x 38 3/4 in. (73.0 x 98.4 cm), framed. Condition: Lined, stretcher replaced, craquelure, retouch. Provenance: Charles Auction Galleries, Flushing, New York, 1963; by descent to the current private collection, New York. Literature: Henry Adams, et al., John La Farge, exhibition catalog (Pittsburgh: The Carnegie Museum of Art, 1987), pp. 86-7 (ill.); John La Farge: An American Master (18351910), exhibition catalog (Newport: William Vareika Fine Arts, 1989), no. 3. Exhibitions: John La Farge: An American Master (1835-1910), William Vareika Fine Arts, Newport, July 14–September 30, 1989.

N.B. John La Farge painted this rare early landscape either while visiting Louisiana in the spring of 1860, or in his studio in New York shortly after his trip south. Journeying by boat down the Mississippi River, he went to Louisiana to visit Margaret Perry (his future wife) who had spent the winter as a guest at the sugar plantation “Oaklawn Manor,” at Irish Bend, near the town of Franklin. La Farge had spent the years 1856 and 1857 traveling in Europe and studying art in the Paris studio of Thomas Couture. By 1859, La Farge had made his way to Newport to work with fellow Couture disciple William Morris Hunt. Hunt had also studied with Barbizon artist Jean-François Millet and shared La Farge’s interest in the paintings of Millet and JeanBaptiste-Camille Corot. In a style recalling that of the Barbizon artists, La Farge depicts here two slaves rolling a cask of sugar to a small riverboat. La Farge’s grandson, Henry A. La Farge, inspected On the Bayou Teche in 1966 and confirmed its authenticity. He also noted that the artist’s sketchbook from the trip to Louisiana included drawings of figures rolling barrels that correspond to this painting (the sketchbook is now lost; however, photographs of the relevant pages from the sketchbook are included with the lot). The artist painted at least one other painting of the Louisiana landscape, On the Bayou Teche, Morning, Louisiana, which is in a private collection. The lot includes a dossier with extensive correspondence regarding the work and its authenticity. $70,000-90,000

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252 William Moore Davis (New York, 1829-1920) Long Island Farmhouse Unsigned, dated “July 29 ‘69” l.r., identified and titled on a presentation plaque. Oil on canvas, 9 x 14 1/8 in. (23.0 x 36.0 cm), framed. Condition: Craquelure, patch reinforcement u.r. on the reverse, retouch, surface grime. $1,500-2,500

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253 William Crothers Fitler (American, 18571915) Sunset Landscape Signed and dated indistinctly “WC FITLER...” l.r., with a label from Henry Schultheis Company, New York, on the stretcher. Oil on canvas, 7 x 9 in. (18.0 x 23.0 cm), framed. Condition: Craquelure, minor surface grime. $600-800

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254 George Inness (American, 1825-1894) The Pond at Sunset, alternatively titled Sunset Signed “G. Inness” l.l., titled on a presentation plaque, alternative title in a letter from Michael Quick. Oil on canvas, 8 3/4 x 15 7/8 in. (22.2 x 40.3 cm), framed. Condition: Mounted to wood panel, stable craquelure and drying cracks, old retouch, areas of possible minor overcleaning.

N.B. The lot is accompanied by a copy of a letter from Michael Quick dated April 22, 2010, to the owner of the painting in which he provided the title Sunset and dated the landscape to 1865-67. (The letter replaced a letter dated March 23, 2009, which was written by Dr. Quick to the former owner.) In the letter, Dr. Quick wrote that this work dates from a period when “...Inness favored more complicated compositions of this kind, and when his technique used the extensive colored glazes that add rich atmosphere and color to Sunset. Often, as in this case, sharp detail in a large foreground tree is contrasted with the deftly managed softness of the glazed middle ground and distance. During the period Inness also painted a few landscapes with dimly seen mystical cities, as in this painting.” $15,000-25,000

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255 Jacob Wagner (American, 1852-1898) Spring Landscape Signed “J. Wagner” l.r. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Lined, retouch, craquelure. $2,500-3,500

256 Robert Ward Van Boskerck (American, 1855-1932)

257 John Joseph Enneking (American, 18411916)

Mountain River in Springtime Inscribed “Gift from Mrs. Blaine” on the stretcher, with a label from Findlay Galleries, Chicago, affixed to the frame backing. Oil on canvas, 24 1/4 x 36 1/4 in. (62.0 x 92.5 cm), framed. Condition: Craquelure, flaking u.c. and u.r., pinholes u.c. and u.r., stretcher marks, surface grime. $1,500-2,000

Brown Mountain, Somes Sound, S.W. Harbour Signed and dated “Enneking 85” l.r., titled in pencil on the reverse. Oil on academy board, 7 3/4 x 11 3/4 in. (19.8 x 29.5 cm), framed. Condition: Vertical craquelure, surface grime. Provenance: The estate of Richard L. Elia, Winchester, Massachusetts. $1,500-2,500

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258 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. Provenance: A private Massachusetts collection. $3,000-4,000 259 Edward B. Gay (American, 1837-1928) Haying Scene Signed and dated “EDWARD GAY 91.” l.r. Oil on canvas, 26 1/2 x 34 1/2 in. (67.0 x 87.6 cm), framed. Condition: Lined, retouch, craquelure. Provenance: The James and Pamela Alexander Collection. $1,000-1,500

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260 Louis Comfort Tiffany (American, 18481933) Villa with Palms Signed “Louis C. Tiffany” l.r. Oil on canvas, 16 x 20 in. (40.7 x 50.7 cm), in a period frame. Condition: Minor retouch, surface grime, mold and staining to the reverse. $8,000-12,000 261 Walter Clark (American, 1848-1917) House on the Water’s Edge Signed “Walter Clark” l.l. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Lined, retouch, craquelure, flaking with paint loss u.l., abrasion with paint loss c.r., surface grime. $800-1,200 261

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262 Frank Henry Shapleigh (American, 18421906) Mt. Washington and Ellis River, Jackson, New Hampshire Signed and dated â&#x20AC;&#x153;F.H. Shapleigh 1891.â&#x20AC;? l.r., titled and signed on the reverse. Oil on canvas, 22 x 36 in. (55.8 x 91.4 cm), framed. Condition: Craquelure, retouch, punctures l.l. and l.c. with small paint losses, tears l.l. repaired with a patch on the reverse, surface grime. Provenance: Purchased by Alfred Albion Adams c. 1917; by descent to the current private collection, Colorado and Florida. $2,500-3,500 263 William John Whittemore (American, 18601955) 263

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Cows Grazing by the Farm Road Unsigned, identified on an unattributed label affixed to the back of the frame and in an inscription on the back of the frame. Oil on canvas, 20 1/4 x 24 1/4 in. (51.5 x 62.0 cm), framed. Condition: Wax lined, craquelure, surface grime. $1,200-1,800

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264 Thomas Hewes Hinckley (American, 18131896)

265 Ann Sophia Towne Darrah (American, 1819-1881)

Donkeys, Goats, and Geese in a Field with a Distant Windmill Signed and dated “T.H. Hinckley/1851” l.r. Oil on canvas, 19 5/8 x 29 1/8 in. (49.8 x 74.3 cm), framed. Condition: Lined, scattered retouch, stable craquelure, varnish discoloration. $1,500-2,500

The Oxen Cart Signed “STDarrah” l.l., inscribed “Feb 24/artist Mrs. Darrah 1882” on the back of the frame, with a label from Frost & Adams affixed to the stretcher. Oil on canvas (stretched with Boston tabs), 18 x 30 in. (45.7 x 76.2 cm), framed (in a liner). Condition: Craquelure, retouch, repair to u.c., abrasion and small paint loss l.r., accretions l.c. and l.r., surface grime. $800-1,200

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266 Robert Spear Dunning (American, 18291905) Tabletop Still Life with Fruit and Roses Signed and dated “R.S. Dunning 1879” l.l., signed, inscribed, and dated “R.S. Dunning pinxit/1879.” on the reverse. Oil on canvas, 14 x 12 in. (35.7 x 30.5 cm), framed (in a liner). Condition: Cluster of small paint losses l.l., varnish discoloration, surface grime, minor canvas deformation to u.l. corner. $6,000-8,000 267 Attributed to Rembrandt Peale (American, 1778-1860) Portrait Head of a Woman in Neoclassical Dress Signed and dated “R. Peale/1844” l.r. Oil on canvas, 24 x 18 in. (61.0 x 46.0 cm), framed. Condition: Lined, retouch, paint losses, craquelure with areas of flaking, surface grime. Provenance: A private Massachusetts family collection. N.B. The consignor reports that this was purchased from a member of the Peale family. $4,000-6,000 267

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268 Attributed to Severin Roesen (German/ American, 1815-1872) Sumptuous Still Life with Fruit and Wine Unsigned. Oil on canvas mounted to board, 29 3/4 x 39 3/4 in. (75.5 x 101.0 cm), framed. Condition: Old repairs, retouch, craquelure, surface grime.

N.B. The lot is accompanied by letters discussing the painting from William H. Gerdts (dated November 21, 1984) and Judith O’Toole (dated February 16, 1988). Both indicate that the work may be authentic, described as “highly likely” by Gerdts, but also discuss the possibility that Roesen produced his prolific still lifes with the aid of a workshop and that the artist had many students and followers also working in his genre. William Gerdts suggests in his letter that the painting dates from the 1850s. $7,000-9,000

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269 Edward Lamson Henry (American, 1841-1919) Descending the Staircase Signed with initials “ELH” l.l., identified on an unattributed label affixed to the back of the frame. Oil on paper laid down on board, 8 x 5 7/8 in. (20.3 x 14.9 cm), framed. Condition: Rippling, tears l.l. and u.r. (repaired), abrasions to edges. N.B. While a student at the Pennsylvania Academy of the Fine Arts, Edward Lamson Henry befriended antiquarian and preservationist William Kulp and through him developed a lifelong interest in antiques and architecture. The staircase Henry depicted here is the one in Kulp’s Philadelphia home at 616 Spruce Street. Henry owned a photograph of the Kulp stair landing, sketched its architectural details (these drawings are in the collection of the New York State Museum, Albany), and completed several other renderings of the interior of Kulp’s home (see Amy Kurtz Lansing, Historical Fictions: Edward Lamson Henry’s Paintings of Past and Present [New Haven: Yale University Press, 2005], pp. 9-11, 35). $4,000-6,000 270 Charles Ethan Porter (American, 1847-1923) Strawberries Spilling from an Overturned Carton Signed “C.E. Porter” l.r. Oil on canvas, 14 x 20 in. (35.6 x 51.0 cm), framed. Condition: Scattered retouch, craquelure, surface grime. $8,000-12,000

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271 Charles Ethan Porter (American, 18471923) Apples and Grapes in a Splint Basket Signed “CE Porter” l.r. Oil on canvas, 14 x 20 in. (35.5 x 50.8 cm), framed. Condition: Lined, retouch, craquelure. $7,000-9,000

272 Samuel S. Carr (American, 1837-1908) Grandfather’s Dinner Signed “S. Carr.” l.r., titled, signed, and dated “.../S. Carr./1868” on the reverse. Oil on canvas, 12 x 18 in. (30.5 x 45.5 cm), framed. Condition: Lined, with a window left to show the inscription on the reverse, retouch, stable craquelure. $1,500-2,500

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273 Arthur Burdett Frost (American, 1851-1928) Putting Out Decoys Signed “A.B. FROST” l.r., identified on a label from Scribner’s Magazine, New York, affixed to the reverse. Watercolor and gouache en grisaille on illustration board, 17 7/8 x 14 3/4 in. (45.5 x 37.5 cm), unmatted, unframed. Condition: Minor toning, glue stains along the top edges of the recto. N.B. This illustration was created to accompany the story “Good Hunting” by Jesse Lynch Williams, published in the November 1916 issue of Scribner’s Magazine (Vol. LX, No. 5), where it appeared above the caption, “Set sail by starlight in a ‘scooter,’ laden with duck decoys- Page 524.” $6,000-8,000 274 Kent Ullberg (American, b. 1945)

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Water’s Edge Signed, dated, and numbered “©Ullberg/1997 10/50” in the bronze base, titled on a presentation plaque. Bronze with orange/brown patina, height 11 3/4 in. (30.0 cm), on a marble plinth. Condition: Minor dust to interstices. $600-800

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275 Olaf C. Seltzer (American, 1877-1957) Blackfeet Indian on Horseback Signed â&#x20AC;&#x153;O.C. SELTZERâ&#x20AC;? l.l., with a pencil sketch profile of a brave in the margin. Pencil, watercolor, and gouache on paper, 8 1/4 x 11 1/2 in. (21.0 x 29.2 cm), framed. Condition: Toning, scattered minor accretions, tack holes along bottom and at c.r. edge, minor rippling, slight impression from mat window along right side (more visible from the reverse), hinged to window mat at center of the reverse, with tape remnants at top edge of the reverse from a prior hinging.

Provenance: By descent to the current owner from his grandfather, Richard T. Ellis of Great Falls, Montana, who was an acquaintance of Charles M. Russell and O.C. Seltzer. $6,000-8,000

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276 John Ward Dunsmore (American, 18561945) A Plea for Mercy Signed “John Ward Dunsmore” l.r., inscribed on the reverse “Frontispiece for/Smollet’s Roderick Random - Vol. 1.” Oil on canvas, 14 x 24 in. (36.0 x 61.0 cm), framed. Condition: Lined, scattered minor retouch, fine craquelure, small paint loss l.c. N.B. Despite the inscription on the reverse of this painting, the scene depicted does not correspond with any of the illustrations Dunsmore provided for a 1902 edition of Tobias Smollet’s novel The Adventures of Roderick Random. It seems more likely that this work is set during the American Revolution, a subject Dunsmore researched extensively and painted frequently. $1,000-1,500

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277 Henry Merwin Shrady (American, 18711922) George Washington at Valley Forge Signed “H.M/SHRADY” in the bronze on the top of the base near the horse’s rear hooves, incised “ROMAN BRONZE WORKS N-Y-” along the left side bottom edge of the base. Bronze with brown patina, height 25 in. (63.5 cm). Condition: Small ring on the bit missing causing one piece of rein to be loose, right stirrup loose, dust and dirt to interstices. N.B. Henry M. Shrady was a self-taught sculptor. He began his artistic pursuits as a young man and recent graduate of Columbia University (1894) by sketching animals at the Bronx Zoo. His early sculptures displayed his talent for observing and rendering detail, catching the eye of Theodore B. Starr, a New York jeweler, who encouraged the artist to produce small animal statuettes to be cast and sold in his Fifth Avenue gallery. These small bronzes attracted the attention of

Karl Bitter, director of sculpture for the Pan American Exposition (Buffalo, 1901), who invited Shrady to enlarge some models for the fairgrounds. Pleased with the opportunity but at a loss with no formal training, Shrady accepted Bitter’s offer to use his Weehawken studio and enjoyed a few weeks of technical instruction from the Viennese-trained Bitter. That same year, Shrady won the competition for an equestrian statue of George Washington, which was installed at the Continental Army Plaza in Brooklyn and dedicated in 1906. Shrady had entered the competition for the George Washington sculpture at the suggestion of a member of the selection committee who had seen his small bronze The Empty Saddle at Theodore B. Starr’s showroom. Shrady chose to depict Washington as Commander-in-Chief of the Continental Army during the difficult winter of 1777-78 at Valley Forge. Washington is presented as a strong, contemplative figure

astride a horse which lowers its head against the severe weather. During the creation of the work, Shrady sought the critique of Augustus Saint-Gaudens who found the lines, sentiment, and character to be admirable. Several replicas of the final maquette were cast. Although it is not known exactly how many were made, examples may be seen in museum collections including the Metropolitan Museum of Art, the Bennington (VT) Museum, the Gilcrease Museum in Tulsa, the Henry M. Flagler Museum in Palm Beach, and the Westmoreland Museum of American Art in Greensburg, Pennsylvania. Shrady was later commissioned to make a replica of the monument for Kansas City, Missouri, which was dedicated posthumously in 1925. Information for this N.B. was drawn from American Sculpture in the Metropolitan Museum of Art, Vol. 2, Thayer Tolles, Editor (New York: The Metropolitan Museum of Art, 2001), p. 544-548. $2,000-4,000

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278 Harry Brown Baker (American, 1868-1941) Cowboy with Horse and Pistol Unsigned. Mixed media including gouache and charcoal on Rich Art Presentation Board, 27 1/2 x 20 in. (70.0 x 50.8 cm), framed. Condition: Losses, tears, and creases to edges, staining u.l. Provenance: Shane Newell, Baker Studio Collection.

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N.B. Harry Brown Baker began his career by illustrating books about the American West before moving to Paris to study art. Upon returning to the United States, Baker continued working as an illustrator and painting scenes of the West, while also teaching at the New York School of Fine and Applied Art. Baker and his wife had no children, so his studio and all of its contents were bequeathed to their New Jersey landlord. A granddaughter of that landlord donated the documents and photographs from Bakerâ&#x20AC;&#x2122;s estate to the New School in New York City, and sold the remaining items to Shane Newell as the Baker Studio Collection. $1,000-1,500

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279 Walter Harrison Cady (American, 18771970) Gone Fishing Signed “HARRISON CADY” l.r. Oil and ink on board, 18 1/2 x 28 in. (47.0 x 71.1 cm), framed. Condition: Good. $20,000-25,000

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280 Kent Ullberg (American, b. 1945)

281 Reynolds Beal (American, 1866-1951)

Pez Vela Signed and numbered “© Ullberg 27/50” in the bronze base, titled on a presentation plaque. Bronze with blue/green patina, height 14 1/2 in. (37.0 cm), on a marble plinth set into a wood base. Condition: Minor dust. $1,500-2,000

Woman with Swordfish, Curaçao Signed and dated “REYNOLDS BEAL/ CURASAO 1923” l.r., with a label from Susan Phillips Gallery, Englewood, New Jersey, affixed to the frame backing. Watercolor and pencil on paper, 15 1/4 x 20 in. (38.7 x 51.0 cm), framed. Condition: Sheet affixed to window mat with tape to upper edge on the reverse, deckled edges, pinholes to edges, toning, mat burn, scattered minor handling creases, gentle rippling, fox marks to the reverse, tape remnants to the reverse. $1,200-1,800

282 Charles Herbert Woodbury (American, 1864-1940) Dominica With the artist’s estate stamp, titled, and numbered “...A2170” on the reverse. Oil on artist board, 10 x 14 in. (25.4 x 35.5 cm), framed. Condition: Minor paint losses, minor surface grime. $1,500-2,500

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283 Jessie Benton Evans (American, 18661954) 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. $2,000-3,000 284 Leonard Ochtman (American, 1854-1934) In May Signed and dated “LEONARD OCHTMAN/1907” l.l., titled on an unattributed label affixed to the stretcher, with labels from Florence Lewison Gallery, New York, The Bruce Museum, Greenwich, Connecticut, and Herbert F. Johnson Museum of Art, Cornell University, Ithica, New York, affixed to the back of the frame. Oil on canvas, 30 x 40 in. (76.2 x 101.6 cm), framed. Condition: Lined, craquelure, lifting, flaking, retouch, paint loss l.c.

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Provenance: The artist’s estate; Florence Lewison Gallery, New York, 1983; by descent to the current private collection, New York. Literature: Palette and Bench, vol. 1, August 1909, p. 243 (illustrated); Susan G. Larkin, The Ochtmans of Cos Cob, exhibition catalogue (Greenwich: The Bruce Museum, 1989), p. 90. Exhibitions: Winter Exhibition, National Academy of Design, New York, 1908, no. 207; Madison Art Gallery, December 16, 1909– January 12, 1910, no. 15; The Landscapes of Leonard Ochtman: American Impressionist, 1854-1934, Florence Lewison Gallery, New York, January 8–February 2, 1963, no. 7 (as A Day in May); New England Scenes: Landscapes by the American Impressionist Leonard Ochtman, Florence Lewison Gallery, New York, November 17–December 12, 1964, Columbus Museum of Arts and Crafts, Columbus, Georgia, May 2–31, 1965, no. 21 (as A Day in May); Landscapes by the American Impressionist Leonard Ochtman, Albany Institute of History and Art, November 9-December 5, 1965, no. 15 (as A Day in May); Connecticut Landscapes by Leonard Ochtman N.A., Previti Gallery, New York, February 14–March 15, 1985, no. 1 (as Greyledge in May); The Ochtmans of Cos Cob, The Bruce Museum, Greenwich, September 17–November 10, 1989; Byrdcliffe: An American Arts and Crafts Colony, Herbert F. Johnson Museum of Art, Cornell University, 2003-2004, no. 69. $2,500-3,500

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285 William Henry Clapp (American, 1879-1954) Monterey, California Signed and dated “Clapp/39.” l.r., titled on a presentation plaque. Oil on Masonite, 14 7/8 x 18 in. (38.0 x 45.5 cm), framed. Condition: Good. $5,000-7,000 286 Louis Betts (American, 1873-1961) 286

Resting by the Pond Shore Signed “...Betts” l.r. Oil on canvas, 29 1/2 x 34 in. (74.9 x 86.3 cm), framed (under glass). Condition: Craquelure, abrasions u.l. and l.l., varnish discoloration. $1,200-1,800

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287 Melbourne H. Hardwick (American, 18571916) Quiet New England Village and Cove Signed “Melbourne H. Hardwick.” l.l., identified on a label from John H. Surovek Fine Arts, Palm Beach, Florida, affixed to the back of the frame. Oil on canvas, 23 1/4 x 27 1/4 in. (58.8 x 69.3 cm), framed. Condition: Canvas rippling. $3,000-5,000 288 Jonas Joseph LaValley (American, 18581930)

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Cloud Shadows in October, Vermont Signed “J.J. La Valley” l.r., titled and dated “...1928-29” on an unattributed label affixed to the stretcher, with a label from George Walter Vincent Smith Art Museum, Springfield, Massachusetts, affixed to the back of the frame. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Craquelure, retouch, paint loss at c.l. $1,000-1,500

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289 Aldro Thompson Hibbard (American, 18861972) Summer Landscape with Farm in the Distance Signed “A.T. Hibbard” l.r., identified on two labels from Vose Galleries, Boston, affixed to the frame backing. Oil on canvas mounted to board, 10 1/2 x 13 3/8 in. (26.6 x 33.8 cm), framed. Condition: Minor retouch. $3,000-5,000 290

290 Harold Crocker Dunbar (American, 18821953) Autumn Landscape, Possibly Oyster River, Chatham Signed “H.C. Dunbar” l.l. Oil on canvas, 28 x 36 in. (71.1 x 91.4 cm), framed. Condition: Craquelure, surface grime. $2,000-3,000

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291 Thomas R. Curtin (American, 1899-1977) Maple Sugaring Signed “Thos. R. Curtin” l.l. Oil on canvas, 24 x 30 in. (61.0 x 76.0 cm), framed. Condition: Lined, retouch, vertical craquelure. $1,000-1,500 292 Aldro Thompson Hibbard (American, 18861972) Winter Forest Signed “A.T. Hibbard” l.l., identified on a typed label affixed to the back of the frame, with a label from The Guild of Boston Artists affixed to the back of the frame. Oil on pressed paperboard panel, 7 x 9 in. (18.0 x 23.0 cm), framed (under glass). Condition: Good.

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Provenance: Purchased from Marine Arts Gallery, Salem, Massachusetts, August 27, 1980 (copy of receipt accompanies the lot); to the estate of Richard L. Elia, Winchester, Massachusetts. $3,000-5,000

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293 John Fabian Carlson (American, 18751947) Shadowy Pool Signed “John F. Carlson” l.r., titled and signed “.../John F. Carlson” on the stretcher, identified on a label from Taylor|Graham Gallery, New York, affixed to the stretcher. Oil on canvas, 16 1/8 x 20 1/8 in. (41.0 x 51.2 cm), framed. Condition: Fine, stable craquelure. $7,000-9,000 294 Paul Strisik (American, 1918-1998)

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Winter Morning Signed “P. Strisik” l.l., identified and numbered “.../#W-485” in ink on the artist’s label affixed to the frame backing paper, stamped with the artist’s name and address on the backing and the frame. Watercolor on paper, 21 x 28 in. (53.3 x 71.1 cm), framed. Condition: Not examined out of frame. N.B. The work is accompanied by a brochure, Paul Strisik: A Biographical Sketch, number six in a series of monographs on the twelve leading American watercolorists whose paintings were selected as 1973 winners of The Franklin Mint Gold Medal Award for Distinguished Watercolor Art. $800-1,200

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295 Arthur Hoeber (American, 1854-1915)

296 Abbott Handerson Thayer (American, 18491921)

297 Frederick Carl Frieseke (American, 18741939)

Cape Cod Marshes, The Evening Hour Signed “ARTHUR HOEBER” l.r., titled, signed, and inscribed “.../ARTHUR HOEBER/NUTLEY, N.J./FOR SAN FRANCISCO/FUND FOR ARTISTS” on the reverse. Oil on canvas, 12 x 30 in. (30.5 x 76.5 cm), framed. Condition: Craquelure, puncture with paint loss c.r., surface grime.

The Mediterranean off Civitavecchia Titled and signed “...Abbott H. Thayer” l.r. Watercolor on paper, 9 1/2 x 13 in. (24.2 x 33.0 cm), framed. Condition: Toning, mat burn, foxing, gentle rippling, pinholes to edges, scattered minor handling creases, adhesive residue to the reverse.

Provenance: The estate of Stanley A. Leavy, Massachusetts. $2,000-3,000

Provenance: By descent within the family of the artist. $1,000-1,500

Paesaggio Signed (incised) “FCFrieseke” l.r., titled on a handwritten gummed label on the stretcher, identified and dated “circa 1901/...” on a label from Hollis Taggart Galleries, New York, affixed to the back of the frame. Oil on canvas, 15 1/8 x 21 3/4 in. (38.2 x 55.0 cm), framed. Condition: Patch reinforcement corresponding to a small vertical slit (3/8 inch) to l.r. side, minor retouch. Provenance: Christie’s New York, Rockefeller Center, American Art, March 2, 2006, Lot 60. $3,000-5,000

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298 William Meyerowitz (American, 1887-1981) Arcadian Landscape Monogram signed “WMeyerowitz” l.l. Oil on canvas, 12 x 14 in. (31.0 x 35.8 cm), framed. Condition: Lined, minor retouch, surface grime. Provenance: From Theresa Bernstein, the artist’s widow, to Pierce Gallery, Hingham, Massachusetts, to a private collection, through to the current owner. $1,000-1,500

299 Arthur Bowen Davies (American, 18631928) Boats on the Mediterranean Signed indistinctly “Arthur B. Dav...” on the support l.r., titled in an inscription on the reverse of the support and on a label from Ferargil Galleries, New York, affixed to the support on the reverse, with the collector’s stamp “FNP” (Frederic Newlin Price) on the reverse of the support. Pastel and gouache on paper, 9 1/2 x 12 1/4 in. (24.0 x 31.3 cm), framed. Condition: Sheet laid down on paperboard, deckled edges, losses to u.l. corner and l.r., small tear u.r. N.B. Ferargil Galleries, founded in 1915 by Frederic Newlin Price, specialized in contemporary American art. Between 1921 and Davies’s death in 1928, Price and Ferargil Galleries were the exclusive representatives of the artist’s work. $700-900

300 Philip Evergood (American, 1901-1973) Siegfried and the Rhine Maidens Signed “Philip Evergood” l.r., titled and identified in inscriptions on the stretcher, titled and dated “.../ca. 1930” on a label from the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, affixed to the frame backing. Oil on canvas, 14 1/8 x 20 1/8 in. (35.9 x 51.1 cm), framed. Condition: Craquelure and small paint losses to edges, heavy surface grime. Provenance: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; Sotheby’s New York Arcade, December 12, 1990, Lot 205; Terry Dintenfass, Inc., New York. $3,000-5,000

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301

301 Rutherford Boyd (American, 1884-1951) Garden View, Possibly the Artist’s Home, “Boyd’s Nest,” in Leonia, New Jersey Unsigned, inscribed with the names of flowers (possibly those depicted) in the margin u.r., with faint inscriptions in the left margin, with the artist’s estate stamp on the reverse (see below). Watercolor and gouache on J. Whatman paper with watermark, 10 5/8 x 22 13/16 in. (27.0 x 58.0 cm), framed. Condition: Sheet hinged to mat at upper corners on the reverse, toning, pinholes and nicks to edges. Provenance: Christie’s East, New York, March 11, 1995, Lot 150, as Boyd’s Nest From the Southwest. N.B. The work is stamped “HIRSCHL & ADLER/GALLERIES/ESTATE/OF/ RUTHERFORD BOYD/1884-1951/NEW YORK” on the reverse. $1,500-2,000 302

302 John Fabian Carlson (American, 18751947) Springtime #2 Signed “John F. Carlson” l.r., titled and signed “.../John F. Carlson” on the reverse, with the artist’s estate stamp and a Vose Galleries of Boston label on the reverse. Oil on canvas mounted to paperboard, 8 1/4 x 10 5/16 in. (20.9 x 26.3 cm), framed. Condition: Subtle bowing to the support. Provenance: The estate of Richard L. Elia, Winchester, Massachusetts. Exhibitions: John F. Carlson, Exhibition IV, Small Landscape Paintings, Vose Galleries of Boston, Inc., April 28–June 30, 1987. $1,500-2,500

136

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303 Clara Fairfield Perry (American, 1870-1941) Hori-Kiri Garden, Tokyo Signed “CLARA FAIRFIELD PERRY” l.l., titled on a gummed label and a partial exhibition label on the stretcher. Oil on canvas, 20 x 16 in. (50.5 x 40.8 cm), framed. Condition: Patch reinforcement, retouch, minor craquelure in areas of heaviest impasto, minor canvas rippling at l.r. corner. N.B. The address on the labels is 56 Cambridge Place, which is located in the Clinton Hill neighborhood of Brooklyn, not far from the Pratt Institute where the artist’s husband, Walter Scott Perry, was the first director of Fine and Applied Arts. $1,500-2,500 304 Paul Strisik (American, 1918-1998) The Babson Place (The James Babson Cooperage Shop, Cape Ann) Signed “Strisik” l.l., titled in an inscription on the stretcher and on an unattributed label affixed to the frame on the reverse, stamped “REPRODUCTION RIGHTS/ RESERVED BY THE ARTIST” on the reverse. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Surface grime. 303

Exhibitions: First Place, Academic Artists’ Association Members’ Exhibition, 1956 (as noted on a presentation plaque). $1,200-1,800

304

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305

305 Arthur Garfield Dove (American, 1880-1946) Lehigh Water Tower Signed “dove” l.c., titled and dated “...1938” on labels from Alfred Stieglitz, The Downtown Gallery, New York, and Terry Dintenfass, Inc., New York, affixed to the backing. Watercolor and ink on paper, 7 x 5 in. (17.8 x 12.7 cm), framed. Condition: Sheet floated in frame, not examined out of frame.

138

Provenance: Alfred Stieglitz/The Downtown Gallery, New York; through to Terry Dintenfass, Inc., New York. $7,000-9,000

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306

306 Thomas Hart Benton (American, 18891975) Menemsha Pond Signed â&#x20AC;&#x153;Bentonâ&#x20AC;? in pencil l.r., partial dry stamp of a thistle to l.l. corner. Watercolor on paper, 11 3/8 x 14 1/2 in. (29.0 x 37.0 cm), unmatted, unframed. Condition: Paper remnants and glue residue from a prior mounting along the edges of the recto and on the reverse, abrasion/surface loss to l.l. corner by the dry stamp, subtle toning and mat burn, a cluster of tiny fox marks to the sky. Provenance: A Naples, Florida, estate. N.B. We would like to thank Dr. Henry Adams for his assistance cataloging this lot. $12,000-18,000

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139

307 Emile Albert Gruppé (American, 1896-1978) New England Harbor Signed “Emile A. Gruppé” l.r., titled on a bill of sale from Koman Fine Art, Vero Beach, Florida. Oil on canvas, 24 x 20 in. (61.0 x 51.0 cm), framed. Condition: Small area of retouch to sky.

307

Provenance: Purchased from Koman Fine Art, Vero Beach, Florida, November 12, 2004 (copy of bill of sale accompanies the lot); the estate of Mrs. T.D. Welch, Florida. $4,000-6,000 308 William Columbus Ehrig (American, 18921973) Blue Waves Signed “Wm. C. Ehrig” l.r., titled on a presentation plaque affixed to the back of the frame. Oil on canvas, 22 x 28 in. (55.9 x 71.1 cm), framed. Condition: Scattered minor retouch, small paint loss u.c., abrasions u.r. $1,000-1,500

308

140

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309

309 William Columbus Ehrig (American, 18921973) Waves Crashing on a Rocky Shore Signed “Wm. C. Ehrig” l.r. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Surface grime. $1,000-1,500 310 Charles Jay Taylor (American, 1855-1929) 310

Schooner at Boothbay Harbor, Maine Signed “C.J. Taylor” l.r. Oil on canvas, 25 x 30 1/4 in. (63.5 x 76.8 cm), framed. Condition: Craquelure, flaking, stretcher marks, scattered retouch, surface grime. N.B. The location of this scene was provided by the consignor. $1,200-1,800

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311

311 Emile Albert Gruppé (American, 1896-1978) Repairing the Nets, Gloucester Harbor Signed “Emile A. Gruppé” l.r. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), in the artist’s original carved, silver-leaf frame. Condition: Good. Provenance: Purchased directly from the artist in 1948, by family descent to the current owner.

142

N.B. The location of this scene in Gloucester, Massachusetts, was identified by Emilie Gruppé Alexander, President of the Emile A. Gruppé Gallery, Jericho, Vermont. Ms. Alexander, who is the daughter of Emile Gruppé, also identified the frame as having been made by her father. A copy of Ms. Alexander’s email accompanies the lot. $7,000-9,000

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312

312 Frederick John Mulhaupt (American, 18711938) A Gill Netter Signed “Mulhaupt” l.l., titled, signed, and inscribed “.../Fred’k J. Mulhaupt/Gloucester/ Mass.” on the reverse, and with an exhibition label from The North Shore Arts Association of Gloucester (see below) affixed to the reverse. Oil on artist board, 8 x 10 in. (20.3 x 25.4 cm), in a contemporary handmade frame. Condition: Minor retouch.

Exhibitions: Frederick J. Mulhaupt, Dean of the Cape Ann School, The North Shore Arts Association, Gloucester, Massachusetts, August 13–October 24, 1999. N.B. The work is accompanied by a catalog, Frederick J. Mulhaupt, Dean of the Cape Ann School: A Retrospective (Gloucester, Massachusetts: North Shore Arts Association, 1999), in which the painting is illustrated in color (p. 10). $8,000-12,000

Provenance: Skinner, Inc., American & European Paintings & Prints, September 25, 1998, Sale 1868, Lot 363.

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313

313 Emile Albert Gruppé (American, 1896-1978) The Yankee at Dock Signed “Emile A. Gruppé” l.r., titled in red marker on the stretcher. Oil on canvas, 30 x 36 1/8 in. (76.3 x 91.8 cm), framed. Condition: Good. $4,000-6,000 314 Walter Clark (American, 1848-1917) View of Gloucester Harbor from Banner Hill Signed “Walter Clark” l.r., identified on a presentation plaque. Oil on panel, 12 x 16 in. (30.4 x 40.5 cm), framed. Condition: Scattered dots of retouch, surface grime.

314

N.B. The painting is accompanied by a copy of an e-mail from Peter Tysver, dated July 22, 2013, confirming the location of the scene. $800-1,200

144

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315

315 Emile Albert Gruppé (American, 1896-1978) Yankee at Dock in Rocky Neck Signed “Emile A. Gruppé” l.r. Oil on canvas, 25 x 30 1/4 in. (63.5 x 76.2 cm), in the artist’s original carved, silver-leaf frame. Condition: Good. Provenance: Purchased directly from the artist in 1948, by family descent to the current owner.

N.B. The vessel and location of the dock in East Gloucester, Massachusetts, were identified by Emilie Gruppé Alexander, President of the Emile A. Gruppé Gallery, Jericho, Vermont. Ms. Alexander, who is the daughter of Emile Gruppé, also identified the frame as having been made by her father. A copy of Ms. Alexander’s email accompanies the lot. $7,000-9,000

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316

317

146

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318

316 Attributed to Frederick Judd Waugh (American, 1861-1940) Stormy Coast/An Oil Sketch Unsigned, attributed and titled on a presentation plaque. Oil on canvasboard, 10 x 14 in. (25.3 x 35.6 cm), framed. Condition: Minor surface grime. $1,000-1,500

317 American School, 20th Century

318 Alexander Dzigurski (American, 1911-1995)

Beach Scene with Figures in the Surf Unsigned. Oil on panel, 12 1/8 x 19 1/2 in. (31.0 x 49.0 cm), framed. Condition: Good. $1,200-1,800

Coastal Cliffs at Sunset Signed “A. DZIGURSKI” l.r., the artist’s copyright stamp on the reverse, and a label from Wally Findlay Galleries, Palm Beach and Chicago, affixed to the frame backing. Oil on canvas, 24 x 36 in. (61.0 x 91.5 cm), framed. Condition: Good. $1,200-1,800

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319

319 Oliver Dennett Grover (American, 18611927) Canal in Venice Dated and signed “1909 - Oliver Dennett Grover” l.r., titled in an inscription on the reverse. Oil on panel, 10 x 14 in. (25.4 x 35.6 cm), framed. Condition: Small abrasion with paint loss l.l., minor surface grime. N.B. An inscription on the reverse indicates that this work was included in an exhibition of Chicago artists in 1911. A painting by Grover with the title Coming In, Venice was included as number 121 in the Fifteenth Exhibition of Works by Chicago Artists at the Art Institute of Chicago, January 31–February 26, 1911; however, because that work was not illustrated, its specific identity could not be confirmed. $1,000-1,500 320 Charles Henry Fromuth (American, 18581937) Evening in the Harbor/Soir au port (Concarneau) Signed and dated “Charles Fromuth/Oct. 16-1921” l.l., with the artist’s monogram l.l., numbered “525-cc” within the composition c.r., numbered, titled, signed, and dated on a handwritten label affixed to the backing. Pastel on paper, sight size 16 x 17 1/2 in. (40.6 x 44.4 cm), framed. Condition: Not examined out of frame. $300-500

320

148

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321

321 Loïs Mailou Jones (American, 1905-1998) Dinghies at a Shallow Mooring Signed “Loïs M./Jones” l.r., signed or inscribed “L.M. JONES” on the reverse. Oil on canvas, 10 x 13 in. (25.3 x 33.1 cm), framed. Condition: Small paint losses to u.c., minor craquelure, surface grime. N.B. For more than fifty years, Loïs Mailou Jones forged a successful career as a painter, teacher, book illustrator, and textile designer. An artist of international acclaim, she has been represented in more than seventy group shows and the subject of twenty one-woman exhibitions since 1937. Born in Boston, Jones was educated at Boston’s High School of Practical Arts (19191923), and graduated with honors in 1926 from the School of the Museum of Fine Arts, the only African American among the student body. From her earliest years, Jones spent summers on Martha’s Vineyard where her grandmother Phoebe Moseley Adams Ballou was one of the first African American summer

residents of the Island, and, with Thomas Hart Benton, Jones is claimed as one of the island’s own. The Vineyard life and landscape, particularly Menemsha, inspired many of her paintings. In 1928, Jones took a position teaching art at one of the country’s first preparatory schools for black students, Palmer Memorial Institute, in Sedalia, North Carolina. Less than two years later, Jones was recruited by James V. Herring of Howard University in Washington, DC, which marked the beginning of her distinguished fifty-year career as a professor. She became associated with the William E. Harmon Foundation shortly after moving to Washington, and was a frequent participant in its exhibitions during the 1930s. Jones expanded her education with a fellowship to France in 1937, where she studied painting at the Académie Julian, learned to speak French fluently, and painted views of Paris and surrounding areas. She wrote that in France she was allowed “to be shackle free, to create and be myself.”1 Jones was the only African American female painter of the 1930s and 1940s to achieve fame abroad, and the earliest whose subjects extended beyond the realm of portraiture.

Back in the United States, Jones continued to paint and exhibit, including a successful show at Robert Vose Galleries, Boston, in 1939. In 1941, Jones entered her painting Indian Shops, Gay Head, Massachusetts in a competition at the Corcoran Gallery of Art in Washington, DC. Despite her impressive credentials, Jones could not submit the work directly, because African Americans were not permitted to enter the contest, so she had a white friend deliver the painting to the gallery. When it won the Robert Woods Bliss Award for Landscape, Jones had the award mailed to her to keep her identity a secret.2 A half century later the museum publicly apologized to the artist for its past prejudicial policies at its reception for her 1994 solo exhibition, The World of Loïs Mailou Jones.3 Much of the information in this N.B. was drawn from “Against All Odds,” an article by Karla Araujo that appeared in Martha’s Vineyard Magazine, November 2014. 1. Tritobia H. Benjamin, The World of Loïs Mailou Jones (Washington, DC: Meridan House International, 1990), p. 5. 2. Loïs Mailou Jones, A Life in Vibrant Color, Carla M. Hanzal, editor (Charlotte, North Carolina: Mint Museum of Art, 2009), p. 136. 3. Ibid., p. 140.

$7,000-9,000

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322

322 Karl Schmidt (American, 1890-1962) Western Landscape Signed and dated “Karl Schmidt -56” l.l., signed and dated “Karl Schmidt/1926” on the reverse. Oil on board, 24 x 24 in. (61.0 x 61.0 cm), framed. Condition: Minor paint losses, natural pigment fluorescence, minor surface grime, signature on the recto may have been added later. $1,500-2,000

150

323 Hendrik-Dirk Kruseman Van Elten (American, 1829-1904)

324 William Langson Lathrop (American, 18591938)

River in Autumn Signed “Kruseman van Elten” l.r. Watercolor and gouache on paper, sight size 20 x 29 3/4 in. (51.0 x 75.6 cm), framed. Condition: Not examined out of frame. $1,000-1,200

Summer Landscape with Figures at Harvest Signed “W L LATHROP” l.r. Oil on canvas, 22 x 25 in. (55.5 x 63.5 cm), framed. Condition: Good. $2,000-3,000

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323

324

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325

325 Francis Hopkinson Smith (American, 18381915) Saturday Morning, Dordrecht Signed “F Hopkinson Smith” l.l., titled on a presentation plaque. Gouache, watercolor, and charcoal on paper, sight size 19 x 28 1/4 in. (48.0 x 71.5 cm), framed. Condition: Tear to l.l. quadrant, stain to c.r. edge, toning, not examined out of frame. $1,500-2,000 326 Henry Pember Smith (American, 18541907) Harbor Scene Signed and dated “HENRY P. SMITH 81” l.r. Watercolor and gouache on paper, sight size 11 1/4 x 8 in. (28.5 x 20.3 cm), framed. Condition: Sheet laid down on paperboard, abrasions to edges. $1,000-1,500

326

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327

327 Francis Hopkinson Smith (American, 18381915) The Gloaming, Dordrecht Signed â&#x20AC;&#x153;F. Hopkinson/Smithâ&#x20AC;? l.r., titled on a presentation plaque. Gouache, watercolor, and charcoal on paper/ board, sight size 18 1/4 x 27 3/4 in. (46.3 x 70.5 cm), framed. Condition: Not examined out of frame. $2,000-4,000

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328

328 Arthur Clifton Goodwin (American, 18661929) Park Street Church, Boston Signed “A.C. Goodw...” l.r., titled and inscribed “...GOODWIN” on the reverse. Oil on canvas, 28 1/4 x 23 1/4 in. (71.5 x 97.2 cm), framed. Condition: Lined, subtle canvas deformation at upper corners, legibility of the signature has deteriorated where the canvas extends over the stretcher and the first three letters appear to be reinforced, minor dots of retouch, faint stretcher bar mark along top edge. $8,000-12,000

154

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329 Theresa Ferber Bernstein (American, 18902002) Afternoon Shade, Central Park Unsigned, identified and titled on a presentation plaque. Oil on canvas, 14 x 12 in. (35.6 x 30.5 cm), framed. Condition: Scattered retouch, scattered small paint losses, minor surface grime. $1,200-1,800 330 Arthur Clifton Goodwin (American, 18661929) Park Street Church Signed “A.C. Goodwin” l.r., signed and titled “A.C. Goodwin/Pk St Church” on the reverse, dated “2/18/26” in pencil on the stretcher, identified on a tag from Paine Furniture affixed to the hanging wire. Oil on canvas, 16 1/4 x 18 in. (41.2 x 45.7 cm), framed. Condition: Minor retouch, faint stretcher bar mark along top edge. $5,000-7,000

329

330

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331

331 Edouard Léon Cortès (French, 1882-1969) L’Avenue des Champs-Élysées au Crépuscule Signed “EDOUARD CORTÈS.” l.r. Oil on canvas, 13 x 18 in. (33.0 x 46.0 cm), framed. Condition: Good. Provenance: From the artist to Wally Findlay Gallery, New York, purchased in the 1960s from Wally Findlay Gallery, to the current owner by descent in 2007. N.B. This work will be included in the forthcoming Edouard Cortès: Catalogue Raisonné de L’Oeuvre Peint, Volume III, by Nicole Verdier. Mme. Verdier provided the title and dated the work to c. 1965-67. $15,000-25,000

156

Additional information and photos at www.skinnerinc.com

332

332 Edouard Léon Cortès (French, 1882-1969) La Porte Saint Martin au Crépuscule Signed “Edouard Cortès” l.r. Oil on canvas, 24 1/16 x 19 11/16 in. (61.2 x 50.0 cm), framed. Condition: Puncture measuring 2 x 2 inches to center of canvas with resulting paint losses around the tear, pinhole to l.l. quadrant.

N.B. This work will be included in the forthcoming Edouard Cortès: Catalogue Raisonné de L’Oeuvre Peint, Volume III, by Nicole Verdier; we wish to thank Mme. Verdier for her kind assistance cataloging the lot. $6,000-8,000

Provenance: International Galleries, Chicago, through to the current owner by family descent.

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332A

332A William P. Duffy (American, b. 1948) Boston Winter Sunday Unsigned, title provided by the artist. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Good. $1,500-2,500

158

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333

333 William P. Duffy (American, b. 1948) Boston Public Garden in Winter Signed “WILLIAM P DUFFY” l.r., title provided by the artist. Oil on canvas, 28 x 24 in. (71.1 x 61.0 cm), framed. Condition: Good. $1,500-2,500

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333A

333A Anthony Thieme (American, 1888-1954) Back Road, Spain Signed “A. Thieme” l.r., titled indistinctly, numbered “167.S,” dated “1959,” and with the artist’s copyright stamp on the reverse, identified on a label from John H. Surovek Gallery, Palm Beach, Florida, affixed to the frame backing. Oil on canvas, 25 x 30 in. (63.5 x 76.0 cm), framed. Condition: Retouch. Provenance: Purchased from John H. Surovek Gallery, Palm Beach, Florida (a copy of the invoice accompanies the lot); the estate of Mrs. T.D. Welch, Florida. $7,000-9,000 334 Walter Griffin (American, 1861-1935) Eleventh Century Romance Signed “GRIFFIN” l.r., inscribed “GRIFFIN” in two places on the reverse, titled and inscribed “...by Walter Griffin for Mrs. Arthur Hopkins” on the stretcher, identified on a label from Alfred S. Plotnik, Brooklyn, New York, affixed to the back of the frame. Oil on canvas, 33 x 36 in. (84.0 x 91.8 cm), in its original Newcomb-Macklin frame. Condition: Good. Provenance: A New England estate. $2,000-3,000

334

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335

335 Anthony Thieme (American, 1888-1954) Camino a Mijas Signed “A. Thieme” l.r., titled and numbered “...36” on the reverse, identified and dated “...Circa 1950” on a label from Vose Galleries, Boston, affixed to the frame backing, and with a label from John H. Surovek Fine Arts, Palm Beach, Florida, affixed to the back of the frame. Oil on canvas, 30 x 35 3/4 in. (76.0 x 91.0 cm), framed. Condition: Minor retouch. $8,000-12,000 336 Anthony Thieme (American, 1888-1954) Sycamore Trees, No. 10, Carretera Málaga, alternatively titled Bold Tree-Lined Street Signed “AThieme” l.r., titled in a handwritten inscription and on a label from John H. Surovek Gallery, Palm Beach, Florida, both on the frame backing. Oil on canvas, 25 x 30 in. (63.0 x 76.0 cm), framed. Condition: Minor retouch.

336

Provenance: Purchased from John H. Surovek Gallery, Palm Beach, Florida, September 26, 2000 (a copy of the bill of sale accompanies the lot); the estate of Mrs. T.D. Welch, Florida. $7,000-9,000

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161

337 Anthony Thieme (American, 1888-1954) Enchanting House Incised signature “AThieme” l.l., titled on a bill of sale from John H. Surovek Gallery, Palm Beach, Florida. Oil on canvas, 13 1/4 x 10 1/8 in. (33.5 x 25.7 cm), framed. Condition: Lined, minor surface grime. Provenance: Purchased from John H. Surovek Gallery, Palm Beach, Florida, June 8, 2001 (a copy of the bill of sale accompanies the lot); the estate of Mrs. T.D. Welch, Florida. $3,500-5,500 338 Anthony Thieme (American, 1888-1954)

337

Charming Courtyard Incised signature “AThieme” l.r., titled on a bill of sale from John H. Surovek Gallery, Palm Beach, Florida. Oil on canvas, 13 3/8 x 10 in. (34.0 x 25.5 cm), framed. Condition: Lined, minor craquelure, minor surface grime. Provenance: Purchased from John H. Surovek Gallery, Palm Beach, Florida, June 8, 2001 (a copy of the bill of sale accompanies the lot); the estate of Mrs. T.D. Welch, Florida. $3,500-5,500

338

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339

339 Ken Howard (British, b. 1932) North Gate at Westminster Abbey Signed â&#x20AC;&#x153;Ken Howardâ&#x20AC;? l.r., title provided by Red Rag Gallery, London. Oil on canvas, 72 3/8 x 60 3/8 in. (183.8 x 153.4 cm), framed. Condition: Lined, scattered retouch, craquelure.

Provenance: State Street Bank Corporation; to a private Boston collection; through to the current private collection c. 2003. N.B. This painting was done in the early 1960s as part of a ten-piece series for State Street Bank Corporation. $20,000-40,000

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163

340

341

164

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342

340 Shimon Okshteyn (Ukrainian/American, b. 1951) Rooftop View Signed and dated “Okshteyn 78” l.l., stamped several times in Russian on the reverse. Oil on paperboard, 15 5/8 x 19 3/4 in. (39.0 x 50.0 cm), framed. Condition: Lifting and small losses to edges. Provenance: The artist to Charlotte Belenky Gallery, Massachusetts; through to the current private collection. N.B. Okshteyn brought this early work with him to the United States when he immigrated to Springfield, Massachusetts, in 1980. $1,000-1,500

341 Luciana Parsini (Italian, b. 1939) Lakeside Country Manor Signed “L. PARSINI” l.l. Oil on canvas, 19 1/4 x 23 3/4 in. (48.8 x 60.3 cm), in a 1924 Carrig-Rohane frame. Condition: Good. N.B. The lot is accompanied by a brochure about the artist and by the sales receipt from Galerie du Chevalier, Paris. $1,000-1,500

342 Shimon Okshteyn (Ukrainian/American, b. 1951) Village Scene Signed “...Okshteyn...” l.r., stamped indistinctly on the reverse. Oil on canvas, 19 1/2 x 23 1/2 in. (49.7 x 59.8 cm), framed. Condition: Good. Provenance: The artist to Charlotte Belenky Gallery, Massachusetts; through to the current private collection. N.B. Okshteyn brought this early work with him to the United States when he immigrated to Springfield, Massachusetts, in 1980. $1,500-2,000

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165

343

344

166

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345

343 Alfred Gwynne Morang (American, 19011958)

344 David Davidovich Burliuk (Ukrainian/ American, 1882-1967)

345 David Davidovich Burliuk (Ukrainian/ American, 1882-1967)

Ellsworth, Maine Unsigned. Oil on academy board, 9 1/8 x 11 3/4 in. (23.1 x 29.8 cm), framed. Condition: Drying cracks, surface grime, wear to the edges of the academy board with losses at three corners.

Noon Signed “BURLIUK” l.l., dated “1948” l.r., inscribed “NOON.” u.l. Oil on board, probably Masonite, 8 x 12 1/2 in. (20.3 x 31.7 cm), unframed. Condition: Paint loss at l.c. edge, wear and small paint losses to the edges of the panel, minor surface grime.

Rural Florida Farm Scene with Figures and Goats Signed and inscribed “Burliuk/FLA” l.l., inscribed “graciously loaned to me by my dear daughter-in-law Charlotte./Ida Schneyer/ April-1958” on a label on the reverse, inscribed “4236 Mrs. I. Schneyer” in pencil on the reverse. Oil on canvasboard, 9 x 12 in. (22.8 x 30.4 cm), framed. Condition: Good.

Provenance: From the artist to Rigmor Nielsen, friend of the artist; by descent to the current owner. N.B. The location of the scene was provided by the consignor. Rigmor Nielsen was the aunt of the consignor and a personal friend of Alfred Morang. $1,500-2,000

N.B. The Burliuk Committee has kindly confirmed that this work will appear in the forthcoming Burliuk catalogue raisonné. $1,500-2,000

N.B. The Burliuk Committee has kindly confirmed that this work will appear in the forthcoming Burliuk catalogue raisonné. $5,000-7,000

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167

346 Robert Frederick Blum (American, 18571903) Street Scene Signed “BLVM” l.r., signed indistinctly “...F. Blum” on the reverse. Watercolor and pencil on paper, 9 1/2 x 11 1/4 in. (24.1 x 28.6 cm), framed. Condition: Sheet hinged to mat with tape to the upper edge on the reverse, foxing, pinholes to the upper corners, toning and foxing to the reverse. $700-900 347 René François Xavier Prinet (French, 18611946) Figures at Leisure Under Striped Beach Umbrellas Signed “R·X·Prinet” l.r., canvas stencil from Blanchet, Paris, on the reverse. Oil on canvas, 17 7/8 x 31 1/8 in. (45.5 x 79.0 cm), framed. Condition: Varnish discoloration, scattered abrasions, surface grime. $4,000-6,000

346

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348 Camille Pissarro (French, 1830-1903) Two Women at Market Stamped “C.P.” l.r. Charcoal and watercolor on paper, 8 5/8 x 6 3/4 in. (22.0 x 17.0 cm), framed. Condition: Toning, mat burn, paper tape around the perimeter of the reverse, cellophane tape remnants along the top edge of the reverse, likely from an old hinge. Provenance: By descent through three generations of the consignor’s family.

348

N.B. Accompanied by a letter from Dr. Joachim Pissarro dated June 22, 2017, stating that the work will be included in the forthcoming Catalogue Raisonné of Drawings by Camille Pissarro. Dr. Pissarro’s letter explains that Pissarro was particularly interested in market scenes in the 1880s and 1890s, especially for the interactions among ages, classes, and sexes. The work at hand is closely related to a gouache by Pissarro titled Marché aux Pommes de Terre, Boulevard des Fossés, Pontoise. The two foreground figures are almost identical in each work, although the gouache presents some extra detail particularly in the background. Pissarro likely conceived of this drawing around the same time as the gouache, c. 1882. $8,000-10,000

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169

349 George Marinko (American, 1908-1989) Dock Scene Signed “MARINKO” u.r. Oil on canvasboard, 13 3/8 x 12 1/2 in. (33.7 x 31.7 cm), framed. Condition: Craquelure, frame abrasions, scattered small paint losses, surface grime. $2,000-4,000 350 American School, 20th Century Workers Loading Bananas Signed “G. Watson” l.r. Oil on canvas, 30 x 36 in. (76.0 x 91.3 cm), framed. Condition: Scattered minor paint losses, subtle drying cracks. Provenance: A southern California private collection through to the current owner. $700-900

349

350

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351

351 Daniel Ralph Celentano (American, 19021980) Wine Making Signed “Daniel R. Celentano” l.r., titled on a label from Harbor Gallery (location unspecified) affixed to the stretcher. Oil on canvas, 23 3/4 x 25 7/8 in. (60.5 x 66.0 cm), framed. Condition: Lined, scattered retouch primarily to fill craquelure, minor abrasions. $3,500-5,500 352 Herman Maril (American, 1908-1986) In the Quarry Signed and dated “Herman Maril/38” l.r., titled and dated “.../...1937” on the reverse. Oil on canvasboard, 16 x 20 in. (40.4 x 51.0 cm), framed. Condition: Abrasions with paint loss to center, surface grime.

352

N.B. A partial letter from the artist is affixed to the reverse. $700-900

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171

353 Frank Anderson (American, 1844-1891) Lucy Anderson Unsigned, titled on the reverse, incised “Port. of Lucy Anderson” on the stretcher, identified on a label from Taylor|Graham Gallery, New York, affixed to the back of the frame. Oil on canvas, 13 7/8 x 11 7/8 in. (35.2 x 30.0 cm), framed. Condition: Patch reinforcements, scattered minor retouch, craquelure. Provenance: By descent within the family of the artist. $1,200-1,800 354 Axel Ericsson (American, 1869/70-1946) Head of a Boy, Possibly the Artist’s Son Signed, dated, and inscribed “Axel Ericsson/1923 Paris” in the bronze. Bronze with brown patina, height 11 1/2 in. (29.2 cm), on a gray marble plinth. Condition: Surface scratches, dust and dirt to the interstices. $800-1,200

353

354

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355

355 Gertrude Fiske (American, 1879-1961) A Brown Study Signed and dated “GERTRUDE FISKE 1913” u.l., titled on a label from The Pennsylvania Academy of the Fine Arts affixed to the stretcher, with a label from Wunderly Galleries, Pittsburgh, affixed to the backing board. Oil on canvas, 36 1/2 x 30 1/4 in. (92.7 x 76.8 cm), framed. Condition: Craquelure, varnish inconsistencies, possible retouch.

Exhibitions: 108th Annual Exhibition, The Pennsylvania Academy of the Fine Arts, February 9–March 30, 1913, no. 233. $6,000-8,000

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173

356 Laura Coombs Hills (American, 1859-1952) Zinnias and Red Signed “Laura Hills” u.r., titled on labels from The Guild of Boston Artists and Richard York Gallery, New York, affixed to the frame backing. Pastel on paper, 14 x 12 in. (35.5 x 30.5 cm), framed. Condition: Not examined out of frame. $2,500-3,500 357 Robert Douglas Hunter (American, 19282014) Polished and Tarnished (Lever House Arrangement No. 16) Signed “ROBERT DOUGLAS HUNTER” l.l., titled on unattributed labels affixed to the stretcher, stamped “Reproduction Rights/ Reserved by the Artist” in multiple places on the reverse. Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), framed. Condition: Minor surface grime, minor abrasions c.r. $1,500-2,500

356

357

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358

358 Lilian Westcott Hale (American, 1881-1963) Lady with Garlands Signed and dated “Lilian/Westcott/Hale/1910” in two places l.r., titled on a label from Mann Galleries, Miami, affixed to the backing, inscribed “Hirschl & Adler 4993” l.l. on the reverse, inscribed “APG 12003” u.r. on the reverse. Pencil and charcoal on paper with Strathmore Drawing Board blindstamp l.r., 14 5/8 x 23 1/8 in. (37.1 x 58.7 cm), framed. Condition: Sheet taped to window mat at upper edge on the reverse, pinholes to corners, small losses and nicks to corners and edges, mat burn, toning, staining, foxing. $2,000-3,000 359 Laura Coombs Hills (American, 1859-1952) Jonquil Inscribed, signed, and dated “For Helen/from Laura Hills/1937.” l.l., titled on a label from Doll & Richards, Inc., Boston, affixed to the frame backing, with a newspaper article, “Painting at 80,” affixed to the frame backing. Pastel on paper, sight size 13 x 7 3/4 in. (33.0 x 19.7 cm), framed. Condition: Foxing, not examined out of frame. $800-1,200

359

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175

360

360 Armand Francois Joseph Henrion (Belgian, 1875-1958) Smoking Clown in a Red Headwrap Signed “ARM. HENRION” l.l., inscribed “...ARM Henrion” in pencil on the stretcher, numbered indistinctly in red on the reverse. Oil on canvas, 10 5/8 x 8 5/8 in. (27.0 x 22.0 cm), framed. Condition: Minor canvas rippling, surface grime. $1,000-1,500 361 David Schluss (Israeli, b. 1943) The Violin Signed and numbered “Schluss 10/150” l.l. on the back of the figure, titled and numbered on a label on the underside of the plinth, numbered in an inscription on the underside of the plinth. Bronze with green and gold patina, height 11 3/4 in. (30.0 cm), on a wood plinth. Condition: Minor abrasions and wear to the plinth, dust and dirt to the interstices. $1,000-1,500

361

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362

362 Aleksandr Yakovlev (Russian, 1887-1938) Still Life with Mask and Shell Unsigned. Oil on canvas mounted to canvas-backed Masonite, 21 1/8 x 17 in. (53.7 x 43.2 cm), framed. Condition: Craquelure with paint loss to u.l. corner, surface grime. Provenance: From the artistâ&#x20AC;&#x2122;s estate to Herbert P. Vose, Boston, by descent to current owners.

N.B. Aleksandr Yakovlev was a Russian painter, designer, and graphic artist born and educated in St. Petersburg. In 1916 Yakovlev became a professor at the Institute of Art History in St. Petersburg. However, after the October Revolution in 1917, he immigrated to France, later becoming a French citizen. In the 1920s, Yakovlev worked as an artistic adviser to the car company CitroĂŤn and made several foreign expeditions, including to Madagascar, Syria, Iran, Mongolia, China, and Japan. He achieved his initial reputation in the West as an accomplished ethnographic draughtsman,

based on his depictions of native types, rituals, and scenes. In the early 1930s, Yakovlev spent three years as Chairman of the Department of Painting at the School of the Museum of Fine Arts, Boston, Massachusetts, returning to Paris in 1937, and residing there and on Capri until the end of this life. $4,000-6,000

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363 Edward Barnard Lintott (American, 18751951) 363

Elaine Reading Signed “Lintott.” l.r., titled and dated “...1938” on the reverse, inscribed “LINTOTT” on the stretcher. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Good. Provenance: Clayton-Liberatore Art Gallery, Bridgehampton, New York, 1989; by descent to the current private collection, New York. $1,200-1,800 364 Elizabeth Fearne Bonsall (American, 18611956) Catnip Signed and dated “E.F. BONSALL 1900” l.l., with a partial label from F. Weber & Co., Philadelphia, affixed to the stretcher. Oil on canvas, 28 x 18 in. (71.0 x 45.5 cm), framed. Condition: Retouch, craquelure. Provenance: From a Chicago estate to the current owner. Literature: Brush and Pencil, Volume IX, October 1901-March 1902, ill. p. 248.

364

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Exhibitions: Pennsylvania Academy of Fine Art, Philadelphia, Seventh Annual Exhibition, January 14–February 23, 1901, no. 207; Worcester Art Museum, Worcester, Massachusetts, Worcester Art Museum Third Annual Exhibition of Oil Paintings, June 3– October 14, 1901, no, 208; The Art Institute of Chicago, Fourteenth Annual Exhibition of Oil Paintings and Sculpture by American Artists, October 29–December 8, 1901, no. 30. $1,500-2,500

365

365 Eben Farrington Comins (American, 18751949) Hat Booth Titled and signed â&#x20AC;&#x153;.../EBEN F. Cominsâ&#x20AC;? on the reverse. Oil on canvas mounted to board, 20 x 20 in. (50.8 x 50.8 cm), framed. Condition: Small area of disadhesion of canvas from support at u.l. edge, tack holes to corners, surface grime. $15,000-20,000

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366

367

366 Malva Schalek (Czech, 1882-1944)

367 American School, 19th/20th Century

Woman in an Interior Signed “Malva Schalek” l.r. Oil on canvas, 26 3/4 x 18 in. (68.0 x 45.7 cm), framed. Condition: Craquelure. $1,000-1,500

Elegant Young Woman Holding a Fan Unsigned. Oil on artist board, 24 x 18 1/4 in. (60.7 x 46.3 cm), framed. Condition: Minor retouch to c.l. edge, wear to the edges of the board. N.B. Although this composition bears a striking resemblance to Richard Miller’s work Chinese Statuette, current scholarship does not support an attribution to Miller. $1,500-2,500

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368

368 Mortimer Wilson (American, 1906-1996) Candelabra Signed “Mortimer Wilson Jr.” u.r., titled on a presentation plaque and on a label from O’Brien’s Art Emporium, Scottsdale, Arizona, affixed to the frame backing. Oil on canvas, 19 3/4 x 16 in. (50.0 x 40.5 cm), framed. Condition: Fine craquelure, possible retouch, surface grime. $2,000-2,500

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369 Francisco Zúñiga (Mexican, 1912-1998)

369

Mujer en la silla Signed and dated “Zgá/1983” l.r., titled on a photo-certificate (see below). Conté crayon and charcoal on paper, 27 5/8 x 19 3/4 in. (70.5 x 50.0 cm), framed. Condition: Pinholes to corners, deckled upper and lower edges, floated in frame, not examined out of frame. Provenance: Purchased from the artist, 1983; the estate of Lee and Grace Hasenbush, Brookline, Massachusetts. N.B. A photo-certificate signed by the artist and dated “marzo 4 1983” accompanies the lot. $2,000-3,000 370 Käthe Schmidt Kollwitz (German, 18671945) Pair of Relief Sculptures: Mutter schützt ihr Kind I (Mother Protecting Her Child I) and Mutter schützt ihr Kind II (Mother Protecting Her Child II) Both inscribed “Kollwitz” and stamped with the foundry mark “H.Noack Berlin.” Bronze reliefs with golden brown patina, sizes to 7 1/8 x 7 3/16 x 3 in. (17.8 x 18.2 x 7.6 cm). Condition: Minor surface grime, Mother I with tape residue on reverse. N.B. Posthumous casts, probably from 1955 or later. $5,000-7,000

370 (partial)

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371 Margarita Farré (Spanish/Brazilian, 20th/21st Century) Figura de Mujer II Signed and numbered “M.Farré 5/12” on the back of the figure’s leg near the base, titled on an unattributed label affixed to the underside of the plinth. Bronze with a golden patina, height 22 in. (55.9 cm), on a granite plinth. Condition: Scattered small abrasions and nicks. Provenance: Opera Gallery, Miami, Florida, 2004; to a private Massachusetts collection. $800-1,200 372 John Edward Costigan (American, 18881972) Amish Bathers Signed “J.E. Costigan N.A.” l.r. Watercolor and gouache on paper, sight size 20 1/4 x 26 in. (51.5 x 66.0 cm), framed. Condition: Not examined out of frame. $1,200-1,800

371

372

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373

373 Filipp Malyavin (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.

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Provenance: Sotheby’s New York, Russian Art, April 21, 2005, Lot 34, to a private collection in Rhode Island. N.B. Please note that the artist’s name has many English and French spelling variations when translated from Cyrillic, including Filip Andreevic Maljavin, Philippe Maliavine, Filipp Andreevic Malyavin, and Philip Andreevic Maliavin, or Maljawin. $40,000-60,000

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374

374 Filipp Malyavin (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 Rhode Island collection. Exhibitions: Petit Palais-Gèneve, PostImpressionisme (1880-1910), July 1– September 30, 1980; Musée de Montmarte, Paris, Russes, June 20–September 21, 2003, illustrated in the catalog for the exhibition, p. 8. N.B. Please note that the artist’s name has many English and French spelling variations when translated from Cyrillic, including Filip Andreevic Maljavin, Philippe Maliavine, Filipp Andreevic Malyavin, and Philip Andreevic Maliavin, or Maljawin. Philippe Malyavin (Filipp Maliavine) 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, Malyavin 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, Malyavin returned to Russia in 1892 to study at the St. Petersburg Academy of Arts, entering the studio of Ilya Repin. There Malyavin 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 Malyavin the Gold Medal at the World Exhibition in Paris (1900). The more conservative Academy awarded Malyavin 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 Malyavin lived in Ryazan province, where he developed his paintings of large-scale peasant figures, who appear 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. Malyavin’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 Malyavin 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 Malyavin 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. Malyavin 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. $80,000-120,000

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375

375 Leon Kroll (American, 1884-1975) Reclining Nude Unsigned, artist’s estate stamp on the reverse l.l., with a label from Paine Furniture Antiques Department in a clear plastic envelope affixed to the frame backing. Conté crayon on paper, sight size 11 1/2 x 19 1/2 in. (29.2 x 50.1 cm), framed. Condition: Crease l.r., scattered small handling creases, not examined out of frame. $1,000-1,500 376 Clemente Spampinato (American, 19121993) Ballerina en Pointe Dated and signed “© 1952/ CLEM·SPAMPINATO” on the top of the base, stamped “4./MODERN ART FDRY. N.Y.” on the side of the base. Bronze with green patina, height 29 in. (73.7 cm), on a carved green marble pedestal. Condition: Dust and dirt to the interstices of the bronze, minor wear to the patina, marble pedestal with crack and repairs. $1,200-1,800

376

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377 Eugeniusz Zak (Polish, 1884-1926) Young Acrobat Signed “Eug. Zak” u.l. Oil on canvas, 39 1/2 x 31 3/4 in. (101.0 x 81.0 cm), framed. Condition: Scattered retouch, pinhole to center, varnish inconsistencies, craquelure. Provenance: Private collection, Massachusetts. Literature: Heinrich Ritter, “Eugen Zak,” Deutsche Kunst und Dekoration 50, no. 1 (April 1922), pp. 2-10, ill. p. 2; Stanislaw Woznicki, “Od Malowniczosci do Linearyzmu: Sztuka i Rytm,” Poludnie 3, no. 1 (1924), pp. 3-13, ill.; Barbara Brus-Malinowska, Eugeniusz Zak: 1884-1926 (Warsaw: National Museum, 2004), cat. no. 117, ill.

377

Exhibitions: Annual Salon, Towarzystwo Zachety Sztuk Pieknych, Warsaw, 1919, checklist no. 278. N.B. Born in Belarus to Polish-Jewish parents, Eugeniusz Zak studied art in Paris at the École des Beaux-Arts under JeanLéon Gérôme and at the Académie Colarossi with Albert Besnard. He worked on idyllic landscapes and Arcadian scenes populated by shepherds and fishermen during this time. With the outbreak of World War I, Zak moved to Poland and painted several works similar to Young Acrobat. These paintings all depict a solemn figure in a sparse interior setting and recall Pablo Picasso’s Rose and Blue Period paintings, as well as the elongated figures of Amedeo Modigliani’s works. Often associated with the group of early twentiethcentury artists known as the École de Paris, Zak was sure to have been familiar with the works of Picasso and Modigliani. Zak’s stylized and graceful figures also bear the influence of his interest in Renaissance artists like Sandro Botticelli. Returning to Paris in 1923, Zak’s works maintained the nostalgic and melancholic tone he had adopted during the war. $40,000-60,000

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378

378 Ernest Crichlow (American, 1914-2005) Head of a Girl Signed and dated “Crichlow 90” l.r., with a label from Spiral Gallery, Brooklyn, affixed to the back of the frame. Oil on gessoed plywood, 20 x 14 3/4 in. (50.5 x 37.5 cm), framed. Condition: Minor surface grime. $1,200-1,800 379 Walter Murch (American, 1907-1967) Still Life with Potted Begonia Signed “Walter Murch” l.l. Oil on Masonite, 9 7/8 x 8 in. (25.2 x 20.3 cm), framed. Condition: Minor paint loss and retouch to l.l. corner. $1,000-1,500 379

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380 Paul Cadmus (American, 1904-1999) Donny Nardona Titled and signed â&#x20AC;&#x153;.../Cadmusâ&#x20AC;? l.r., with a label from Midtown Galleries, New York, affixed to the backing board. Pencil and crayon on tracing paper, 17 3/4 x 13 in. (45.1 x 33.0 cm), framed. Condition: Sheet taped to backing at upper corners, toning, subtly light-struck, rippling, scattered handling creases, scattered fox marks. Provenance: Midtown Galleries, New York; through to the current private Florida collection.

380

N.B. Paul Cadmus met dancer Donny Nardona through the painter Elwyn Chamberlain in 1956. At the time, Nardona was a student at The School of American Ballet and Cadmus had recently returned to the United States from a two-year stint living and working in France and Italy. A skilled and prolific draughtsman, Cadmus had begun as a student at the National Academy of Design in 1919, at the age of 15, and had studied drawing exclusively for the following four years. He continued to create beautifully detailed charcoal, pen and ink, and egg tempera portraits throughout his career, often using the same male models repeatedly. He made at least four other drawings of Nardona, including a more formal version (in egg tempera) of this work (see Guy Davenport, The Drawings of Paul Cadmus [New York: Rizzoli, 1989], pp. 70-71, 76). A great admirer of Italian Renaissance artists, Cadmus began working with the early Renaissance medium of egg yolk tempera paint around 1940. Because it could take up to six months to finish a painting with egg tempera, Cadmus produced only a few paintings each year. He continued to work on figure drawings, however, throughout his career using his partner, Jon Anderson, as his principal model after 1965. Shortly after Nardona modeled for Cadmus, he quit dancing and moved to Florida. $5,000-7,000

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382

381

381 David Aronson (American, 1923-2015)

382 Khoo Sui Hoe (Malaysian, b. 1939)

Young Christ with Phylactories #II Signed “Aronson” u.r., identified on a label from Boris Mirski Gallery, Boston, affixed to the back of the frame. Oil on canvas, 27 3/16 x 17 in. (69.0 x 43.2 cm), in the original frame. Condition: Small area of craquelure, minor surface grime. $2,500-3,500

Wondering at Night Signed and dated “Sui-Hoe 70” l.r., titled on a label from Alpha Gallery (no location given, probably Singapore) affixed to the reverse. Oil on canvas, 35 x 16 in. (88.9 x 40.6 cm), framed. Condition: Craquelure, small abrasions u.l., u.r., and l.l., surface grime. $3,500-5,500

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383 Khalid Al-Jadir (Iraqi, 1924-1990)

383

Mother and Children Signed “K. Al-Jadir” l.r., with an unfinished composition of a standing figure on the reverse, inscribed “Breier” on the reverse, inscribed “.../Khalid Jadir/Baghdad/1955” on the back of the frame, with several inscriptions in Arabic on the back of the frame. Oil on paperboard, 21 1/2 x 14 1/4 in. (55.0 x 36.0 cm), framed. Condition: Abrasions and losses to edges, accretions (possibly from frame) to edges, surface grime. N.B. A painter, scholar, and great advocate for the arts in Iraq, Khalid Al-Jadir first studied art and law in Baghdad before leaving Iraq for Paris in 1949. He spent five years in France studying, painting, and participating in exhibitions. He enrolled at the École des Beaux Arts in Paris and earned a doctorate in the History of Islamic Art from the Université de Lille. Upon returning to Baghdad, Al-Jadir continued to paint landscapes, cityscapes, scenes of contemporary life, and portraits of women and children, and he established himself as a leader in Iraqi academic and artistic communities. In 1980, he moved to Rabat, Morocco, where he continued to paint and to work as a university professor of art and history. According to Al-Jadir’s brother, architect and professor Saad Al-Jadir, the artist painted this work upon his return to Baghdad from France. $2,500-3,500 384 David Aronson (American, 1923-2015) Two Musicians Signed “Aronson” l.r. Oil on Masonite, 18 x 12 in. (45.8 x 30.5 cm), framed. Condition: Scattered retouch. $800-1,200

384

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385

385 Mané-Katz (French/Ukrainian, 1894-1962)

386 Amos Yaskil (Israeli, b. 1935)

Israeli Landscape, Possibly the Wailing Wall Signed “Mané-Katz” l.r. Oil on canvas, 15 x 18 1/4 in. (38.2 x 46.3 cm), framed. Condition: Abrasions l.r., surface grime. $1,000-1,500

View of Jerusalem Signed “A. YASKIL” l.l. Oil on canvasboard, 15 x 30 in. (38.2 x 76.0 cm), framed. Condition: Good. $2,000-3,000

386

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387

387 Marc Chagall (French/Russian, 1887-1985) Rendez-vous ou Sabbat Inscribed, signed, and dated “...Chagall/1910/ Russie” in pen l.r., inscribed “Le rendez-vous” in Cyrillic in pencil l.c. Sepia and China ink on paper, sheet size 5 1/2 x 5 11/16 in. (14.0 x 14.4 cm), unframed. Condition: The drawing has detached from the backing tissue, hinge remnants at u.l. and u.r. corners and at l.c.

Provenance: A private Massachusetts collection. N.B. The work has been registered with the Comité Chagall as no. 2012087D; a photocopy of a photo-certificate from the Comité Chagall accompanies the lot. $15,000-20,000

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388

388 Manoucher Yektai (Iranian/American, b. 1922) Flowers Signed and dated â&#x20AC;&#x153;Yektai 54â&#x20AC;? 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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389

389 Zero Mostel (American, 1915-1977) Self Portrait Unsigned. Oil on panel, 10 x 8 in. (25.4 x 20.3 cm), framed. Condition: Surface grime, small abrasions to edges. Provenance: The estate of Jack and Madeline Gilford, New York. N.B. Actor Jack Gilford and actor, producer, and writer Madeline Lee Gilford were colleagues and close friends of Zero Mostel and his wife Kate Mostel. $1,000-1,500 390 David Davidovich Burliuk (Ukrainian/ American, 1882-1967) Lili/Portrait of a Blue-eyed Girl Signed “BURLIUK” l.r., inscribed “Lili” and “Belenky/.../#11502” on the reverse. Oil on wood, 6 7/8 x 6 1/8 in. (17.5 x 15.6 cm), framed. Condition: Horizontal striations likely from the wood surface on the recto, panel chamfered on the reverse. N.B. The Burliuk Committee has kindly confirmed that this work will appear in the forthcoming Burliuk catalogue raisonné. $800-1,000

390

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195

391 Jean Dufy (French, 1888-1964) Fleurs Signed “Jean Dufy” l.r., titled on a presentation plaque. Gouache and watercolor on paper mounted to canvas, 16 x 13 in. (41.0 x 33.0 cm), framed. Condition: Minor surface grime. N.B. This work has been examined via digital photographs by Jacques Bailly, who confirmed its authenticity. A certificate from Bailly accompanies the lot. $4,000-6,000 392 Jean Jansem (French, 1920-2013) Three Figures Signed faintly “Jansem” u.l. Mixed media including ink on glossy paper, 9 1/2 x 13 3/4 in. (24.1 x 35.0 cm), framed. Condition: Sheet taped to window mat at upper edge on the reverse, tape remnants to edges on the reverse, pale mat burn, adhesive residue u.r., small tear u.r., scattered small abrasions. N.B. Jansem often worked with the glossy paper used as the support for this work and Lot 393. It is likely a coated paper made to be used with printing presses. $800-1,200 391

392

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393

394

393 Jean Jansem (French, 1920-2013)

394 Louis Valtat (French, 1869-1952)

Peasant Girl Signed “Jansem” l.r. Mixed media including ink on glossy paper, 9 1/2 x 13 3/4 in. (24.1 x 35.0 cm), framed. Condition: Sheet taped to window mat at upper edge on the reverse, tape remnants to edges on the reverse, rippling, small abrasions to edges. $800-1,200

Fleurs-Orchidées Initialed “L.V.” l.r., identified in a brochure from Wally F Galleries, Inc., New York (see below). Oil on canvas, 6 1/4 x 8 5/8 in. (16.0 x 22.0 cm), framed. Condition: Lined. Provenance: From the estate of Walter F. Goodman. N.B. The lot is accompanied by a brochure about the painting from Wally F Galleries, Inc., New York, the final page of which is a guarantee of authenticity signed by Walstein C. Findlay, dated February 22, 1972. $4,000-6,000

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197

395 Maud Lewis (Canadian, 1903-1970) Two Oxen by a Tulip Garden Signed “LEWIS” c.r. Oil on panel, 12 1/4 x 13 3/4 in. (31.0 x 35.0 cm), framed. Condition: Surface grime. Provenance: Purchased directly from the artist by the consignor’s grandparents in Nova Scotia in the 1960s. $4,000-6,000 396 Maud Lewis (Canadian, 1903-1970) Ox Team in Snow Signed “LEWIS” l.r. Gouache on folded paper notecard, 4 1/4 x 6 3/8 in. (10.8 x 16.2 cm), unmatted, unframed. Condition: Good; handwritten note in ink in the inside of the card. $800-1,200

395

396

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397

397 Edna Eicke (American, 1919-1979) The Riding Lesson, A Cover Illustration for The New Yorker Signed “EDNA EICKE” l.r. Oil on Whatman drawing board, 28 x 19 in. (69.9 x 48.3 cm), framed (under glass). Condition: Good.

N.B. In his forward to an anthology of New Yorker covers, John Updike posed the following question: “Do you have trouble letting go of old copies of The New Yorker?” His answer was simple. “Blame the covers... We want to be where the cover is, whether it’s a pricey night club by Peter Arno or an Edengreen lawn by Edna Eicke...”1

From 1945 until 1961, Edna Eicke painted fifty-one covers for The New Yorker, nearly all depicting scenes of childhood, many inspired by her own upbringing, her life in New York City, and her family. The Riding Lesson appeared as the magazine cover for the June 18, 1949 issue. 1. John Updike, “Foreword,” in The Complete Collection of Covers from The New Yorker 1925–1989 (New York: Alfred A. Knopf, 1989), p. v.

$3,500-5,500

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199

398

399

398 Constantine Kluge (French, 1912-2003)

399 Renée Théobald (French, b. 1928)

The Quai de l’Horloge Near the Pont Neuf, Paris Signed “C. Kluge” l.r. Oil on canvas, 27 1/4 x 45 3/4 in. (69.5 x 116.5 cm), unframed. Condition: Craquelure, flaking near edges. $600-800

Marée basse au fond de la rivière Signed “théobald” l.r., titled and inscribed “... 30 F/B.5M3” on the reverse. Oil on canvas, 28 3/4 x 36 1/4 in. (73.0 x 92.0 cm), framed. Condition: Good. $1,000-1,500

200

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400

400 Claude Cambour (French, b. 1940) Les Rives de Saint-Mammès Signed “Claude Cambour” l.l., titled in an inscription on the stretcher. Oil on canvas, 25 3/4 x 32 in. (65.0 x 81.0 cm), framed. Condition: Good. $3,500-5,500

401

401 Fernand de Launay (French, 1838-1890) The Red Parasol Signed “F. DE LAUNAY.” l.r. Oil on canvas, 18 1/8 x 21 3/4 in. (46.0 x 55.3 cm), unframed. Condition: Lined, retouch, paint losses to edges, fine craquelure, shrinkage wrinkles and flaking along upper and lower edges. $300-500

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201

402

402 Emilio Grau Sala (Spanish, 1911-1975) Woman in an Interior Signed “Grau Sala” l.l. Oil on canvas, 23 3/4 x 29 in. (60.5 x 73.5 cm), framed. Condition: Good. $5,000-7,000 403 David Pryor Adickes (American, b. 1927) The Beached Boat Signed “adickes” l.l., titled on a presentation plaque, with a label from Wally Findlay Galleries, New York, affixed to the frame backing. Oil on canvas, 45 1/2 x 57 1/2 in. (115.6 x 146.1 cm), framed. Condition: Craquelure, minor surface grime.

403

Provenance: A private Massachusetts collection. $2,500-3,500

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404

404 Michel-Henry (French, 1928-2016) Soleil dans les Arbres Signed “MichelHenry” l.l., titled on the stretcher, with a label from Wally Findlay Galleries, Palm Beach and Chicago, affixed to the frame backing. Oil on linen, 35 3/8 x 45 7/8 in. (90.0 x 116.5 cm), framed. Condition: Areas of varnish discoloration. $1,200-1,800

405

405 Paul Williams (American, 1934-2013) Le Bord de la Mer/Afternoon Sail Signed “PWilliams” l.r., signed, inscribed, and titled “Paul Williams/Weston CT/...” on the stretcher, with an unattributed typewritten biography of the artist affixed to the reverse. Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), framed. Condition: Surface grime. $1,000-1,500

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203

406 Guy Pène du Bois (American, 1884-1958) Portrait of Juliana Force Signed “Guy Pène du Bois” l.r. Mixed media including watercolor and oil stick on paper, sight size 15 1/4 x 9 1/4 in. (38.7 x 23.5 cm), framed. Condition: Sheet affixed to backing at top edge, scattered fox marks, rippling, not examined out of mat. Provenance: The artist; by descent to Mrs. John Trent, Mt. Kisco, New York; to a private Rhode Island collection, 1979. N.B. Juliana Force was the first director of the Whitney Museum of American Art in New York and a great promoter of contemporary artists, including Guy Pène du Bois. In addition to this portrait in profile, Pène du Bois used Force as the central figure in another work, Juliana Force at the Whitney Studio Club, 1921, in the collection of the Whitney Museum. Force forged a strong relationship with the founder of the Whitney Museum, Gertrude Vanderbilt Whitney, beginning in 1914 with their collaborations on the Whitney Studio and the Whitney Studio Club (predecessors to the museum). The two women worked to build an interest in American art through exhibitions, lectures, and classes, and to create a thriving community for contemporary American artists. $2,000-3,000 407 Leon Kroll (American, 1884-1975)

406

Kneeling Nude Signed “Leon Kroll” l.r., titled on a label from ACA Galleries, New York, affixed to the frame backing. Oil on canvas, 15 1/4 x 18 1/4 in. (38.5 x 46.0 cm), framed. Condition: Surface grime. $800-1,200

407

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408

408 Marcel Dyf (French, 1899-1985) Un repas d’été Signed “Dyf” l.r., with a label from International Art Transport, Paris, on the stretcher. Oil on canvas, 23 5/8 x 29 1/2 in. (60.0 x 74.5 cm), framed. Condition: Scattered small paint losses. $3,500-5,500

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409

409 Georges Charpentier (French, b. 1937) Les Jumelles Signed and numbered “G. CHARPENTIER 4/8” and with the artist’s cipher or foundry mark at the lower edge. Bronze with golden patina, 14 x 9 in. (35.6 x 22.9 cm), on a painted wood plinth. Condition: Scratches and nicks to the plinth. Provenance: Galerie Félix Vercel, New York, 1979; to a private Massachusetts collection. $800-1,200 410 David Hayes (American, 1931-2013) Ritual Object Stamped “H 1-6” in the bronze at the base, titled and dated “.../1964” on a typed label affixed to the underside of the plinth, identified on a label from the Lending Service/Art Festival of the Museum of Modern Art taped to the underside of the plinth. Bronze with brown and green patina, height 10 7/8 in. (27.5 cm), on a black marble plinth. Condition: Dust and dirt to interstices, minor wear to the patina. N.B. The Willard Gallery in New York is listed on the MOMA label as the lender of the sculpture. $700-900 410

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411

412

411 Charles Green Shaw (American, 1892-1974) Geometric Abstraction Signed “Shaw” l.l. Oil on canvasboard, 12 1/4 x 10 in. (31.1 x 25.4 cm), framed. Condition: Surface grime. $3,000-5,000

412 Kieff Antonio Grediaga (Spanish/Canadian, b. 1936) Oxalis Signed and numbered “Kieff e/a I” near the lower edge, title provided by the consignor. Bronze with a golden patina, height 23 1/2 in. (59.7 cm), on a marble plinth. Condition: Scattered small scratches and areas of oxidation, nicks to the edges of the plinth. Provenance: Camhi Galleries, Bay Harbor Islands, Florida, 1974; through to a private Massachusetts collection. $800-1,200

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413

415

414

413 John Way [Wei Letang] (Chinese/American, 1921-2012)

414 John Way [Wei Letang] (Chinese/American, 1921-2012)

415 Joseph Meierhans (Swiss/American, 18901981)

Untitled Signed and dated “John Way 7 ‘64” l.l. Oil on paper, 18 x 23 3/4 in. (45.7 x 60.3 cm), unframed. Condition: Very small loss to u.l. corner, gentle rippling. $2,000-3,000

Untitled Signed and dated “John Way ‘74” l.l., inscribed “70/1944” on an unattributed label affixed to the reverse. Oil on paper, 19 1/4 x 24 1/4 in. (48.9 x 61.6 cm), unframed. Condition: Tape remnants to corners on the reverse. $2,000-3,000

Abstraction Signed “Jos Meierhans” l.r. Oil on Masonite, 48 x 30 in. (121.9 x 76.2 cm), framed. Condition: Frame abrasions with small paint losses, surface grime.

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Provenance: Mystic Fine Arts, Connecticut, to the current private collection, Connecticut, in 1992. $1,000-1,500

416

416 Tadeusz Kantor (Polish, 1915-1990) Untitled Signed â&#x20AC;&#x153;Kantorâ&#x20AC;? l.r. Mixed media including oil on paper laid down on paperboard, 24 x 20 in. (61.0 x 50.8 cm), framed. Condition: Small loss to impasto u.r., small tear to collage element u.r., small tears and nicks to edges. $18,000-22,000

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417

418

417 Purvis Young (American, 1943-2010)

418 Purvis Young (American, 1943-2010)

Diptych with Angel and Procession Signed â&#x20AC;&#x153;Youngâ&#x20AC;? u.r. Mixed media including paint on wood and fiberboard, 16 3/4 x 71 1/4 in. (42.7 x 181.0 cm), unframed. Condition: Crease with tearing l.r., surface grime. $1,000-1,500

Procession Unsigned. Mixed media including wood and paint on fabric laid down on cardboard, 21 x 52 1/2 in. (53.3 x 130.8 cm), unframed. Condition: Tears and creases to cardboard support. $1,000-1,500

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419

419 Purvis Young (American, 1943-2010) Angels and Horses Signed â&#x20AC;&#x153;Youngâ&#x20AC;? at center. Mixed media including acrylic on particle board, 46 1/2 x 59 in. (118.1 x 149.9 cm), unframed. Condition: Scattered abrasions and small losses, surface grime. $2,000-3,000

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420

421

420 Andrew Rucklidge (Canadian, b. 1968) Sprinkler Blooms II Titled, dated, and signed “.../2005/Andrew Rucklidge” on the reverse, identified on two labels from Galerie de Bellefeuille, Montreal, affixed to the reverse and to the frame. Oil and tempera on panel, 32 x 60 in. (81.3 x 152.4 cm), framed. Condition: Good. $600-800

212

421 Robert Franklin Gates (American, 19061982) Mosul Signed “R. Gates/’67” l.r., titled on an unattributed label affixed to the back of the frame and in an inscription on the back of the frame. Oil on canvas laid down on board, 12 3/4 x 25 in. (32.2 x 63.5 cm), framed. Condition: Surface grime. $800-1,200

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422

422 Mikhail Larionov (Russian, 1881-1964) Abstract Rayist Composition Initialed â&#x20AC;&#x153;M.L.â&#x20AC;? l.r. Gouache on paper, 8 3/8 x 7 3/8 in. (21.3 x 18.7 cm), unframed. Condition: Rippling, toning and staining to the reverse. $1,000-1,500

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423 Larry Poons (American, b. 1937) Untitled Dated and signed “1981/Larry Poons” on the reverse, inscribed “81 F-8/...” on the reverse, with a label and stamp from Andre Emmerich Gallery Inc., New York, and a label from Hokin Gallery, Inc., Palm Beach, Florida, on the stretcher. Acrylic on canvas, 83 3/8 x 21 1/2 in. (211.8 x 54.6 cm), framed. Condition: Minor surface grime. Provenance: Hokin Gallery, Palm Beach, Florida; Andre Emmerich Gallery, New York, 1982; to a private Massachusetts collection. N.B. Participating in his first major group show in 1965 and still working today, Larry Poons has had a long and successful career. First associated with Op Art (his contribution to that first group show, “The Responsive Eye” at The Museum of Modern Art, was Nixe’s Mate, 1964, a large red canvas with an orderly array of oval dots spread across its surface), Poons began experimenting with acrylic paint in the early 1970s in a manner most similar to the Abstract Expressionists. He threw and poured the paint onto huge canvases he rolled out to cover the walls of his studio. He would spend several painting sessions working on a mural-sized canvas, then he would isolate areas of the canvas with masking tape and cut those out into smaller compositions. Though very physical in his methods, and necessarily at the mercy of uncontrollable forces such as gravity, Poons concentrated on the formal qualities of color, texture, format, and scale. Colonial (Lot 424) perfectly exhibits Poons’s interest in density—for this work, he applied a large amount of paint to the canvas, layering and mixing to create an immediate impression of deep, dark color. However, Poons began with a generous splash of pastel pink which, along with aqua and bright lemon yellow, occupies the uppermost portion of this long, narrow canvas. With the help of gravity, he pulled the paint downwards into strong vertical rivulets of intense eggplant and earthy brown, shot through with stripes of bright turquoise, orange, and crimson. As the pigment slides down, it clots, pools, and drips along the way, and the shades grow deeper and darker in tone. 423

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Pockmarks left by air bubbles and a few deep crevices (drying cracks) give character to the thick and otherwise smooth texture of the surface. Poons played even more with texture in this untitled work (Lot 423), in which areas of thick impasto contrast with sections of paint that are thin enough for the weave of the underlying canvas to be discernible. Many stretches of paint have a rough texture, where Poons must have added something like sand to the acrylic. In the 1980s, when he created this work and Colonial, Poons began to obstruct gravity’s pull on the flow of paint by placing various objects, including crumpled paper and pieces of foam, on the canvas. Around these obstacles, the paint formed bulges, peaks, and chasms. The hues in this untitled painting are more muted than those in Colonial—pastel yellows, peaches, and white, though streaks of fuchsia and royal blue prevent the work from being meditative. While indebted to Jackson Pollock in the physicality of his method, Poons expanded upon Pollock’s drips and pours by using the power of his entire body to hurl large amounts of paint onto canvases (as opposed to Pollock’s elegant, dance-like movements). Poons’s works of the 1970s and 1980s are dense in both texture (thick layers of paint) and color (rich, surprising combinations add to the sense of depth). Poons is often associated with Color Field painters like Kenneth Noland and Helen Frankenthaler; however, while color certainly plays a distinct role in Poons’s work, it does not supersede considerations of scale, texture, and gesture. $20,000-40,000

424 Larry Poons (American, b. 1937) Colonial Titled, dated, and signed “.../1981/NY L.Poons” on the reverse, inscribed “81E-1/.../ NY” on the reverse, with a label and stamp from Andre Emmerich Gallery Inc., New York, on the stretcher. Acrylic on canvas, 83 3/4 x 23 3/16 in. (212.7 x 58.9 cm), framed. Condition: Minor surface grime. Provenance: Andre Emmerich Gallery, New York, 1982; to a private Massachusetts collection. $20,000-40,000

424

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425

427

426

425 Susan Hartnett (American, b. 1940)

426 Robert Kelly (American, b. 1956)

427 Krishen Khanna (Indian, b. 1925)

March 28, ‘95 #4 (Sedge, Scirpus zebrinus) Signed indistinctly “...tt” l.r., identified and titled on a label from Danese Gallery, New York, affixed to the frame backing. Charcoal on paper, 18 x 23 3/4 in. (45.7 x 60.3 cm), framed. Condition: Sheet floated in frame, pinholes to corners, scattered minor handling creases, not examined out of frame.

Namché LXXII Signed “Robert Kelly” on the mat l.r., titled and dated “...1983” on the mat l.l. Mixed media on paper, 32 x 23 in. (81.3 x 58.4 cm), framed. Condition: Sheet laid down on mat, not examined out of frame. $800-1,200

Untitled Signed and dated “KKhanna/March ‘63” l.r. Ink on paper, sight size 7 x 7 in. (17.7 x 17.7 cm), framed. Condition: Not examined out of frame.

Exhibitions: Susan Hartnett: Works on Paper, Danese Gallery, New York, October 23– November 28, 1998. N.B. Susan Hartnett made hundreds of charcoal drawings on trips up and down the Maine coast, stopping along the way to draw from life the variety of wild grasses she spotted from her car’s windows. An exhibition catalog and documents from Danese Gallery accompany the lot. $500-700

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Provenance: Purchased from the artist, 1964; by descent to the current private collection, Massachusetts. Exhibitions: Watkins Art Gallery, American University, Washington, DC, 1964. N.B. Alice Graeme Korff, an art critic for The Washington Post and a trustee of the Corcoran Gallery of Art, purchased this drawing from Krishen Khanna during his tenure as the first artist-in-residence at American University. A letter from the artist to Mrs. Korff accompanies the lot. $700-900

428 Robert Natkin (American, 1930-2010) 428

Apollo, May Signed “Natkin” l.l. and on the reverse, titled on a label from the Cincinnati Art Museum affixed to the stretcher, inscribed “POINDEXTER/...” on the stretcher, with several unattributed inventory labels affixed to the stretcher. Acrylic on canvas, diameter 72 in. (183.9 cm), framed. Condition: Small area of fine craquelure u.l. Provenance: Poindexter Gallery, New York; through to the current private Massachusetts collection. $3,500-5,500 429 Hunt Slonem (American, b. 1951) Javas Signed, dated, and titled “Hunt Slonem 1989/...” on the reverse, with a label from Bowles/Sorokko Galleries, San Francisco, affixed to the frame backing. Oil on canvas, 37 x 37 in. (94.0 x 94.0 cm), framed. Condition: Craquelure to areas of impasto, surface grime. Provenance: Bowles/Sorokko Galleries, San Francisco, to the current private Massachusetts collection. N.B. A copy of Hunt Slonem (New York: Kunst Editions/Jano Group, 1993) accompanies the lot. $4,000-6,000

429

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430

430 Lillian Orlowsky (American, 1914-2004) Still Life Composition/Abstract Signed “LILLIAN ORLOWSKY” l.r. and on the reverse, titled and dated “.../circa 1950” on two labels from Acme Fine Art, Boston, affixed to the frame backing. Oil on canvas, 32 x 42 in. (81.3 x 106.7 cm), framed. Condition: Craquelure. Exhibitions: Lillian Orlowsky: The Fifties, Acme Fine Art, Boston, October 2003, no. 8. $3,000-5,000

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431

431 Sally Michel Avery (American, 1902-2003) Two Blondes Signed and dated â&#x20AC;&#x153;Sally Michel/1974â&#x20AC;? l.r., titled on the reverse u.c. Oil on canvasboard, 20 x 16 in. (50.7 x 40.5 cm), framed. Condition: Good.

Provenance: From the studio of the artist; purchased from the Fletcher/Priest Gallery, Worcester, Massachusetts, 1995, by a private Massachusetts collector. N.B. A photocopy of the invoice accompanies the lot. $3,000-5,000

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432

432 Donald Roller Wilson (American, b. 1938) Patricia, Seeing-Eye Dog of Houston, Nearly Blinded by the Olive as She Giggled Uncontrollably in the Field outside Shirley’s Tiny Home Signed, dated, and inscribed “DONALD ROLLER WILSON · 1982/12-A/7:26 P.M. TUESDAY · MARCH 16” l.r., with the artist’s studio label affixed to the stretcher, title provided by the consignor. Oil on canvas, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Faint stretcher marks. $6,000-8,000 433 Arturo Rodriguez (Cuban/American, b. 1956) Untitled, from the series The Listener Signed and dated “ARTURO RODRIGUEZ/1988” on the reverse, identified in an e-mail from the artist. Oil on linen, 16 1/4 x 13 in. (41.5 x 33.0 cm), framed. Condition: Varnish inconsistencies. $1,000-1,500

433

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434 Alexander Kosolapov (Russian/American, b. 1943) Mickey-Lenin Signed and dated “A. KOSOLAPOV/2002” on the base on the reverse, title provided by the artist. Bronze with a golden brown patina, height 50 in. (127.0 cm). Condition: Abrasions and nicks to the edges of the base. N.B. Alexander Kosolapov’s sculptures, paintings, and prints provoke harsh criticism, sometimes censorship, and often humor. His jokes are not partisan—they poke at both Russia and the United States. He appropriates imagery from Soviet history, pop culture, religion, and art history that he combines in often subversive ways. Taking a cue from Andy Warhol, Kosolapov delights in iconic symbols of American consumerist culture. For Kosolapov, these include Mickey Mouse, Marlboro, and Coca-Cola, images of which he links with political and religious figures central to Russian culture, including Stalin, Lenin, and Christ. He never forgets his place in the continuum of art history, often including some nod to artists who preceded him. In Mickey-Lenin, the major players are obvious: Mickey Mouse and Vladimir Lenin, and the connotations come easily: East–West, Russia– United States, communism–capitalism, good–evil, and high–low. Kosolapov modeled the figure’s body after statues of Lenin by the Soviet sculptor Nikolai Tomsky, and its pose is that of a classical Roman figure sculpted in the traditional medium of bronze. Kosolapov developed the idea for Mickey-Lenin shortly after immigrating to the United States in 1975. He found the discarded plastic head of a Mickey Mouse toy, took it home, and placed it atop a small sculpture of Lenin that he kept on his desk. Kosolapov identifies with a movement known as Sots Art. Developed in Moscow in the 1970s by the art duo Komar and Melamid, Sots Art (an abbreviation of “socialist pop art”) reacted against the conformist, state-sanctioned style of Socialist Realist art and the bold graphic style of Soviet state propaganda by using their imagery in Dadaist artworks and conceptual performances. By the 1980s, the Soviet government recognized the political criticism of Sots Art and began to put pressure on artists associated with the movement to emigrate. Still wary of political criticism, Russian authorities do not roll out the red carpet for Kosolapov. Artworks in a 2003 group show, Caution! Religion!, at the Andrei Sakharov Museum in Moscow, to which he contributed works including a print entitled This Is My Blood (a depiction of Christ next to the Coca-Cola logo), were vandalized by Russian Orthodox radicals, eventually resulting in the arrest of the exhibition curator, museum director, and one of the artists. The same museum director and a curator were arrested again after the group show, Forbidden Art 2006, in which Kosolapov also participated. $25,000-35,000

434

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435

435 Wolf Kahn (German/American, b. 1927) Blue Barn Signed “WKahn” l.l. Pastel on paper, 9 x 11 7/8 in. (22.9 x 30.2 cm), framed. Condition: Formerly hinged to backing with four small pieces of masking tape at outermost edges of the recto, sketchbook paper with perforated left edge. $1,500-2,500 436 Walter Hatke (American, b. 1948) Weaver Signed “HATKE · 1979-80” l.r., titled on a label from Terry Dintenfass Gallery, New York, affixed to the stretcher and in an inscription on the stretcher, inscribed “Robert Schoelkopf Gallery/.../New York...” on the stretcher. Oil on canvas, 57 1/2 x 48 in. (146.1 x 121.9 cm), framed. Condition: Small abrasions with paint losses u.r., minor surface grime. Provenance: Robert Schoelkopf Gallery, New York; through to Terry Dintenfass Gallery, New York. $1,200-1,800 436

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437

437 Jon Carsman (American, 1944-1987) Winter Birches Signed and dated “JON CARSMAN 74” l.r., signed, titled, and dated on the reverse. Acrylic on canvas, 50 1/4 x 60 1/4 in. (127.6 x 152.7 cm), framed. Condition: Surface grime, accretion or varnish imperfection l.c. $3,000-5,000 438 William P. Duffy (American, b. 1948) Sunday Morning News, The South End, Boston Signed “WILLIAM P DUFFY” l.l., title provided by the artist. Oil on canvas, 24 x 20 in. (60.9 x 50.8 cm), framed. Condition: Good. $1,200-1,800

438

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439

439 Hunt Slonem (American, b. 1951) Rosellas Signed and dated “Hunt Slonem ‘92” l.r., titled l.l. Watercolor on paper, 22 x 29 3/4 in. (55.9 x 75.6 cm), framed. Condition: Rippling, two small tears to upper edge at right, sheet floated in frame, not examined out of frame. Provenance: A Maine estate. $600-800 440 Irene Rice Pereira (American, 1902-1971) Mercurius Titled, signed, and dated “.../Pereira/8/8/62” l.r. Gouache on paper, 24 x 18 in. (61.0 x 45.7 cm), framed. Condition: Small creases to l.l. corner, abrasions and small tears to edges, abrasion u.l., sheet floated in frame, not examined out of frame. $1,000-1,500

440

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441

441 Robert Amesbury (American, b. 1976) White Promises No visible signature. Gouache on paper, sight size 32 3/4 x 32 3/4 in. (83.0 x 83.0 cm), framed. Condition: Not examined out of frame. Provenance: Purchased from the Bernard Toale Gallery, 2005, by the current owner. $800-1,200 442 Mary Lum (American, b. 1951) Two Works: Slip #3 and Slip #15 Unsigned, identified and dated â&#x20AC;&#x153;...1999â&#x20AC;? on an unattributed label affixed to the Slip #15 frame backing. Gouache on cut paper, sight sizes to 8 x 10 in. (20.2 x 25.3 cm), framed. Condition: Not examined out of frames. 442 (partial)

Provenance: Purchased from the Bernard Toale Gallery, 2001, by the current owner. $1,000-1,500

End of Sale 3029B

Online bidding at www.skinnerinc.com

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Artist Index Accardi, Carla...................................................... 37 Adickes, David Pryor......................................... 403 Al-Jadir, Khalid.................................................. 383 Aldrich, George Ames....................................... 231 Allston, Washington........................................... 250 American School, 19th/20th Century................. 367 American School, 20th Century.........97A, 317, 350 Amesbury, Robert............................................. 441 Anderson, Frank........................................ 243, 353 Anderson, Frank Hartley...................................... 13 Appel, Karel......................................................... 38 Arnold, Eve........................................................ 104 Aronson, David.......................................... 381, 384 Arp, Jean (Hans).................................................. 39 Avery, Sally Michel............................................. 431 Baker, Harry Brown........................................... 278 Bassman, Lillian................................................ 105 Beal, Reynolds.................................................. 281 Benson, Frank Weston.................................. 14–21 Benton, Thomas Hart............................ 22, 23, 306 Bergerson, Phil.................................................. 131 Bernhard, Ruth.......................................... 112–114 Bernstein, Theresa Ferber................................. 329 Betts, Louis....................................................... 286 Blum, Robert Frederick..................................... 346 Bonheur, Rosa.......................................... 234, 236 Bonsall, Elizabeth Fearne................................... 364 Boshier, Derek..................................................... 40 Bowers, Andrea.................................................. 41 Boyd, Rutherford............................................... 301 Braque, Georges................................................. 42 Braque, Georges (After)....................................... 43 Bricher, Alfred Thompson.................................. 241 Brown, Christopher............................................. 44 Buffet, Bernard.............................................. 45–47 Burliuk, David Davidovich.................. 344, 345, 390 Cadmus, Paul.................................................... 380 Cady, Walter Harrison....................................... 279 Calder, Alexander................................................ 48 Callahan, Harry.......................................... 101, 102 Cambiaso, Luca (Attributed to).......................... 201 Cambour, Claude.............................................. 400 Cameron, Julia Margaret..................................... 94 Campi, Bernardino (Attributed to)...................... 206 Carlson, John Fabian................................ 293, 302 Carr, Samuel S.................................................. 272 Carsman, Jon.................................................... 437 Catlett, Elizabeth................................................. 24 Celentano, Daniel Ralph.................................... 351 Chagall, Marc.............................................. 49, 387 Charpentier, Georges........................................ 409 Clapp, William Henry......................................... 285 Clark, Walter.............................................. 261, 314 Comins, Eben Farrington................................... 365 Continental School, 16th Century...................... 203 Corrodi, Hermann David Salomon..................... 233 Cortès, Edouard Léon............................... 331, 332 Costigan, John Edward..................................... 372 Couse, Eanger Irving......................................... 232 Crane, Bruce..................................................... 258 Crichlow, Ernest................................................ 378 Cross, Roy........................................................ 247 Cucchi, Enzo....................................................... 50 Curry, John Steuart............................................. 25 Curtin, Thomas R.............................................. 291

226

Curtis, Edward Sheriff.................................... 95–97 Darrah, Ann Sophia Towne............................... 265 Dater, Judy................................................ 121, 122 Daubigny, Charles François................................... 1 David, Gustave.................................................. 220 Davies, Arthur Bowen........................................ 299 Davis, William Moore......................................... 252 de Haas, M.F.H................................................. 246 de Haas, William Frederick................................ 248 de Launay, Fernand.......................................... 401 Detti, Cesare Auguste....................................... 224 Diederich, Wilhelm Hunt.................................. 236A Dove, Arthur Garfield......................................... 305 Duffy, William P...............................332A, 333, 438 Dufy, Jean......................................................... 391 Dunbar, Harold Crocker.................................... 290 Dunning, Robert Spear...................................... 266 Dunsmore, John Ward...................................... 276 Dupré, Julien..................................................... 230 Dutch School, 17th Century.............................. 200 Dyf, Marcel........................................................ 408 Dzigurski, Alexander.......................................... 318 Ehrig, William Columbus............................ 308, 309 Eicke, Edna....................................................... 397 Eisenstaedt, Alfred.............................................. 98 Enneking, John Joseph..................................... 257 Ericsson, Axel.................................................... 354 Evans, Jessie Benton........................................ 283 Evergood, Philip................................................ 300 Farré, Margarita................................................. 371 Felixmüller, Conrad................................................ 2 Fiske, Gertrude.................................................. 355 Fitler, William Crothers....................................... 253 Francis, Sam....................................................... 51 Frieseke, Frederick Carl..................................... 297 Fromuth, Charles Henry.................................... 320 Frost, Arthur Burdett......................................... 273 Gates, Robert Franklin....................................... 421 Gay, Edward B.................................................. 259 Giordano, Luca (School of)................................ 210 Girardet, Eugène............................................... 221 Goodwin, Arthur Clifton............................. 328, 330 Gorman, Rudolph Carl.................................. 52–55 Grediaga, Kieff Antonio...................................... 412 Griffin, Walter..................................................... 334 Grover, Oliver Dennett....................................... 319 Gruppé, Emile Albert.................307, 311, 313, 315 Guardi, Francesco (Manner of).......................... 212 Haas, Ernst............................................... 118, 119 Hale, Lilian Westcott.......................................... 358 Hardwick, Melbourne H..................................... 287 Haring, Keith................................................. 56, 57 Hartley, Marsden................................................. 26 Hartnett, Susan................................................. 425 Hatke, Walter.................................................... 436 Hayes, David..................................................... 410 Helleu, Paul César................................................. 3 Henrion, Armand Francois Joseph.................... 360 Henry, Edward Lamson..................................... 269 Hibbard, Aldro Thompson......................... 289, 292 Hilliard, David............................................ 133, 134 Hills, Laura Coombs.................................. 356, 359

Hinckley, Thomas Hewes.................................. 264 Hockney, David....................................... 40, 58, 59 Hoeber, Arthur.................................................. 295 Hooper, Chip..................................................... 132 Howard, Ken..................................................... 339 Hunter, Robert Douglas..................................... 357 Inness, George.................................................. 254 Italian School, 16th Century.............................. 209 Italian School, 16th/17th Century.............. 204, 208 Italian School, 17th Century.............................. 205 Jacobi, Lotte....................................................... 99 Jansem, Jean............................................ 392, 393 Jenkins, Paul....................................................... 60 Johnson Jr., Marshall........................ 238–240, 245 Jones, Allen......................................................... 40 Jones, Loïs Mailou............................................. 321 Kahn, Wolf........................................................ 435 Kantor, Tadeusz................................................ 416 Karsh, Yousuf.................................................... 120 Katz, Alex...................................................... 61, 62 Kelly, Robert...................................................... 426 Kent, Rockwell.................................................... 27 Kentridge, William................................................ 63 Khanna, Krishen................................................ 427 Khoo Sui Hoe.................................................... 382 Kluge, Constantine............................................ 398 Ko Si-Chi........................................................... 124 Kollwitz, Käthe Schmidt..................................... 370 Kosolapov, Alexander........................................ 434 Kroll, Leon................................................. 375, 407 La Farge, John.................................................. 251 Landacre, Paul.................................................... 28 Larionov, Mikhail................................................ 422 Lathrop, William Langson.................................. 324 LaValley, Jonas Joseph..................................... 288 Lawrence, Thomas............................................ 214 Le Corbusier.................................................. 64, 65 Leonard, Herman.............................................. 103 Leslie, Charles Robert....................................... 226 LeStrange, William............................................. 211 Lewis, Maud.............................................. 395, 396 LeWitt, Sol..................................................... 66, 67 Lichtenstein, Roy........................................... 68, 69 Liebermann, Max................................................... 4 Lintott, Edward Barnard.................................... 363 Logue, Christopher.............................................. 40 Lum, Mary......................................................... 442 Malyavin, Filipp.......................................... 373, 374 Mané-Katz......................................................... 385 Mapplethorpe, Robert............................... 127–129 Maril, Herman.................................................... 352 Marini, Marino...................................................... 70 Marinko, George............................................... 349 Marsh, Reginald.................................................. 29 Matta, Roberto.................................................... 71 Mazur, Michael Burton........................................ 72 McBride, Will..................................................... 111 McCulloch, Horatio (Attributed to)..................... 228 McCurry, Steve................................................. 126 Meierhans, Joseph............................................ 415 Meyerowitz, William........................................... 298 Michel-Henry..................................................... 404

Millet, Jean François.............................................. 5 Miró, Joan..................................................... 73, 74 Moran, Edward.................................................. 249 Morang, Alfred Gwynne..................................... 343 Morell, Abelardo................................................ 135 Mostel, Zero...................................................... 389 Mulhaupt, Frederick John.................................. 312 Munakata, Shiko................................................. 75 Murch, Walter.................................................... 379 Natkin, Robert................................................... 428 Neiman, LeRoy.................................................... 76 Nicholson, Ben.................................................... 77 O’Neill, Terry...................................... 115, 116, 123 Ochtman, Leonard............................................ 284 Okshteyn, Shimon..................................... 340, 342 Oldenburg, Claes................................................ 78 Orlowsky, Lillian................................................. 430 Ossorio, Alfonso.................................................. 30 Paladino, Mimmo................................................ 79 Paolozzi, Eduardo............................................... 40 Parsini, Luciana................................................. 341 Patrois, Isidore.................................................. 225 Peale, Rembrandt (Attributed to)....................... 267 Perboyre, Paul Emile Léon................................ 222 Pereira, Irene Rice............................................. 440 Perry, Clara Fairfield.......................................... 303 Picasso, Pablo.............................................. 80, 81 Picasso, Pablo (After).......................................... 82 Pissarro, Camille............................................ 6, 348 Poons, Larry.............................................. 423, 424 Porter, Charles Ethan................................ 270, 271 Prinet, René François Xavier.............................. 347 Pène du Bois, Guy............................................ 406 Rauschenberg, Robert........................................ 83 Reed, Doel.......................................................... 31 Rembrandt van Rijn.........................................6A, 7 Reynolds, Joshua (Attributed to)........................ 215 Ribera, Jusepe de................................................. 9 Richards, William Trost...................................... 242 Rodriguez, Arturo.............................................. 433 Roesen, Severin (Attributed to).......................... 268 Rosenquist, James........................................ 84, 85 Rotari, Piero Antonio (Attributed to)................... 216 Rouault, Georges.......................................... 10–12 Rucklidge, Andrew............................................ 420 Rudaux, Henri Edmond..................................... 244

Spampinato, Clemente...................................... 376 Steadman, Ralph Idris......................................... 40 Strisik, Paul............................................... 294, 304 Szerner Jr., Wladyslaw Karol............................. 223 Taylor, Charles Jay............................................ 310 Teniers the Elder, David (School of)................... 218 Teniers the Younger, David (Manner of)..... 217, 219 Thayer, Abbott Handerson................................ 296 Thieme, Anthony............................. 333A, 335–338 Théobald, Renée............................................... 399 Tiffany, Louis Comfort....................................... 260 Tilson, Joe........................................................... 40 Tirado, Fernando............................................... 227 Tracy, John Martin............................................ 235 Ullberg, Kent............................................. 274, 280 Valtat, Louis...................................................... 394 Van Boskerck, Robert Ward.............................. 256 van Ceulen, Cornelius Janssen (Attributed to)... 202 Van Dyke, Willard.............................................. 125 Van Elten, Hendrik-Dirk Kruseman.................... 323 Vernon, Paul...................................................... 229 Wagner, Jacob.................................................. 255 Warhol, Andy................................................. 88–92 Waugh, Frederick Judd (Attributed to)............... 316 Way, John................................................. 413, 414 Wegman, William............................................... 136 Wei Letang................................................ 413, 414 Wesselmann, Tom............................................... 93 Weston, Brett............................................ 106–109 Weston, Cole.................................................... 100 Whistler, James Abbott McNeill..................... 32–36 White, Minor...................................................... 110 Whittemore, William John.................................. 263 Williams, Paul.................................................... 405 Wilson, Donald Roller........................................ 432 Wilson, Mortimer............................................... 368 Winogrand, Garry.............................................. 117 Woodbury, Charles Herbert....................... 237, 282 Yakovlev, Aleksandr.......................................... 362 Yaskil, Amos..................................................... 386 Yektai, Manoucher............................................ 388 Young, Purvis............................................ 417–419 Zak, Eugeniusz.................................................. 377 Zúñiga, Francisco.............................................. 369

Sala, Emilio Grau............................................... 402 Salgado, Sebastião................................... 137–140 Schalek, Malva.................................................. 366 Schluss, David................................................... 361 Schmidt, Karl..................................................... 322 Scott, Samuel (Attributed to)............................. 213 Segal, George..................................................... 86 Seltzer, Olaf C................................................... 275 Shapleigh, Frank Henry..................................... 262 Shaw, Charles Green........................................ 411 Shibata, Toshio................................................. 130 Shrady, Henry Merwin....................................... 277 Slonem, Hunt............................................ 429, 439 Smith, Francis Hopkinson.......................... 325, 327 Smith, Henry Pember........................................ 326 Sottsass, Ettore................................................... 87

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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 â&#x20AC;&#x153;as is,â&#x20AC;? and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. 3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. 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 purchaserâ&#x20AC;&#x2122;s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. 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

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

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 LamuniĂ¨re

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 Suhyung Kim asian@skinnerinc.com

Vice Presidents Victoria Bratberg Eric Jones Gloria Lieberman Carol McCaffrey

Kerry Shrives judaica@skinnerinc.com 508.970.3256

Senior Vice Presidents Marie Keep

Judaica

508.970.3263

Books & Manuscripts Devon Eastland

Musical Instruments Adam Tober music@skinnerinc.com 508.970.3216

Oriental Rugs & Carpets Lawrence Kearney

books@skinnerinc.com

rugs@skinnerinc.com

508.970.3293

508.970.3247

Ceramics

Photographs

Jane D. Prentiss Robin S.R. Starr

Stuart G. Slavid

Regional Directors

Michelle LamuniĂ¨re

ceramics@skinnerinc.com

photographs@skinnerinc.com

508.970.3203

508.970.3264

New York: Katie Banser-Whittle 212.787.1114 kbanser-whittle@skinnerinc.com

Florida: April L. Matteini, G.G. 305.503.4423 florida@skinnerinc.com

Clocks, Watches & Scientific Instruments Jonathan Dowling clocks@skinnerinc.com 508.970.3201

Maine: Bruce Buxton 207.772.6979 bbuxton@mainerr.com

Coins & Currency Kyle Johnson coins@skinnerinc.com 508.970.3191

Silver Stuart G. Slavid silver@skinnerinc.com 508.970.3203

Wine, Whisky & Ale Marie Keep Joseph Hyman Anna Ward finewines@skinnerinc.com 508.970.3296

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Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services

Exhibitions & Property Boston:

LaGina Austin

Marketing

Christine E. Finn

Linsey MacDougall

Rachel Kingsley

Jenna Nastri

Samantha Minshull

Laura V. Sweeney Sarah L. Collins Julia M. Dry Benjamin Evans

508.970.3299

Catalog Sales Consignment Services

Linsey MacDougall

Receptionist

508.970.3240

Katrina Wilson

Patricia Walker King

617.350.5400

Tara Lima Carol Zeigler

Advertising/Production

508.970.3204

Pamela Van de Houten Jeffrey R. Antkowiak

Customer Relations/Human Resources Carol McCaffrey

Stanley P. Bystrowski

Marlborough:

Kristina M. Harrison

Warehouse

Kathleen Jones

Frederic Trottier

Cheryl Richards Photography

508.970.3209 Samantha Heighton

508.970.3252

Skinner Online Kerry Shrives Daniel Bar

Accounting

Judie Ochsner

Receptionist Lindsay White 508.970.3000

online@skinnerinc.com

Denise Johnson

508.970.3279

508.970.3269

Transportation Eric Jones

Absentee & Telephone Bidding

William Madden 508.970.3266

508.970.3229

Boston: 617.874.4318

Kevin Rota

Marlborough: 508.970.3211

508.970.3283

Discovery: 508.970.3208

Auctioneers Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, 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

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Discover the Value of Your Collection

April Matteini Southeastern United States florida@skinnerinc.com | 305.503.4423

Katie Banser-Whittle New York/Tri-State Area newyork@skinnerinc.com | 212.787.1113

Helen Frankenthaler (American, 1928-2011), Eve, 1995, color screenprint, sold for $9,840

Skinnerâ&#x20AC;&#x2122;s regional offices provide trusted, professional services and direct access to Skinnerâ&#x20AC;&#x2122;s global marketplace for fine and decorative art and furniture, jewelry, wine, modern design, musical instruments, and more. Streamlined coordination with the Massachusetts team makes the auction process convenient for private individuals, institutions, and estates. Contact your local representative to schedule an evaluation today. We are proud of our sponsorships and collaborations within these regions, including the Coral Gables Museum, Norton Museum of Art, The Jewish Museum of Florida, Palm Beach County Estate Planning Council, Southeast Museum Association, and the Estate Planning Council of Westchester County. For a calendar of local events, please visit www.skinnerinc.com/news

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