American & European Works of Art | Skinner Auction 3140B

American & European Works of Art Sale 3140B | September 21, 2018 | Boston

American & European Works of Art

Specialists

Robin S.R. Starr

Elizabeth C. Haff

Department Director 508.970.3259

508.970.3258

Michelle Lamunière

Kathleen M. Leland 508.970.3297

508.970.3264

Department Inquiries: 508.970.3206

Auction Information Auction 3140B

Preview

Absentee Bidding

Friday, September 21

Wednesday, September 19 12 to 5PM

T: 617.874.4318 F: 617.350.5429

Fine Prints, Multiples & Photographs, 10AM Fine Paintings & Sculpture, 2PM 63 Park Plaza Boston, MA

Thursday, September 20 12 to 8PM

General Inquiries 617.350.5400

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View all lots online at www.skinnerinc.com cover : 108 ; interior front cover : 266 interior back cover : 127 ; back cover : 373

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Lot 77: Joan Mirรณ (Spanish, 18931983), Le matador, 1969, edition of 75.

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Table of Contents 1

Auction & Specialist Information

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Online Bidding

4

Event Announcement

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Provenance

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Glossary of Terms

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Prints, Multiples & Photographs: Lots 1–163

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Paintings & Sculpture: Lots 200–392

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Artist Index

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Conditions of Sale

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Absentee Bid Form

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Company Directors & Specialty Departments

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Administrative Staff & Client Services

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

Please refer to page 204 of this catalog for the full terms and conditions governing your purchase.

Copyright © Skinner, Inc. 2018 All rights reserved MA LIC. 2304

Highlights from the Dory Previn Collection An evening of art & anecdotes with Joby Baker Joby Baker will discuss Dory’s art collection, music, and poetry as we tour the gallery and view her works.

Wednesday, September 19, 2018 | 63 Park Plaza, Boston, MA Reception 5:30PM, Lecture 6PM

reservations are requested: events@skinnerinc.com

held in conjunction with a preview of Skinner’s September 21st auction of American & European Works of Art

Provenance Collection of Charlene Engelhard Collection of Dory Previn, Massachusetts Collection of Frederic and Jean Sharf, Massachusetts and Florida Collection of Dr. Richard Young, Massachusetts Collection of Frank and Dorothy Shear, St. Paul, Minnesota Private Collections in Massachusetts, Rhode Island, Florida, Washington State, Connecticut, New Hampshire, and Colorado Estate of Richard E. Anderson, New York, New York and Redding, Connecticut Estate of Bruce A. Buxton, Portland, Maine Estate of Marie Cosindas, pioneer photographer, Boston Estate of Lee and Grace Hasenbush, Brookline, Massachusetts Estates in Massachusetts, Texas, and Illinois By descent in the family of Arthur T. Lyman, Waltham, Massachusetts By descent in the family of Virginia and James Marion Jr., New York By descent in the family of John A. Weatherwax, Chicago and Los Angeles

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, Multiples & Photographs Lots 1–163 to be sold Friday, September 21, 10AM

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1 Hendrik Goltzius (Dutch, 1558-1617)

2 Rembrandt van Rijn (Dutch, 1606-1669)

3 Rembrandt van Rijn (Dutch, 1606-1669)

The Angel Announcing the Birth of Samson, c. 1586 (Bartsch, 3; Hirschmann, 2). Signed and identified within the plate. Engraving on laid paper with foolscap (?) watermark, plate size 8 9/16 x 6 1/4 in. (21.6 x 15.8 cm), matted, unframed.

Condition: Margins 1 1/2 inches or more, unobtrusive toning, soiling, and staining, ink annotations to margins, losses to edges.

Man Crying Out, Three-Quarters Left: Bust, c. 1630, probably an 18th century impression (Bartsch, 300; Hollstein, 300v/v). Unsigned.

Etching on paper, sheet size 1 5/8 x 1 3/8 in.

(4.0 x 3.4 cm), framed.

Condition: Trimmed to or just within the plate mark, not examined out of frame.

The Strolling Musicians, c. 1635, later 17th century impression (Bartsch, 119; Hollstein, 119 i/ii). Unsigned. Etching on paper, image/sheet size 5 5/16 x 4 1/2 in. (13.3 x 11.3 cm), framed.

Condition: Trimmed just into image on all four sides, minute edge tears, floated within the mat, not examined out of frame.

Provenance: The estate of Bruce A. Buxton, Portland, Maine. $150-200

Provenance: The estate of Bruce A. Buxton, Portland, Maine. $500-700

N.B. Goltzius created a series of designs of Biblical Annunciations. Of the six, this is the only plate engraved by Goltzius himself. The other five were engraved by Adriaen Collaert. $300-500

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4 Gerald Leslie Brockhurst (British, 1890-1978) The Dancer, 1925, edition of 107 (Fletcher, 92). Signed “G.L. Brockhurst.” in pencil l.r., signed and dated within the plate, identified on a fragmentary label from The Closson Galleries, Cincinnati, affixed to the backing.

Etching on paper, plate size 9 3/8 x 5 1/2 in. (23.7 x 13.8 cm), framed.

Condition: Gentle toning, not examined out of frame. $600-800 5 Richard Josey (British, 1840-1906), After James Abbott McNeill Whistler (American, 1834-1903) Arrangement in Grey and Black No. 1: Portrait of the Artist’s Mother, 1879, published by Henry Graves & Co., London. Signed “Richard Josey” in pencil l.r., signed “Whistler” and with butterfly in pencil l.l., publisher identified within the plate, The Printseller’s Association, London, dry stamp (Lugt, 2050/2051) with initials “GHZ” in the middle l.l. Mezzotint on chine collé, plate size 17 1/4 x 17 3/8 in. (43.7 x 44.0 cm), unmatted, unframed.

Condition: Supporting sheet with gentle handling creases and toning, subtle fingerprints and other soiling, pencil annotations to lower edge.

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Provenance: The estate of Marie Cosindas, pioneer photographer, Boston. $1,000-1,500

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6 Henri Matisse (French, 1869-1954) Danseuse endormie, 1926-27, edition of 50 plus proofs (Duthuit, 479). Numbered and signed “8/50 Henri - Matisse” in pencil l.r.

Lithograph on Japan paper, image size 8 3/4 x 18 in. (22.2 x 45.4 cm), framed.

Condition: Full sheet, gentle toning, image light-struck, minor soiling, the area under the “50” has been abraded as if by erasure, unobtrusive handling creases, ink annotations to verso, bits of brown paper tape to corners and along upper edge on verso. $5,000-7,000

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7 Pierre-Auguste Renoir (French, 1841-1919) Enfants jouant Ă la balle, c. 1900, edition of 200 (Stella, 32). Signed within the matrix, identified on a label from M. Knoedler & Co., New York, affixed to the backing. Color lithograph on heavy laid paper, image size 23 3/4 x 20 1/4 in. (60.1 x 51.4 cm), framed.

Condition: Sheet stretched with staining and residues to margins/tacking edges, gentle toning (more pronounced to margins wrapped behind the stretcher), printing flaw or repair to image u.r.

Provenance: Purchased from M. Knoedler & Co., Inc., New York, by Mr. Seymour Feiring, Yonkers, New York, in 1951, as a gift for his mother, then by descent to the current owner.

N.B. The original purchase receipt accompanies the lot. $20,000-30,000

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8 Henri Rivière (French, 1864-1951) L’Arc-en-ciel, plate 3 from the suite La Féerie des heures, 1901. Signed within the matrix.

Color lithograph on paper, image size 9 1/2 x 23 11/16 in. (24.0 x 60.0 cm), framed.

Condition: Not examined out of frame. $300-500

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9 Henri de Toulouse-Lautrec (French, 18641901) Ta bouche, from the suite Les Vieilles Histoires, 1893, from the final state of three printed after 1901, edition size uncertain (Adriani, 30). Monogrammed within the matrix. Lithograph in brick red on wove paper, image size 10 x 7 1/4 in. (25.4 x 18.4 cm), unmatted, unframed.

Condition: Deckled right edge, staining/soiling to image l.c. $300-500

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10 Leonard Baskin (American, 1922-2000) A Cheyenne Woman in the Robes of a Secret Society, 1974, edition of 100 (Fern & O’Sullivan, 638). Signed “Baskin” in pencil l.r., numbered “91/100” in pencil l.l., signed, dated, and titled “...Cheyanne [sic]...” within the matrix. Color lithograph on cream paper, image size 25 1/4 x 34 3/4 in. (64.0 x 88.0 cm), framed.

Condition: Not examined out of frame. $500-700

11 Leonard Baskin (American, 1922-2000) White-Man-Runs-Him Crow Scout, 1974, edition of 100 (Fern & O’Sullivan, 641). Signed “Baskin” in pencil l.r., numbered “10/100” in pencil l.l., signed, dated, and titled within the matrix. Lithograph on paper, image size 34 1/8 x 24 1/4 in. (86.5 x 61.5 cm), framed.

Condition: Gentle rippling, not examined out of frame. $500-700 12 George Bellows (American, 1882-1925) Business Men’s Class, 1916, edition of 64 (Mason, 20). Signed “Geo Bellows” in pencil l.r., titled in pencil l.c., inscribed “No 37” in pencil l.l. Lithograph on paper, image size 11 1/2 x 17 1/4 in. (29.2 x 43.8 cm), framed.

Condition: Gentle rippling, not examined out of frame.

N.B. The scene probably depicts the West Side YMCA, where Bellows first lived in New York after his arrival from Columbus, Ohio. $1,500-2,000

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13 Frank Weston Benson (American, 18621951) Pair of Yellowlegs, 1916, second published state, edition of 80 (Paff, 101). Signed “FrankWBenson.” in pencil l.l., numbered “3” in pencil l.r. Drypoint on paper, plate size 3 x 4 in. (7.5 x 10.0 cm), framed.

Condition: Subtle toning, not examined out of frame. $400-600

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14 Frank Weston Benson (American, 18621951) Bound Home, 1918, from the published state, edition of 150 (Paff, 134). Signed “FrankWBenson.” in pencil l.l., identified on a label from the J.J. Gillespie Company, Pittsburgh, affixed to the backing. Etching on paper, plate size 9 x 11 in. (22.7 x 27.8 cm), framed.

Condition: Unobtrusive toning, gentle rippling, not examined out of frame. $800-1,200

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15 Frank Weston Benson (American, 1862-1951) Marsh Gunner, 1918, from the published state, edition of 150 (Paff, 149). Indistinctly signed and numbered l.l. Etching on Shogun paper with watermark, plate size 10 7/8 x 8 7/8 in. (27.5 x 22.5 cm), framed.

Condition: Margins over 1 3/4 inches with deckled left edge, pale staining and toning.

Provenance: Thought to have hung at the Bonny Hall Plantation in Beaufort County, South Carolina.

Arthur Lyman owned the plantation from 1925 to 1934. The work descended in Lyman’s family to the current owner. $800-1,200 16 Frank Weston Benson (American, 1862-1951) Ipswich Marshes, 1926, from the published state, edition of 150 (Paff, 257). Signed “FrankWBenson.” in pencil l.l. Drypoint on paper, plate size 7 7/8 x 9 7/8 in. (19.9 x 25.0 cm), framed.

Condition: Pale staining and/or foxing, not examined out of frame.

Provenance: Thought to have hung at the Bonny Hall Plantation in Beaufort County, South Carolina.

Arthur Lyman owned the plantation from 1925 to 1934. The work descended in Lyman’s family to the current owner. $300-500

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17 Mary Cassatt (American, 1844-1926) Sara Wearing her Bonnet and Coat, c. 1904 (Breeskin, 198). Signed within the matrix.

Transfer lithograph on paper, image size 20 x 16 1/2 in. (50.5 x 42.0 cm), framed.

Condition: Pale foxing, gentle toning, subtle rippling, not examined out of frame. $2,000-3,000 18 Lloyd Chester Foltz (American, 1897-1990) Over the Pass, edition of 50. Signed “Lloyd C. Foltz” in pencil l.r., titled in pencil l.l., inscribed “Ed 50” in pencil l.c. Aquatint on paper, plate size 9 3/8 x 8 in. (23.8 x 20.3 cm), framed.

Condition: Unobtrusive toning, gentle rippling, not examined out of frame. $300-500

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19 Eliza Draper Gardiner (American, 18711955) Passaconaway No. 2, c. 1919, edition of 40 (Cywin, 27). Signed and numbered “Eliza D. Gardiner 15/40” in pencil within the image l.r., identified on an exhibition label (see below) affixed to the backing. Color woodcut on paper, image size 10 1/8 x 7 1/2 in. (25.5 x 19.0 cm), framed.

Condition: Several pale fox marks, gentle rippling, not examined out of frame.

Exhibitions: Arthur Wesley Dow and American Arts & Crafts, The American Federation of Arts, New York, July 13, 1999-October 1, 2000. $800-1,200 20 Childe Hassam (American, 1859-1935) The Writing Desk, 1915 (Cortissoz/Clayton, 54). Monogrammed and inscribed “...imp.” in pencil l.r. Etching on paper, plate size 10 x 7 in. (25.3 x 17.5 cm), matted, unframed.

Condition: Deckled edges, thinned spots on verso (some stabilized and/or repaired), breaks to paper fibers along plate mark, staining and pinholes to margins.

N.B. The sitter is Kathleen Doan Hassam, the artist’s wife, and shows her at work at a desk in their home, Holley House, in Cos Cob, Connecticut. $5,000-7,000

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21 Rockwell Kent (American, 1882-1971)

23 Rockwell Kent (American, 1882-1971)

25 Rockwell Kent (American, 1882-1971)

Forest Pool, 1927, edition of 150 (Jones, 14).

Signed “Rockwell Kent” in pencil l.r. Wood engraving on wove paper, image size 5 1/2 x 8 1/8 in. (13.9 x 20.5 cm), matted, unframed.

Condition: Margins over 1 inch, pale toning to margins, pencil annotations to verso.

Waldo Peirce, 1928, edition of 200 (Jones, 30). Signed “Rockwell Kent.” in pencil l.r.

Lithograph on cream wove paper, image size 9 7/8 x 7 3/8 in. (25.0 x 18.6 cm), unmatted, unframed.

Condition: Margins over 1 3/4 inches with deckled edges, very subtle toning and wear to deckles.

Farewell, 1931, edition of 400 (Jones, 61). Signed “Rockwell Kent” in pencil l.r.

Lithograph on wove paper, image size 5 3/4 x 3 15/16 in. (14.5 x 10.0 cm), matted, unframed.

Condition: Margins over 3 1/2 inches with deckled edges, pencil annotations to lower margin, hinge/glue residue to edge on verso.

Provenance: A private Washington collection.

Provenance: A private Washington collection.

N.B. A certificate from Associated American Artists, New York, accompanies the lot. $400-600

N.B. A certificate from Associated American Artists, New York, accompanies the lot. $500-700

Provenance: A private Washington collection.

N.B. A certificate from Associated American Artists, New York, accompanies the lot. $1,500-2,000 22 Rockwell Kent (American, 1882-1971) Precipice, 1927, edition of 100 (Jones, 15).

Signed “Rockwell Kent” in pencil l.r. Wood engraving on cream wove paper, image size 8 1/8 x 5 1/2 in. (20.5 x 13.9 cm), matted, unframed.

Condition: Margins over 1 1/2 inches with deckled left and lower edges, pale toning and mat burn to margins.

24 Rockwell Kent (American, 1882-1971) Starlight, 1930, edition of 120 (Jones, 52).

Signed “Rockwell Kent.” in pencil l.r. Wood engraving on gray paper, image size 5 1/4 x 6 7/8 in. (13.3 x 17.4 cm), framed.

Condition: Gentle rippling, not examined out of frame. $2,500-3,500

Provenance: A private Washington collection.

N.B. A certificate from Associated American Artists, New York, accompanies the lot. $1,200-1,800

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26 Rockwell Kent (American, 1882-1971) Hero, 1931, edition of 150 (Jones, 69). Signed “Rockwell Kent� in pencil l.r. Lithograph on wove paper with partial watermark, image size 12 1/4 x 9 in. (31.0 x 22.8 cm), unmatted, unframed.

Condition: Margins 3 inches or more with deckled edges, very subtle toning to edges, old hinges to upper corners on verso.

Provenance: A private Washington collection.

N.B. A certificate from Associated American Artists, New York, accompanies the lot. $600-800

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27 Rockwell Kent (American, 1882-1971)

28 Rockwell Kent (American, 1882-1971)

30 Rockwell Kent (American, 1882-1971)

Beowulf: Genealogical Tree, 1931, edition of 150 (Jones, 71). Signed “Rockwell Kent” in pencil l.r. Lithograph on Rives paper with watermark, image size 12 3/4 x 10 1/8 in.

(32.3 x 25.5 cm), matted, unframed.

Condition: Margins 3 inches or more with deckled edges (some deckles gently creased), very subtle toning.

Starry Night, 1933, edition of 1,750 (Jones, 103). Signed “Rockwell Kent” in pencil l.r.

Wood engraving on Japan paper, image size 7 x 4 15/16 in. (17.7 x 12.4 cm), matted, unframed.

Condition: Margins over 1 1/4 inches with deckled right and lower edges, old hinges to upper corners on verso. $700-900

Charlotte, 1934, edition of 100 (Jones, 107). Signed “Rockwell Kent” in pencil l.r.

Lithograph in black and brick on wove paper, image size 10 5/8 x 14 3/8 in. (27.0 x 36.4 cm), matted, unframed.

Condition: Margins approximately 1 1/2 inches and with gentle toning, old hinges to upper corners on verso.

Provenance: A private Washington collection.

Provenance: A private Washington collection.

N.B. A photocopy of a receipt for this work from Egon and Joan Teichert, Hauppauge, New York, and dated August 11th, 1984, accompanies the lot. $600-800

29 Rockwell Kent (American, 1882-1971) Self-portrait, alternatively titled Das Ding an Sich, 1934, edition of 150 (Jones, 104).

Signed “Rockwell Kent.” in pencil l.r., titled in pencil l.l. Lithograph on Rives paper with partial watermark, image size 13 3/8 x 9 3/4 in. (33.8 x 24.6 cm), matted, unframed.

Condition: Margins over 2 1/4 inches, very subtle toning, several pinpoint fox marks to margins, old hinges and hinging residue to edges on verso.

N.B. A photocopy of a receipt for this work from State Street Bookshop, Ann Arbor, Michigan, dated May 30th, 1982, accompanies the lot. $400-600

Provenance: Purchased from Tahir Gallery, New Orleans, c. 1978, to a private Washington collection. $300-500

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31 Rockwell Kent (American, 1882-1971) Night Flight, 1941, edition of 150 (Jones, 132). Signed “Rockwell Kent” in pencil l.r., titled in pencil l.l. Chiaroscuro wood engraving in black and blue-gray on wove paper, image size 8 1/2 x 6 3/8 in. (21.5 x 16.1 cm), matted, unframed.

Condition: Margins 1 1/2 inches or more with deckled lower edge, subtle toning to edges.

Provenance: A private Washington collection.

N.B. A certificate from Associated American Artists, New York, accompanies the lot. $800-1,200 32 Rockwell Kent (American, 1882-1971)

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The Smith Act, 1951, edition of 100 (Jones, 145). Signed “Rockwell Kent” in pencil l.r.

Lithograph on wove paper, image size 13 3/4 x 9 3/4 in. (34.8 x 24.5 cm), matted, unframed.

Condition: Margins approximately 1 inch, very subtle toning, unpressed creases to corners of margins l.r. and u.r.

Provenance: A private Washington collection.

N.B. A certificate from Associated American Artists, New York, accompanies the lot. $500-700

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33 Martin Lewis (American, 1881-1962) Wet Night, Route 6, 1933, total edition of 51 (McCarron, 104). Signed “Martin Lewis-” in pencil l.r., signed within the plate, dedicated “for John Hughes Cassidy with all good wishes Dec 25/33” in pencil l.l. Drypoint on laid paper, plate size 8 7/8 x 14 5/8 in. (22.5 x 37.0 cm), framed.

Condition: Margins over 1 1/2 inches, mat burn, 1 inch tear to edge of upper margin, glue to upper edge of margin both recto and verso.

N.B. The artist dedicated the print to the grandfather of the current owner. According to McCarron the scene depicts the highway between Newtown and Sandy Hook, Connecticut. $6,000-8,000 34 William C. McNulty (American, 1889-1963) The Whirlpool, alternatively titled In the Fifties. Signed “Wm. C McNulty” in pencil l.r.

Drypoint on paper, plate size 13 5/8 x 7 1/4 in.

(34.5 x 18.3 cm), framed.

Condition: Gentle mat burn, not examined out of frame. $300-500

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35 Carl Clemens Moritz Rungius (American, 1869-1959)

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Stampede, 1925 (Crouch, 8). Signed “C. Rungius” in pencil l.r. Etching on paper, plate size 6 1/4 x 8 3/8 in. (15.8 x 21.2 cm), framed.

Condition: Several tiny, pale fox marks, not examined out of frame. $1,500-2,000 36 Carl Clemens Moritz Rungius (American, 1869-1959) Osborn’s Caribou, 1925 (Crouch, 10).

Signed “C. Rungius” in pencil l.r. Etching on paper, plate size 6 1/4 x 8 3/8 in. (15.8 x 21.2 cm), framed.

Condition: Foxing, gentle toning, not examined out of frame. $800-1,200 37 Carl Clemens Moritz Rungius (American, 1869-1959) The Rivals, 1925 (Crouch, 11). Signed “C. Rungius” in pencil l.r. Etching on paper, plate size 6 1/4 x 8 3/8 in. (15.8 x 21.2 cm), framed.

Condition: Several tiny fox marks, not examined out of frame. $1,500-2,000

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38 George Tooker (American, 1920-2011) Repose, 1975, edition of 150. Signed “George Tooker” in pencil l.r., numbered “49/150” in pencil l.l. Embossing on heavy cream paper, image size 7 1/8 x 10 in. (18.0 x 25.5 cm), unmatted, unframed.

Condition: Full sheet with deckled edges. $300-500 39 George Tooker (American, 1920-2011)

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The Lovers, alternatively titled Embrace, 1982, edition of 175. Signed “George Tooker” in pencil l.r., numbered “22/175” in pencil l.l.

Lithograph on paper, image size 12 1/8 x 16 1/8 in. (30.5 x 40.7 cm), unmatted, unframed.

Condition: Full sheet with deckled edges. $500-700 40 George Tooker (American, 1920-2011) Un Ballo in Maschera, 1983, edition of 250, published by the Metropolitan Opera Association, New York, and Circle Fine Art, Chicago, printed by American Atelier, New York. Numbered and signed “108/250 Tooker” in pencil within the image l.l., the Met’s dry stamp l.l., printer’s dry stamp l.r., Circle’s ink stamp on verso. Color lithograph on paper, image size 7 1/8 x 10 in. (18.0 x 25.5 cm), unmatted, unframed.

Condition: Full sheet with deckled edges. $400-600

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41 George Tooker (American, 1920-2011)

42 George Tooker (American, 1920-2011)

43 Stow Wengenroth (American, 1906-1978)

Self Portrait, 1984, proof edition outside of the edition of 250. Signed “George Tooker” in pencil l.r., numbered “XXIII/LXXV” in pencil l.l.

Lithograph on paper, image size 8 5/8 x 7 3/4 in. (21.8 x 19.5 cm), unmatted, unframed.

Condition: Full sheet with deckled edges. $400-600

Embrace II, 1984, edition of 175. Signed “George Tooker” in pencil l.r., numbered “17/175” in pencil l.l. Lithograph on paper, image size 12 1/8 x 16 1/8 in. (30.5 x 40.5 cm), framed.

Condition: Not examined out of frame. $500-700

Manhattan Gateway, 1948, edition of 60 (Stuckey, 176). Signed “Stow Wengenroth” in pencil l.r., numbered “Ed/60” in pencil l.l.

Lithograph on paper, image size 9 5/8 x 18 in.

(24.5 x 45.7 cm), framed.

Condition: Pale mat burn, not examined out of frame.

N.B. Wengenroth made four different lithographs featuring the Brooklyn Bridge.

Manhattan Gateway is the first. It is the only nocturne of the four, and is the most mysterious and evocative. $700-900

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44 James Abbott McNeill Whistler (American, 1834-1903) Chelsea, 1878-79, final state of five (Glasgow, 181). Monogrammed within the plate, Printseller’s Association dry stamp (Lugt, 2050-2051) with initials “HR” in the center l.l. Etching on laid paper with “1814/2” watermark, plate size 5 5/16 x 8 1/8 in. (13.4 x 20.5 cm), partially matted, unframed.

Condition: Mat burn, glue residue to outer margins, faint water or similar staining to lower margin, gentle toning, lower edge unevenly trimmed, tear to left edge. $500-700 45 Grant Wood (American, 1891-1942)

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Family Doctor, 1941, edition of 300 (Czestochowski, 20). Signed “Grant Wood” in pencil l.r., titled in pencil l.l., information regarding the artist affixed to the backing. Lithograph on paper, image size 10 x 12 in. (25.4 x 30.4 cm), framed.

Condition: Gentle rippling, several tiny, pale fox marks, not examined out of frame.

N.B. This work is based on Wood’s drawing of the hands of Dr. Andrew William Bennett of Iowa City. Ironically this print was completed just before Wood was admitted to the hospital on November 24th, 1941. $3,000-5,000

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46 Francisco Zúñiga (Mexican, 1912-1998) Mujeres Frente al Mar, 1978, edition of 70 plus proofs, printed by Kyron, S.A., Mexico City, published by Brewster Editions, New York (Brewster, 38). Numbered, signed, and dated “40/70 Zúñiga 1978” in pencil within the image l.l., printer’s dry stamp within the image l.r. Color lithograph on paper, image/sheet size 20 3/4 x 26 1/2 in. (52.6 x 67.2 cm), framed.

Condition: Full sheet with deckled edges, minor creases near upper corners, floated within the mat, not examined out of frame. $700-900 47 Josef Albers (German/American, 1888-1976) Interim, from the series Graphic Tectonics, 1942, edition of 30 printed by Reinhard Schumann, Hickory, North Carolina (Danilowitz, 101). Signed and dated “Albers 42” in pencil l.r., titled in pencil l.l. Lithograph on paper, image size 7 1/2 x 15 1/4 in. (19.0 x 38.5 cm), framed.

Condition: Possible light-striking, subtle toning, gentle rippling, not examined out of frame. $2,000-3,000

46

47

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48 Karel Appel (Dutch, 1921-2006) Head Like an Animal, 1978, edition of 175 plus proofs. Signed “appel” in white pencil within the image l.r., numbered “3/75” in white pencil within the image l.l., identified in fragmentary information affixed to the backing.

Color lithograph on paper, sight size 21 3/8 x 29 1/4 in. (54.2 x 74.2 cm), framed.

Condition: Gentle rippling, not examined out of frame. $300-500 49 Richard Bosman (American, b. 1944) 48

The Wave, 1988, edition of 35. Signed “Bosman” in pencil within the image l.r., numbered “14/35” in pencil within the image l.l., identified on a label from The Harcus Gallery, Boston, affixed to the backing. Color woodcut on paper, image/sheet size 30 x 38 1/2 in. (76.2 x 97.6 cm), framed.

Condition: Several fox marks, floated within the frame, not examined out of frame. $250-350 50 Bernard Buffet (French, 1928-1999) New York IX, from Album New York, 1964-65, edition of 150 plus proofs (Mourlot, 61). Signed “Bernard Buffet” in pencil l.r., numbered “15/150” in pencil l.l. Color lithograph on Arches paper with watermark, image size 19 1/2 x 27 3/8 in. (49.4 x 69.4 cm), framed.

Condition: Full sheet with deckled right and lower edges, very subtle toning, floated within the frame, not examined out of frame. $700-900

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50

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51 partial

51 Alexander Calder (American, 1898-1976) Five Plates from the suite Flying Colors: Beastie, Skybird, Friendship, Skyswirl, and Convection, 1974, published in 1975 for Braniff Airlines. Each initialed and dated within the matrix and with Flying Colors dry stamp l.r. Color lithographs on wove paper, image/sheet sizes 20 x 26 in. (50.6 x 65.8 cm), unmatted, unframed.

Condition: Strong colors, sheets very gently toned. $1,200-1,800 52 Corneille (Dutch, 1922-2010) O Colombe, 1986. Inscribed, titled, signed, and dated “E/A...Corneille ‘86” in pencil within the image l.r. Color lithograph on paper, image/sheet size 27 7/8 x 22 in.

(70.7 x 55.7 cm), framed.

Condition: Deckled edges, floated within the frame, not examined out of frame.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota. $250-350 52

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53 Enzo Cucchi (Italian, b. 1949) Immagine Oscura, 1991, edition of 30 plus proofs, published by 2RC Edizioni d’Arte, Rome and Peter Blum Editions, Munich, printed by Vigna Antoniniana, Rome. Signed “E. Cucchi” in pencil l.r., numbered “29/30” in pencil l.l. Aquatint with etching and lithography on paper, plate size 34 5/8 x 54 3/4 in. (87.8 x 139.0 cm), framed.

Condition: Gentle rippling, not examined out of frame. $700-900 54 Salvador Dalí (Spanish, 1904-1989) Ivanhoe/Suite of Four Images, 1977-79, edition of 250 plus proofs (Field, 78-8; Michler & Löpsinger, 1557-1560). Each signed “Dalí” in pencil l.r. and numbered “2/250” in pencil l.l. Color lithographs on wove paper, image sizes approximately 23 x 16 in. (58.5 x 40.5 cm), framed.

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

54 partial

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55 Richard Diebenkorn (American, 1922-1993)

55

Untitled, from the Harvey Gantt Portfolio, 1991, edition of 250, published by Gemini G.E.L., Los Angeles (NGA/Gemini, 15.9). Initialed and dated “R D 90” in pencil l.r., numbered “135/250” in pencil l.l., copyright and publisher’s dry stamps l.r., identified on a collection label (see below) affixed to the backing. Lithograph in black and taupe on paper, image size 4 15/16 x 6 5/8 in.

(12.5 x 16.8 cm), framed.

Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame.

Provenance: Collection of Charlene Engelhard. $700-900 56 Jim Dine (American, b. 1935)

56 partial

Self Portrait in a Ski Hat/A Suite of All Four States, 1974, edition sizes from 20 to 40, published by Petersburg Press, New York (Williams College, 176-179). Each signed, dated, and numbered “13...Jim Dine 1974” in pencil along lower edge. Etchings (two with handcoloring) on various papers, plate sizes 8 3/4 x 11 1/2 in. (22.0 x 29.0 cm), framed.

Condition: Full sheets with most edges deckled, some with gentle toning, staining and/or fox marks, floated within the frames, not examined out of frames.

N.B. This suite uses the same plate, reworked for each state, to begin with a self portrait which is slowly overgrown by tulips. Dine is known for his inventive printmaking techniques, including his use of power tools. In this suite he used an oscillating sander to remove marks from state to state. $2,000-3,000

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57 Jim Dine (American, b. 1935) Saw, 1976, edition of 30, published by Pyramid Arts, Ltd., Tampa (Williams College, 207). Signed and dated “Jim Dine 1976” in pencil l.l., numbered “6/30” in pencil l.r.

Etching and biting on paper, plate size 32 3/8 x 22 3/4 in. (82.0 x 57.7 cm), framed.

Condition: Full margins with deckled edges, gentle rippling, floated within the frame, not examined out of frame. $1,000-1,500 58 Jim Dine (American, b. 1935) Nancy Outside in July XVIII: Full of Expression, 1981, edition of 15 plus proofs, printed by Atelier Crommelynck, Paris (D’Oench & Feinberg, 99). Signed and dated “Jim Dine 1981” in pencil l.r., numbered “13/15” in pencil l.l. Photogravure, etching, soft-ground, and aquatint with hand-coloring on paper, plate size 23 5/8 x 19 5/8 in. (59.8 x 49.7 cm), framed.

Condition: Full sheet with deckled edges, gentle rippling, floated within the frame, not examined out of frame.

Provenance: A Massachusetts estate. $700-900

58

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59

59 Richard Estes (American, b. 1932) Lakewood Mall, from Urban Landscapes No. 3, 1981, edition of 250 (Arthur, p. 123).

Signed “Richard Estes” in pencil l.r., numbered “250/250” in pencil l.l. Color screenprint on paper, image size 14 x 20 in. (35.5 x 50.7 cm), framed.

Condition: Not examined out of frame.

Provenance: A private Connecticut collection. $1,500-2,500 60 Alberto Giacometti (Swiss, 1901-1966) Nu aux fleurs, 1960, edition of 90, published

by Maeght Éditeur, Paris (Lust, 32). Signed “Alberto Giacometti” in pencil l.r., numbered “63/90” in pencil l.l. Lithograph on paper, image size 14 3/4 x 11 1/4 in. (37.3 x 28.5 cm), framed.

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

60

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61 Hans Hartung (French/German, 1904-1989) L18, 1957, edition of 50, printed by Jean Pons, Paris (Schmücking, p. 81). Signed “Hartung” in pencil l.r., numbered “5/50” in pencil l.l.

Lithograph on paper, image size 19 3/4 x 12 in.

(50.0 x 30.5 cm), framed.

Condition: Toning, not examined out of frame. $350-550 62 Howard Hodgkin (British, 1932-2017) Red Eye, 1980-81, edition of 100 plus proofs, published by Bernard Jacobson Ltd., London (Heenk, 63). Initialed and dated “H H 81” in pencil within the image l.c., dry stamp l.r., purportedly numbered “60/100” on the verso.

Lithograph with hand-coloring on paper, image/ sheet size 10 3/8 x 12 1/2 in. (26.4 x 31.6 cm), framed.

Condition: Full sheet with deckled edges, floated within the mat, not examined out of frame.

Provenance: Purchased from the Randall Beck Gallery, Boston, by John W. Hill Jr., Concord, Massachusetts, in 1992; through to current owner.

61

N.B. A copy of the 1992 sales receipt accompanies the lot. $2,500-3,500

62

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63

63 Howard Hodgkin (British, 1932-2017) Sand, 1982-85, edition of 50 plus proofs, published by Petersburg Press, New York (Heenk, 70). Numbered, initialed, and dated “35/50 HH 83” in pencil within the image l.c.

Color lithograph on paper, image/sheet size 31 x 40 1/4 in. (78.5 x 102.2 cm), unmatted, unframed.

Condition: Deckled edges, minor wear to corners and some deckles, unpressed crease near corner u.l. $1,000-1,500 64 Robert Indiana (American, 1928-2018) Purim: The Four Facets of Esther (II), 1967, proof outside of the edition of 60, published by The Jewish Museum, New York (Sheehan, 36).

Signed and dated “R Indiana 1967” in pencil l.r., titled in pencil l.l., inscribed “(ARTIST’S PROOF)” in pencil l.c. Color screenprint on paper, image size 26 1/2 x 21 1/2 in. (67.2 x 54.5 cm), framed.

Condition: Gentle rippling, not examined out of frame. $1,500-2,000

64

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65

66

65 Marcel Janco (Israeli, 1895-1984) Architecture. Signed “Marcel Janco” in pencil l.r., titled in pencil l.l., inscribed “Epreuve d’artiste” in pencil l.c.

Color lithograph with collage on paper, image size 19 7/8 x 13 5/8 in. (50.4 x 34.5 cm), framed.

Condition: Gentle rippling, not examined out of frame. $600-800 66 Allen Jones (British, b. 1937) and James Wedge (British, b. 1939) Thrill Me, 1969, edition of 120 (Lloyd, 50). Signed “James Wedge” in pencil within the image c.l., signed and dated “Allen Jones 69” in pencil within the image c.r., numbered “88/120” in pencil within the image l.c. Color lithograph on paper, image/sheet size 27 1/4 x 39 3/4 in.

(69.0 x 100.8 cm), unmatted, shrink-wrapped.

Condition: Deckled lower edge, not examined out of wrap. $600-800 67 Le Corbusier (French/Swiss, 1887-1965) Femme à la main levée, 1954-62, published by Charles Sorlier, Paris (Weber, 56/57). Initialed and dated within the matrix. Color lithograph on paper, image size 43 x 26 5/8 in. (109.1 x 67.5 cm), framed.

Condition: Gentle toning, several pinpoint fox marks, floated within the frame, not examined out of frame. $1,000-1,500 67

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68

68 Le Corbusier (French/Swiss, 1887-1965) Modular, 1956 (Weber, 58). Initialed, signed, and dated within the matrix. Color lithograph on paper, image size 27 3/4 x 21 in. (70.4 x 53.3 cm), framed.

Condition: Full sheet with deckled right and lower edges, subtle toning and pale fox marks, floated within the frame, not examined out of frame. $800-1,200 69 After Fernand Léger (French, 1881-1955) Jaune et rouge, 1950, from Album of 10 Serigraphs, 1954-55, from the edition of 200, printed by Jean Bruller, Paris (Saphire, E 10).

Signed “F Leger” in ink (faded) l.r., initialed and dated within the matrix, numbered “136/200” in pencil l.l. Color screenprint on paper, image size 12 3/4 x 8 7/8 in. (32.3 x 22.4 cm), framed.

Condition: Unobtrusive toning, not examined out of frame. $600-800

69

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70 Sol LeWitt (American, 1928-2007) Bands of Color from Lower Left Corner/A Suite of Two Works, 1989, edition of 25 plus proofs, published by Galerie Vega, Plainevaux, Belgium, and the artist (Krakow, 1989.03).

Signed and numbered “LeWitt AP 1/6� in pencil l.r. Color screenprints on paper, image sizes 36 x 36 in. (91.4 x 91.4 cm), framed.

Condition: Not examined out of frames. $3,000-5,000 71 After Roy Lichtenstein (American, 19231997) 70

As I Opened Fire.../A Triptych, 1966 (Corlett, app. 5). Unsigned, identified in the matrix, each sheet stamped in the lower corners on the reverse. Offset color lithographs on paper, each sheet 25 1/8 x 20 7/8 in. (63.7 x 52.9 cm), unmatted, unframed.

Condition: Unobtrusive toning, minor handling creases. $400-600

71

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74

72 After Roy Lichtenstein (American, 19231997 Pistol, from Banner, Multiples Calendar for 1969, 1968, published by Multiples, Inc., New York. Unsigned, identified in printed text on the verso. Color screenprint on card stock, image size 15 1/8 x 8 5/8 in. (38.2 x 21.8 cm), unmatted, unframed.

Condition: Pinpoint foxing, subtle rubs/ink loss at very edges. $300-500

72

73 Various Japanese Artists: Unichi Hiratsuka (1895-1997), Reika Iwami (b. 1927), Haku Maki (1924-2000), Maekawa Sempan (1888-1960), Tamami Shima (b. 1937), Kinoshita Tomio (b. 1923), Azechi Umetaro (1902-1999), Sadao Watanabe (1913-1996), Masaji Yoshida (1917-1971) and Mori Yoshitoshi (1898-1992) The Modern Japanese Print: An Appreciation/A Book of 10 Prints, by James A. Michener, 1962, total edition of 510, published by Charles E. Tuttle Company, Rutland, Vermont, and Tokyo. Each print signed in pencil, numbered and signed “506...James A. Michener� in ink on the colophon page. Color woodcuts, sheet sizes approximately 21 1/2 x 15 1/4 in. (54.5 x 38.6 cm), presented in the original wooden branded slipcase.

Condition: Minor wear to page edges, several small stains to contents page. $1,200-1,800 73 partial

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74 Roberto Matta (Chilean, 1911-2002) Plate Six, from the suite Les oh! tomobiles, 1972, edition of 100 (Sabatier, 310). Signed “Matta” in pencil l.r., numbered “29/100” in pencil l.l. Color etching and aquatint with soft ground on Japan paper, plate size 16 1/4 x 21 3/4 in.

(41.2 x 55.2 cm), framed.

Condition: Full sheet with deckled edges, minor soiling to margins at upper corners, floated within the frame, not examined out of frame.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota. $250-350 75 Joan Miró (Spanish, 1893-1983) Plate, from Ubu Roi, 1966, edition of 75 plus proofs, printed by Mourlot, Paris, published by Tériade, Paris (Mourlot, 403). Signed “Miró.” in pencil l.r., “53/75” in pencil l.l. Color lithograph on paper, image size 16 1/4 x 25 in. (41.2 x 63.4 cm), framed.

Condition: Unobtrusive toning, not examined out of frame. $2,500-3,500 76 Joan Miró (Spanish, 1893-1983) La fronde, 1969, edition of 75 plus proofs, published by Maeght Éditeur, Paris (Dupin, 501).

Signed “Miró” in pencil (within the image) l.r., inscribed “H.C.” in pencil (within the image) l.l.

Color etching with aquatint and carborundum on paper, sheet size 41 3/4 x 27 1/2 in. (105.8 x 69.7 cm), framed.

Condition: Deckled edges, gentle rippling and handling creases, floated within the mat, not examined out of frame.

Provenance: A Massachusetts estate. $20,000-30,000

76

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78

77

77 Joan Miró (Spanish, 1893-1983)

78 Joan Miró (Spanish, 1893-1983)

Le matador, 1969, edition of 75, published

by Maeght Éditeur, Paris, printed by Morsang, Paris (Dupin, 510). Signed “Miró” in pencil l.r., numbered “45/75” in pencil l.l. Color etching with aquatint, drypoint, and carborundum on paper, plate size 42 x 29 in. (106.5 x 73.5 cm), framed.

Condition: Gentle rippling, not examined out of frame.

Le soleil ebouillanté, 1969, edition of 75, published by Maeght Éditeur, Paris (Dupin, 518). Signed “Miró” in pencil l.r., numbered “19/75” in pencil l.l. Color etching with aquatint and carborundum on cream paper, plate size 38 3/4 x 23 1/2 in. (98.3 x 59.5 cm), framed.

Condition: Gentle rippling, not examined out of frame.

Provenance: A Massachusetts estate. $25,000-35,000

Provenance: A Massachusetts estate. $6,000-8,000

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79 Joan Miró (Spanish, 1893-1983) Les armes du sommeil, 1970, edition of 75, published by Maeght Éditeur, Paris (Dupin, 533). Signed “Miró” in pencil l.r., numbered “56/75” in pencil l.l. Color etching with aquatint and carborundum on paper, plate size 20 1/2 x 24 1/2 in. (52.0 x 61.4 cm), framed.

Condition: Minor rippling, not examined out of frame.

Provenance: A Massachusetts estate. $5,000-7,000 80 Joan Miró (Spanish, 1893-1983)

80

Plate Twelve, from the suite Homenatge a Joan Prats, 1971, from the edition of 75, published by Poligrafa, Barcelona (Mourlot, 727). Signed “Miró” in pencil l.r., numbered “3/75” in pencil l.l. Color lithograph on cream paper, image size 21 1/2 x 29 1/2 in. (54.4 x 75.0 cm), framed.

Condition: Gentle rippling, not examined out of frame.

Provenance: Purchased in 2011 from Valley House Gallery, Inc., Dallas, by the current Massachusetts owner/collector.

N.B. A photocopy of the receipt accompanies the lot. $4,000-6,000

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81 Joan Miró (Spanish, 1893-1983) Pygmées sous la lune, 1972, printed and published by Maeght Éditeur, Paris (Dupin, 562). Signed “Miró” in pencil l.r., inscribed “H.C.” in pencil l.l. Color etching with aquatint on paper, plate size 21 1/4 x 27 in. (53.8 x 68.5 cm), framed.

Condition: Mat burn, gentle rippling, not examined out of frame.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota. $3,000-5,000 82 Joan Miró (Spanish, 1893-1983) Untitled, from Lithographie II, 1975, from the suite edition of 80, printed by Mourlot, Paris (Mourlot, 1037). Signed “Miró” in pencil l.r., numbered “XXX/LXXX” in pencil l.l. Color lithograph on cream paper, image size 13 x 9 3/4 in. (33.0 x 24.6 cm), framed.

Condition: Full sheet with deckled lower and right edges, subtle staining to edges and toning to sheet with possible gentle fading, floated within the mat, not examined out of frame.

81

Provenance: A Massachusetts estate. $1,200-1,800 83 Henry Moore (British, 1898-1986) Mother and Child, from the Italian edition of The Shelter Sketchbook, 1967, edition of 75, total edition of 255 plus proofs, published

by Marlborough Fine Art Ltd., London, and Rembrandt Verlag GmbH, Berlin (Cramer, 83).

Signed and numbered “Moore LXVII/LXXV” in pencil l.l., signed and dated within the matrix.

Color lithograph on paper, image size 6 1/4 x 8 7/8 in. (15.7 x 22.4 cm), framed.

Condition: Not examined out of frame. $600-800

82

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83

84

84 Louise Nevelson (American, 1899-1988) Aquatint II, alternatively titled Untitled (54-2), from the series Aquatint & Collage, 1973, edition of 90, published by Pace Editions, Inc., New York, printed by 2RC Edizioni d’Arte, Rome (Baro, 116). Signed and dated “Louise Nevelson - 73.” in pencil l.r., numbered “38/90” in pencil l.l., printer’s dry stamp l.l.

Color aquatint with collage on Fabriano wove paper with watermark, plate size 27 7/8 x 21 1/2 in. (70.7 x 54.5 cm), framed.

Condition: Full sheet with deckled left and right edges, staining along mat opening (primarily along lower and left margins), handling crease near upper corners or margins, pencil annotation to verso. $1,500-2,500 85 Claes Oldenburg (American, b. 1929)

85

Butt for Gantt, from the Harvey Gantt Portfolio, 1991, edition of 250 plus proofs, published by the artist and by Gemini G.E.L., Los Angeles (Axsom & Platzker, 230; NGA/Gemini, 38.63). Initialed “C.O. e” in pencil l.r., numbered “184/250” in pencil l.l., date, copyright, and publishers’ dry stamps l.r. Color lithograph on paper, image size 10 1/8 x 10 1/8 in.

(25.5 x 25.5 cm), framed.

Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame. $800-1,200

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86 Jules Olitski (American, 1922-2007) Untitled, 1970, edition of 150. Signed and dated “Jules Olitski 70” in pencil within the image l.r., numbered “86/150” in pencil within the image l.l. Color lithograph on paper, image/sheet size 35 x 26 in. (88.8 x 66.0 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, minor handling creases, minor soiling to verso. $600-800 87 Eduardo Paolozzi (Scottish, 1924-2005) Moonstrips Empire News Volume 1, 1967, edition of 500 plus proofs, published by Editions Alecto, London, printed by Kelpra Studio, London. Eight images signed and numbered “Eduardo Paolozzi 441/500” in pencil within the images, most sheets pencil annotated and stamped by the printer and the publisher on the verso, identified on the colophon pages. Color screenprints mostly on paper, sheet/ image sizes to 15 x 10 in. (38.0 x 25.5 cm), presented in the original acrylic box (minor surface rubs/scratches).

Condition: Total of 100 sheets (including four on Mylar or similar, title page and two colophon pages), very subtle toning (visible almost exclusively on versos). $1,500-2,000 86

87 partial

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88

90

89

88 Eduardo Paolozzi (Scottish, 1924-2005) Human Fate and World Powers, from Zero Energy Experimental Pile I, 1970, edition of 100, published by Petersburg Press, London. Numbered, signed, and dated “58/100Eduardo Paolozzi 1970” in felt-tip pen l.r., identified on a label from The Blue Parrot, New York, affixed to the acrylic backing.

Color lithograph with offset on Astrolux paper laminated to clear acrylic, image size 29 1/4 x 19 1/2 in. (74.2 x 49.4 cm), framed.

Condition: Foxing, not examined out of frame. $400-600

91

89 After Pablo Picasso (Spanish, 1881-1973)

90 Pablo Picasso (Spanish, 1881–1973)

91 Pablo Picasso (Spanish, 1881-1973)

Maternité, 1963, edition of 200. Signed “Picasso” in pencil l.r., numbered “29/200” in pencil l.l., dated and signed “le 29.4.63...” within the matrix, identified in information affixed to the backing. Color lithograph on paper, image size 19 7/8 x 15 3/8 in. (50.3 x 38.9 cm), framed.

Condition: Margins 1 inch or more, not examined out of frame. $3,000-5,000

Four Enlaced Profiles, 1949, edition of 25 (Ramié, 86). Stamped “EMPREINTE ORIGINALE DE PICASSO” and “MADOURA PLEIN FEU” on the underside. Round/square white earthenware plate glazed in white, blue, and green, diameter 10 1/4 in. (26.0 cm).

Condition: Small chips to rim on face, minor wear/loss to glazes on several raised areas on face, chips and losses to underside at edges. $7,000-9,000

Bird with Worm, 1952, edition of 500 (Ramié, 172). Stamped “EDITION PICASSO” and “MADOURA PLEIN FEU” on the underside, glazed inscription “EDITION PICASSO” on the underside. Turned round white earthenware low bowl glazed in white and matte black, diameter 6 in. (15.0 cm).

Condition: Very minor soiling. $800-1,200

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92

92 Pablo Picasso (Spanish, 1881-1973) Bird with Tuft, 1952, edition of 500 (Ramié, 173). Faintly stamped “EDITION PICASSO” and “MADOURA PLEIN FEU” on the underside, glazed inscription “EDITION PICASSO” on the underside. Turned round white earthenware low bowl glazed in white and matte black, diameter 6 1/8 in. (15.2 cm).

Condition: Very minor soiling, very minor wear to foot and center of underside. $800-1,200 93 Pablo Picasso (Spanish, 1881-1973) 93

Bird under the Sun, 1952, edition of 500 (Ramié, 174). Stamped “EDITION PICASSO” and “MADOURA PLEIN FEU” on the underside, glazed inscription “EDITION PICASSO” on the underside. Turned round white earthenware low bowl glazed in white and matte black, diameter 6 1/8 in. (15.2 cm).

Condition: Very minor soiling, very minor wear to foot and center of underside. $800-1,200 94 Pablo Picasso (Spanish, 1881-1973) Bird on a Branch, 1952, edition of 500 (Ramié, 175). Stamped “EDITION PICASSO” and “MADOURA PLEIN FEU” on the underside, glazed inscription “EDITION PICASSO” on the underside. Turned round white earthenware low bowl glazed in white and matte black, diameter 5 7/8 in. (14.8 cm).

Condition: Very minor soiling, very minor wear to foot and center of underside. $800-1,200

94

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95

95 Pablo Picasso (Spanish, 1881-1973) Little Face No. 13, 1963, edition of 150 (Ramié, 461). Glazed inscription “No 13 EDITION PICASSO 5/150 MADOURA” on the underside. Round white earthenware plate glazed in white, blue, black, and green, diameter 10 in. (25.3 cm).

Condition: Minor soiling, abrasions to glazing (primarily to white), small chips to rim on underside, minute chip to foot. $1,500-2,000 96 Pablo Picasso (Spanish, 1881-1973)

96

Motifs No. 17, 1963, edition of 150 (Ramié, 462). Glazed inscription “No 17 EDITION PICASSO 46/150 MADOURA” on the underside. Round white earthenware plate glazed in pink, red, matte yellow, blue, matte black, and green, diameter 9 7/8 in. (25.0 cm).

Condition: Minor soiling, accretions to underside, unobtrusive rubs/abrasions to glazing (primarily to black), minor chip to rim on underside. $1,800-2,200 97 Pablo Picasso (Spanish, 1881-1973) Bird No. 76, 1963, edition of 200 (Ramié, 481). Glazed inscription “No 76 EDITION PICASSO 96/200 MADOURA” on the underside. Round white earthenware plate glazed in white, matte black, and red, diameter 9 7/8 in. (25.0 cm).

Condition: Minor soiling, minute rubs/ abrasions to glazing (primarily to black), several minute nicks to rim on underside and to foot. $2,000-3,000

97

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98 Pablo Picasso (Spanish, 1881-1973) Bird No. 93, 1963, edition of 200 (Ramié, 486). Glazed inscription “No 93 EDITION PICASSO 23/200 MADOURA” on the underside. Round white earthenware plate glazed in white, matte black, and red, diameter 9 7/8 in. (25.0 cm).

Condition: Soiling (mostly to underside), minor rubs/abrasions to glazing (primarily to black), several minor chips to rim on underside, chip to foot. $1,500-2,000 99 Pablo Picasso (Spanish, 1881-1973)

98

Le déjeuner sur l’herbe, 1964, edition of 50 (Ramié, 517). Inscribed and numbered “EMPREINTE ORIGINALE DE PICASSO 10/50” on the reverse, stamped “MADOURA PLEIN FEU” on the reverse. Partially glazed white earthenware clay plaque, 20 1/2 x 24 1/2 in. (52.0 x 62.0 cm), framed.

Condition: Minor rubs to surface and minor dust/soiling to some interstices.

N.B. Although most of the impressions of this edition were made in red clay, Ramié notes the existence of several in white clay. $30,000-50,000

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100

100 Serge Poliakoff (Russian, 1906-1969) Composition jaune et bleue, 1968, proof outside of the edition of 40, published by XXe Siècle, Paris (Schneider & Poliakoff, 66). Signed “Serge Poliakoff” in pencil l.r., inscribed “EAA” in pencil l.l.

Color lithograph on paper, image size 25 1/8 x 19 1/8 in. (63.7 x 48.4 cm), framed.

Condition: Full sheet with deckled right and lower edges, unobtrusive toning, fox marks and/or fly specks (primarily to lower margin), floated within the frame, not examined out of frame.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota. $800-1,200 101 K.O.S. and Tim Rollins (American, 1955-2017) Plate XII, from the series The Temptation of St. Anthony, 1990, edition of 30 plus proofs. Initialed “TR + K.O.S.” in pencil l.r., numbered “28/30” in pencil l.l., inscribed “XII.” in pencil l.c. Etching and aquatint on paper, plate size 8 3/8 x 5 1/4 in.

(21.2 x 13.2 cm), framed.

Condition: Full sheet with deckled edges, floated within the frame, gentle rippling, not examined out of frame. $300-350 101

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103

102

104

102 Susan Rothenberg (American, b. 1945)

103 Frank Stella (American, b. 1936)

104 Frank Stella (American, b. 1936)

Untitled, 1983, edition of 35 plus proofs (Maxwell, 14). Signed and dated “S. Rothenberg/83” in pencil l.r., numbered “27/35” in pencil l.l., identified on a label from the Barbara Krakow Gallery, Boston, affixed to the backing. Etching with drypoint and aquatint on paper, plate size 25 1/2 x 21 5/8 in. (64.6 x 54.8 cm), framed.

Condition: Not examined out of frame. $300-500

Sinjerli Variation I, 1977, proof edition outside of the edition of 100, published by Petersburg Press, New York (Axsom, 113).

Numbered, signed, and dated “A.P. XII F. Stella ‘77” in pencil l.r. Color offset lithograph and screenprint on paper, image size 25 x 25 in. (63.4 x 63.4 cm), framed.

Condition: Full sheet, subtle toning to paper, floated within the mat, not examined out of frame.

Shards IV, 1982, edition of 100, published

by Petersburg Press, New York (Axsom, 147). Numbered, signed, and dated “3/100 F. Stella ‘82” in pencil within the image l.r. Color offset lithograph and screenprint on paper, image size 39 1/2 x 45 in. (100.3 x 114.2 cm), framed (unglazed).

Condition: Gentle rippling, not examined out of frame. $600-800

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

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105

105 Joe Tilson (British, b. 1928) Seed Mantra, from the series Mantra, 1977-78, printed by Grafica Uno, Milan, published by Waddington Graphics, London, in 1978.

Signed and dated “Tilson.1978” in pencil l.r., numbered “46/71” in pencil l.l., identified on a label from the Clark Gallery, Lincoln, Massachusetts, affixed to the backing. Color soft ground-etchings with aquatint and collage elements on paper, plate size 34 1/2 x 25 3/4 in. (87.5 x 65.3 cm), framed.

Condition: Deckled upper and lower edges, gentle rippling, floated within the frame, not examined out of frame. $300-500 106 After Tseng Kwong Chi (American, 1950-1990) Keith Haring and William S. Burroughs/A Signed Announcement for the Publication of the Suite Apocalypse, 1988. Signed “Keith Haring” and with his monogram and a crawling baby sketch in marker u.l., announcement identified in printed text to the verso. Offset lithograph on card stock, image/ sheet size 11 1/4 x 8 3/8 in. (28.4 x 21.2 cm), unmatted, unframed.

Condition: Minor wear to corners. $300-500 107 James Turrell (American, b. 1943)

107

Meeting, from the suite First Light, 1989-90, edition of 30, published by Peter Blum Edition, New York. Signed “James Turrell” in pencil l.r., numbered and titled “22/30...” in pencil l.l. Etching and aquatint on paper, plate size 39 x 27 3/8 in. (99.0 x 69.5 cm), framed.

Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame. $2,500-3,500

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108 Andy Warhol (American, 1928-1987) Portraits of the Artists, from the portfolio Ten from Leo Castelli, 1967, edition of 200 plus proofs, printed by Fine Creations, Inc., New York, published by Tanglewood Press, Inc., New York (Feldman & Schellmann, II.17).

Initials and inscription “A.W. A.P.” incised into the side of the light blue Warhol block, identified on a label from the J.L. Hudson Gallery, Detroit, affixed to the backing.

Screenprints on 100 polystyrene boxes in ten colors, total size 20 x 20 in. (50.6 x 50.6 cm), framed.

Condition: Very minor soiling and/or rubs, only the signed block removed from frame for examination.

108

N.B. The portraits depict the artists who contributed to the seminal portfolio Ten from Leo Castelli and are, from left to right, Lee Bontcou, Frank Stella, Larry Poons, Robert Morris, Donald Judd, Robert Rauschenberg, James Rosenquist, Roy Lichtenstein, Jasper Johns, and Andy Warhol. The portfolio was a collection of 10 multiples made out of a variety of media and is a veritable “who’s who” of the 1960s New York art scene. $25,000-35,000 109 Terry Winters (American, b. 1949) Station, 1988, edition of 55, published by Universal Limited Art Editions, West Islip, New York (Sojka et al., 31). Signed and dated “T Winters 1988” in pencil l.l., numbered “23/55” in pencil l.r., publisher’s dry stamp l.r. Etching and aquatint on paper, plate size 15 7/8 x 11 7/8 in. (40.2 x 30.0 cm), framed.

Condition: Full sheet with deckled edges, minor soiling to margins, floated within the frame, not examined out of frame. $600-800

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Fine Photographs 110 Eugène Atget (French, 1857-1927) Bar de Cabaret, Paris, 1910-1911, printed later by Berenice Abbott. Unsigned, stamped “Photograph by Eugene Atget/Copyright: Berenice Abbott/Reproduction rights reserved” in black ink on the verso. Gelatin silver print, image/ sheet size 9 1/4 x 6 7/8 in. (23.4 x 17.3 cm), matted, unframed.

Condition: Tape remnants on the verso.

110

N.B. Towards the end of his career, the work of Eugène Atget came to the attention of Berenice Abbott, who was working as Man Ray’s studio assistant in Paris in the 1920s. Abbott was instrumental in ensuring Atget’s legacy by acquiring a large group of his photographs and glass-plate negatives from which she made prints beginning in the early 1930s through the 1950s and through the promotion of his work to museums and galleries. $1,000-1,500 111 Eugène Atget (French, 1857-1927) Interior of the Home of Mademoiselle Sorel, 99 avenue des Champs Élysées, 1910, printed later. Unsigned, inscribed “Intérieur Sorel” in pencil on the verso u.c., with several “Eugene Atget Photograph/Collection Berenice Abbott” stamps on the verso. Gelatin silver print, image/ sheet size 9 x 6 7/8 in. (22.7 x 17.3 cm), matted, unframed.

Condition: Good. $800-1,200

111

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113

112

114

112 Eugène Atget (French, 1857-1927)

113 Eugène Atget (French, 1857-1927)

114 Eugène Atget (French, 1857-1927)

Pharmacy Interior, Paris, 1910s-1920s, possibly printed later by Berenice Abbott.

Unsigned, Berenice Abbott New York address stamp in ink on the verso. Gelatin silver print, image/sheet size 9 1/4 x 7 in. (23.4 x 17.5 cm), matted, unframed.

Condition: Horizontal creases along bottom and top edges, small loss to l.l. corner. $800-1,200

Pendant l’Éclipse, Place de la Bastille, 1912, printed later by Berenice Abbott.

Unsigned, stamped “Photograph by Eugene Atget/Copyright: Berenice Abbott/ Reproduction rights reserved” in black ink on the verso. Gelatin silver print, image size 7 x 9 1/4 in. (17.6 x 23.3 cm), matted, unframed.

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

Street View with Kiosk, Paris, 1910s-1920s, printed later, probably by Berenice Abbott.

Unsigned. Gelatin silver print, image/sheet size 7 x 9 1/4 in. (17.6 x 23.3 cm), matted, unframed.

Condition: Good. $800-1,200

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115

115 Berenice Abbott (American, 1898-1991) Fifth Avenue, Nos. 4, 6, 8, Manhattan, 1936. With the artist’s “50 commerce st.” hand stamp on the verso. Gelatin silver print, image/sheet size 7 1/2 x 9 1/2 in. (19.0 x 24.0 cm), matted, unframed.

Condition: Subtle cracks at u.r. and l.r. corners, subtle silvering in dark areas, the photograph was drymounted at one time and a thin layer of the mount material remains affixed to the verso.

N.B. For nearly a decade, the Americanborn photographer Berenice Abbott lived in Paris, working as an assistant to Man Ray in his portrait studio and eventually operating her own portrait business. Upon returning to New York City in 1929, Abbott continued to practice photography, producing a body of work that focused on New York’s changing buildings and neighborhoods. With funds from the Federal Art Project (FAP), Abbott produced hundreds of photographs of the city. $2,000-3,000

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116

118

117

116 Berenice Abbott (American, 1898-1991)

117 Berenice Abbott (American, 1898-1991)

118 Berenice Abbott (American, 1898-1991)

Ferry, Foot of Liberty Street, Manhattan, 1936. With the photographer’s Federal Art Project “Changing New York” hand stamp, titled and dated with numeric notations in pencil on the verso. Gelatin silver print, image size 8 x 9 3/4 in. (20.2 x 24.7 cm), matted, unframed.

Condition: Subtle silvering in dark areas. $2,000-3,000

Willow Place, #43-49, Brooklyn, 1936.

Titled and dated in pencil on the verso, the artist’s “50 commerce st.” hand stamp on the verso, and a “50 Commerce Street” label affixed to the verso. Gelatin silver print, image/sheet size 7 1/2 x 9 5/8 in. (19.0 x 24.3 cm), matted, unframed.

Condition: Subtle cracks at u.r. and l.r. corners, adhesive residue or similar (probably from an old label) on the verso u.l. $1,000-1,500

Gansevoort Street, #53, Manhattan, 1936.

Signed “Berenice Abbott” on the verso at center, the photographer’s Federal Art Project “Changing New York” and “50 commerce st.” hand stamps on the verso, titled and dated with numeric notations in pencil on the verso.

Gelatin silver print, image size 9 1/2 x 7 5/8 in.

(24.0 x 19.2 cm), framed.

Condition: Minor wear at corners.

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Provenance: Acquired from Nicholas Vahlkamp, Conservator, St. Louis, Missouri, by the current owner, in 1982. A copy of the purchase receipt accompanies the lot. $1,500-2,500

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119

121

119 Berenice Abbott (American, 1898-1991)

120 Berenice Abbott (American, 1898-1991)

121 Berenice Abbott (American, 1898-1991)

Wheelock House, 661 West 158th Street, Manhattan, 1937. With the photographer’s Federal Art Project “Changing New York” hand stamp, titled and dated with numeric notations in pencil on the verso. Gelatin silver print, image size 9 1/2 x 7 5/8 in. (24.0 x 19.3 cm), unmatted, unframed.

Condition: Minor wear at corners. $1,500-2,500

West Street, 1929-1930, printed later, from the portfolio Berenice Abbott’s New York II, published 1979 by Parasol Press, Portland, Oregon. Signed “BERENICE ABBOTT” in pencil on the mount l.r., numbered “41/60” in pencil on the mount l.l. Gelatin silver print, image/sheet size 15 1/2 x 19 3/8 in. (39.3 x 49.2 cm), framed.

Condition: Not examined out of frame.

Theoline, 1929-1930, printed later, from the portfolio Berenice Abbott’s New York II, published 1979 by Parasol Press, Portland, Oregon. Signed “BERENICE ABBOTT” in pencil on the mount l.r., numbered “41/60” in pencil on the mount l.l. Gelatin silver print, image/sheet size 19 1/4 x 15 1/2 in. (48.9 x 39.3 cm), framed.

Condition: Not examined out of frame.

Provenance: A private Connecticut collection. $1,500-2,500

Provenance: A private Connecticut collection. $1,500-2,500

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122

122 Berenice Abbott (American, 1898-1991) Repair Shop of Christopher Street, 1929-1930, printed later, from the portfolio Berenice Abbott’s New York II, published 1979 by Parasol Press, Portland, Oregon.

Signed “BERENICE ABBOTT” in pencil on the mount l.r., numbered “41/60” in pencil on the mount l.l. Gelatin silver print, image/sheet size 18 1/2 x 15 1/2 in. (46.9 x 39.3 cm), framed.

Condition: Not examined out of frame.

Provenance: A private Connecticut collection. $1,500-2,500 123 Fred Stein (German/American, 1909-1967) Three Photographs: Place de la Concorde, Paris, Harlem, New York, and Marquee, New York, 1938, 1947, and 1947, respectively, printed 1994. Each with estate stamp in black signed by “Peter Stein” in pencil on the verso and on the backing, each titled on the overmat l.r., numbered “36/350,” “195/350,” and “25/350,” respectively, in pencil on the overmat l.l., on the verso, and on the backing. Gelatin silver prints, image sizes to 14 3/8 x 14 in. (36.4 x 35.5 cm), matted, unframed.

Condition: Good. $400-600

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124

124 Manuel Álvarez Bravo (Mexican, 19022002) Retrato de lo eterno (Portrait of the Eternal), 1935, printed later. Signed and inscribed “M. Alvarez Bravo/Mexico” in pencil on the verso l.r. Gelatin silver print, image size 9 1/2 x 7 1/2 in. (24.0 x 19.0 cm), framed.

Condition: Good.

N.B. Manuel Álvarez Bravo was a self-taught artist who made exquisite and often surreal photographs over the course of a seventy year career. His portrait of artist, poet, singer, and songwriter Isabel Villaseñor reveals a moment of psychological complexity as she gazes into a small mirror while sunlight beams onto her face and hair creating a dramatic study of light and dark. $3,000-5,000

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125 Barbara Morgan (American, 1900-1992)

125

Martha Graham: Letter to the World, 1940, printed c. 1980. Signed and dated “Barbara Morgan 1940” in ballpoint pen l.r., titled l.l., titled, dated, and signed “...Barbara Morgan” in ballpoint pen on the verso u.c. Gelatin silver print, image size 13 7/8 x 18 1/4 in. (35.2 x 46.3 cm), framed.

Condition: Possible fading of signature, minor wear and creases at sheet corners.

Provenance: Acquired from the Andrew Smith Gallery, Albuquerque, New Mexico, by the current owner, in 1986. A copy of the purchase receipt accompanies the lot. $2,500-3,500 126 Henri Cartier-Bresson (French, 1908-2004) The Alloeng Kotjok Dance in the Temple, Village of Sayan, Bali, Indonesia, 1949, printed later. Dedicated, signed, and dated “au Docteur Young/avec tous mes remerciements/et mon très cordial souvenir/ Henri Cartier-Bresson dec. 1967” in ink on a label affixed to the mount l.r. Gelatin silver print mounted to board, image/sheet size 13 1/4 x 19 5/8 in. (33.5 x 49.7 cm), framed.

Condition: Subtle discoloration at very edges, not examined out of frame.

Provenance: Gift of the artist to Dr. Richard Young, a senior executive at the Polaroid Corporation from 1962-1982, by family descent. Dr. Young served as Senior Vice President of Research and Development, and later as President of the International Division and played a key role in the development and marketing of Polaroid’s revolutionary products. $2,500-3,500

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127 Ansel Adams (American, 1902-1984) Oak Tree, Snow Storm, Yosemite Valley, 1948, printed c. 1963-1970. Signed “Ansel Adams” in pencil l.r., titled in ink with Carmel studio credit stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 14 9/16 x 11 7/16 in. (36.9 x 29.0 cm), framed.

Condition: Good.

Provenance: Gift of the artist to Dr. Richard Young, a senior executive at the Polaroid Corporation from 1962-1982, by family descent.

Dr. Young served as Senior Vice President of Research and Development, and later as President of the International Division and played a key role in the development and marketing of Polaroid’s revolutionary products.

N.B. Ansel Adams was affiliated with f/64, an informal group of West Coast photographers dedicated to the belief that photography should emphasize its unique capabilities rather than emulating other artistic mediums. Taking the natural environment as their primary subject, the members used large-format view cameras to produce sharply detailed, high contrast photographs that celebrate both form and personal expression. $8,000-12,000 128 Ansel Adams (American, 1902-1984)

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Jeffrey Pine, Sentinel Dome, 1940, printed later by Alan Ross. “Special Edition Photographs of Yosemite” hand stamp initialed by Ross on the mount verso. Gelatin silver print mounted to board, image/sheet size 7 1/2 x 9 1/2 in. (18.8 x 24.0 cm), framed.

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

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129

131

130

64

132 partial

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133 partial

129 Yousuf Karsh (Canadian, 1908-2002)

131 Philippe Halsman (American, 1906-1979)

132 Philippe Halsman (American, 1906-1979)

George Bernard Shaw, 1943, printed later.

Signed “Karsh” in black ink l.l. Gelatin silver print mounted to board, image/sheet size 19 3/4 x 15 7/8 in. (50.0 x 40.0 cm), framed.

Condition: Not examined out of frame.

Marilyn Monroe, Life Magazine Cover (Variant), 1952, printed 1978. Embossed signature l.r., titled and dated in pencil on the verso, numbered “35/500” in pencil within the artist’s copyright stamp on the verso. Gelatin silver print, image size 13 3/8 x 8 7/8 in. (34.0 x 22.5 cm), framed.

Condition: Left edge of sheet fraying, small area of white spot toning l.c.

Four Works: Portraits of Bob Hope, Tallulah Bankhead, John F. Kennedy, and Walter Gropius, 1949, 1952, 1952, and 1958, respectively, printed later. Hope identified and dated in pencil on the verso with artist’s copyright stamp, the remainder from an edition of 500 printed in 1978, each signed with embossed stamp l.r., identified and dated in pencil on the verso, artist’s copyright stamp with printing date and numbered “5/500,” “6/500,” and “5/500,” respectively, on the verso. Gelatin silver prints, image sizes to 13 3/4 x 10 3/4 in. (34.8 x 27.1 cm), matted, unframed.

Condition: Hope and Gropius with minor handling creases l.r. $800-1,200

Provenance: Christie’s New York, Sale 7958, Lot 200, October 5, 1994. $1,000-1,500 130 Robert Capa (Hungarian, 1913-1954) Pablo Picasso and Françoise Gilot, 1948, printed 1996. Estate label numbered “67/150” and initialed “CC” by Cornell Capa in ink on the verso. Gelatin silver print, image size 14 3/8 x 11 1/2 in. (36.6 x 29.0 cm), framed.

Condition: Subtle handling crimps at left, label affixed to the verso has left an impression on the recto.

Provenance: Purchased from Aperture, New York, by the current owner in 1999. A copy of the original invoice accompanies the lot.

N.B. The print was made from Capa’s negative by Teresa Engle in consultation with the photographer’s brother Cornell Capa. The cover sheet providing details about the limited edition accompanies the lot. $800-1,200

Provenance: Acquired from Nicholas Vahlkamp, Conservator, St. Louis, Missouri, by the current owner, in 1982. A copy of the purchase receipt accompanies the lot. $800-1,200

133 Peter Gowland (American, 1916-2010) Four Photographs: Nude with Reflection, Alfred Hitchcock, Mary Tyler Moore, and Deborah Kerr, 1950s-1960s. Moore signed “Peter Gowland” in pencil on the verso l.r.

Gelatin silver prints, image/sheet sizes to 14 x 11 in. (35.4 x 27.8 cm), framed.

Condition: Moore with subtle foxing or similar u.r., the others not examined out of frames. $1,500-2,500

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134

134 Marc Riboud (French, 1923-2016) Le Peintre de la Tour Eiffel (Painter of the Eiffel Tower), Paris, 1953, printed later.

Titled, dated, and signed “...Marc Riboud” in brown ink on the verso. Gelatin silver print, image size 14 1/8 x 9 1/2 in. (35.8 x 24.0 cm), framed.

Condition: Subtle creases u.c. and c.r., scattered subtle foxing or similar across surface.

Provenance: Sotheby’s New York, Sale 6973, Lot 300, April 18, 1997.

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N.B. In 1953, Marc Riboud’s portrait of a worker painting the Eiffel Tower debuted in Life magazine and prompted an invitation from his mentor the war photographer Robert Capa to join Magnum Photos, the cooperative photographic agency founded by Capa, Henri Cartier-Bresson, David Seymour (Chim), and George Rodger. Through Magnum, Riboud traveled extensively, visiting Bangladesh, Cambodia, China, India, Japan, Pakistan, Tibet, and Turkey (see Lots 148, 152, and 153). He retired from Magnum in 1979, but continued to photograph in China and the Far East in the 1980s and 1990s. $2,000-3,000

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135 O. Winston Link (American, 1914-2001) Washing J Class 605, Shaffer’s Crossing Yards, Roanoke, Virginia, 1955, printed 1999. Signed and dated “OWinstonLink/2-99” in pencil on the verso at center, reproduction limitation stamp and copyright credit numbered “NW13” in ink on the verso l.r., additional pencil annotations on the verso u.l. Gelatin silver print, image size 19 3/8 x 15 5/8 in. (49.0 x 39.5 cm), framed.

Condition: Slight rippling to sheet, subtle thinning on the verso where previous hinges were removed.

Provenance: Purchased from Peter Fetterman, Santa Monica, by the current owner in 1999. A copy of the original invoice accompanies the lot. $2,500-3,500

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136 Aaron Siskind (American, 1903-1991) Pleasures and Terrors of Levitation 60, 1956. Unsigned. Gelatin silver print mounted to board, image/sheet size 15 x 15 in. (38.0 x 38.0 cm), unframed. Condition: Minor surface grime.

Provenance: The estate of Marie Cosindas, pioneer photographer, Boston.

N.B. The image was reproduced on the cover of the summer 1986 issue of the Catskill Center for Photography newsletter Center Quarterly. A copy of the newsletter accompanies the lot. $1,000-1,500 137 Aaron Siskind (American, 1903-1991) Jalapa 23. Signed “Aaron Siskind” l.r., titled, dated, and numbered “...1973 2/50” in pencil l.l. Photogravure on paper, image size 15 x 14 7/8 in. (38.1 x 37.8 cm), framed.

Condition: Floated within the frame, deckled edges, not examined out of frame. $1,000-1,500 136

137

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138 Brett Weston (American, 1911-1993) Ice Forms, California. Signed and dated “Brett Weston 1956” in pencil l.r., a label from Josephius Daniels Gallery, Carmel, California, affixed to the backing. Gelatin silver print mounted to board, image/sheet size 18 3/4 x 14 7/8 in. (47.5 x 37.8 cm), unframed.

Condition: Good.

Provenance: A private Colorado collection. $1,000-1,500 139 Brett Weston (American, 1911-1993) Lava Flow, Hawaii, c. 1980. Signed “Brett Weston” in pencil on the mount l.r. Gelatin silver print mounted to board, image/sheet size 12 7/8 x 10 1/2 in. (32.5 x 26.5 cm), matted, framed.

Condition: Scattered subtle fox marks on mount l.l.

Provenance: Purchased from Aperture, New York, by the current owner c. 1995.

The photograph was one of seventy-one prints offered; a copy of the sales brochure accompanies the lot. $1,000-1,500

139

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140 Ansel Adams (American, 1902-1984) Rocks and Limpets, Point Lobos, California, 1965. Signed “Ansel Adams” in ballpoint pen l.r., titled in ballpoint pen and with artist’s Carmel, California, studio stamp on the mount verso. Gelatin silver print mounted to illustration board, image/sheet size 14 1/4 x 18 5/8 in. (36.1 x 47.2 cm), unframed.

Condition: Subtle surface scratch l.l.

Provenance: The estate of Marie Cosindas, pioneer photographer, Boston.

N.B. A copy of Ansel Adams: Singular Images, in which this image is illustrated as plate 47, accompanies the lot. $500-700

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141 Diane Arbus (American, 1923-1971) Diane Arbus/A Portfolio of Twelve Works, from an edition of 1,000, published by Electra Editrice, Milan, Italy, 1979. Numbered “999” on the colophon. Offset reproductions, image sizes to 10 x 10 in. (25.3 x 25.3 cm), unframed, housed in a cardboard portfolio folder.

Condition: Slight bend to several corners u.l., minor wear to portfolio folder.

Provenance: The estate of Marie Cosindas, pioneer photographer, Boston.

141 partial

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N.B. The portfolio was published to commemorate Venezia ‘79- La Fotografia, an exhibition made possible by Unesco and the Municipality of Venice, in collaboration with the International Center of Photography, New York. Images include: Lady at a Masked Ball with Two Roses on Her Dress, New York, 1967; A Castle in Disneyland, California, 1964; Backwards Man in His Hotel Room, New York, 1961; Tattooed Man at a Carnival, Maryland, 1970; Untitled, 1970-71; A Jewish Giant at Home with His Parents in the Bronx, New York, 1970; A Young Man and His Girlfriend with Hot Dogs in the Park, New York, 1971; Child with a Toy Hand Grenade in Central Park, New York, 1962; A Family One Evening in a Nudist Camp, Pennsylvania, 1965; A Young Brooklyn Family Going for a Sunday Outing, New York, 1966; The Junior Interstate Ballroom Dance Champions Yonkers, New York, 1962; and Man at a Parade on Fifth Avenue, New York, 1969. $800-1,200

142 Joseph D. Jachna (American, 1935-2016) Two Works, from the series Door County, Wisconsin, 1970 and 1971, respectively.

Both signed “Joseph D. Jachna” in pencil on the verso u.c., titled and dated on the verso u.l., with additional pencil annotations on the versos. Gelatin silver prints, image sizes to 6 3/4 x 10 in. (17.0 x 25.3 cm), matted, unframed.

Condition: Good.

142 partial

Provenance: Acquired from the artist by the current owner.

N.B. A Chicago native, Jachna studied with Harry Callahan and Aaron Siskind at the renowned Institute of Design, from which he received a BS in art education and an MS in photography, and where he also taught from 1961 to 1969. $800-1,200 143 Kenneth Josephson (American, b. 1932) New York State, 1970. Titled, dated, signed, and inscribed “...Kenneth Josephson/Vintage print” with additional pencil annotations on the verso. Gelatin silver print on Agfa paper, image size 6 x 9 1/8 in. (15.2 x 23.1 cm), matted, unframed.

Condition: Subtle handling crimps, minor creases in margins u.r. and l.r.

Provenance: Purchased from Laurence Miller Gallery, New York, by the current owner in 2004. A copy of the original invoice accompanies the lot.

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N.B. Kenneth Josephson is recognized as an early and influential practitioner of conceptual photography. “His black and white images famously layer pictures within pictures, focusing on the act of picture-making, offering playful commentary on photographic truth and illusion, and using the photograph itself to question the veracity of the medium.”1 Josephson’s retrospective “Picture Fiction: Kenneth Josephson and Contemporary Photography” is on view at the Museum of Contemporary Art Chicago through December 30, 2018.

1. http://www.kochgallery.com/artists/contemporary/ Josephson/

$2,000-3,000

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144 Daido Moriyama (Japanese, b. 1938) Stray Dog, Misawa, 1971, printed c. 2002.

Signed in Japanese characters and signed “Daido” in pencil on the verso l.r. Gelatin silver print, image size 11 5/8 x 16 1/8 in. (29.5 x 41.0 cm), framed.

Condition: Scattered handling crimps, two small losses to the right of the dog’s head.

N.B. A major figure in the history of postwar Japanese photography, Daido Moriyama’s deliberately grainy and technically imperfect images reflect both a fascination with and ambiguity towards American attitudes and ideals and their influence on Japan’s social and cultural fabric in the years following World War II. He took this photograph, which he has described as a kind of self-portrait, in 1971 in Misawa, which is home to a large U.S. Air Force base in the northeast of Japan. $3,000-5,000

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145

145 Lewis Baltz (American, 1945-2014) North Wall, Niguel Hardware, 26087 Getty Drive, Laguna Niguel, from the series The New Industrial Parks near Irvine, California, 1974. Signed and dated “Lewis Baltz...” in pencil on the verso l.r., numbered “13/21” in pencil on the verso l.c., inscribed “IP 42” and “1010.42” in pencil on the verso l.l. Gelatin silver print on Agfa paper, image size 6 x 9 in.

(15.2 x 22.8 cm), matted, unframed.

Condition: Subtle ding in paper c.l.

Provenance: Purchased from Ursula Gropper Associates, Sausalito, California, by the current owner in 2004. A copy of the original invoice accompanies the lot.

N.B. In 1975, Lewis Baltz’s work was included in the groundbreaking exhibition New Topographics: Photographs of a Man-Altered Landscape, which challenged the romantic tradition of nineteenth-century western landscape photography. His mode of working was to make series of photographs that focused on a particular theme or geographic area. This image is from Baltz’s best known portfolio The New Industrial Parks Near Irvine, California, in which he explores the effects of twentieth-century culture and suburban development on the nation’s topography. $12,000-18,000

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146

146 Ernst Haas (Austrian/American, 1921-1986) Lights of New York City, 1970, printed 2018.

Titled, dated, numbered “15/50,” and signed

by Alexander Haas in ink on a Haas Studio label. Chromogenic print, image size 17 3/8 x 26 in. (44.0 x 66.0 cm), unmatted, unframed.

Condition: Good.

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. $3,000-5,000 147

147 Ernst Haas (Austrian/American, 1921-1986) Western Skies Motel, New Mexico, 1978, printed 2018. Titled, dated, numbered “17/30,” and signed by Alexander Haas in ink on a Haas Studio label. Chromogenic print, image size 17 7/8 x 26 in. (45.5 x 66.0 cm), unmatted, unframed.

Condition: Subtle handling crimp l.c. $3,000-5,000

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148

148 Marc Riboud (French, 1923-2016) Benares, 1956, printed later. Signed “Marc Riboud” in pencil l.r., signed “Marc Riboud” in pencil on the verso l.r., artist’s studio stamp on the verso. Gelatin silver print, image size 9 3/8 x 14 1/4 in. (23.8 x 36.0 cm), framed.

Condition: Rippling to sheet.

Provenance: Acquired from the Howard Greenberg Gallery, New York, by the current owner in 1998. A copy of the original invoice accompanies the lot. $1,500-2,500 149 Michael Kenna (British, b. 1953) Le Désert de Retz, Study 37, France.

Signed and dated “Michael Kenna. 1988” in pencil l.r., numbered “2/45” in pencil l.l., identified on a label from Germans Van Eck Gallery, New York, affixed to the mount verso.

Sepia- and selenium-toned gelatin silver print mounted to board, image/sheet size 7 3/8 x 7 3/8 in. (18.7 x 18.7 cm), framed.

Condition: Not examined out of frame.

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Provenance: The estate of Richard E. Anderson, New York, New York/Redding, Connecticut. $600-800

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150

150 Michael Kenna (British, b. 1953) Broadway Tower, Worcestershire, England.

Signed “Michael Kenna” in pencil l.r., dated “1981” in pencil l.l. Sepia- and seleniumtoned gelatin silver print mounted to board, image/sheet size 6 1/4 x 9 in. (15.8 x 22.8 cm), framed.

Condition: Not examined out of frame.

Provenance: The estate of Richard E. Anderson, New York, New York/Redding, Connecticut. $600-800 151 Lucas Samaras (American, b. 1936) Still Life, March 12, 1982. Dated “3/12/82 7” in pencil on the support verso and in ink on the backing, identified on a label from Pace/MacGill Gallery, New York, affixed to the backing. Polaroid photograph with applied ink, image size 9 1/2 x 7 1/2 in. (24.0 x 18.8 cm), framed.

Condition: Overmat adhered to the backing so the edges of the sheet cannot be examined; ink faded, possible color shifting. $800-1,200 151

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152

152 Marc Riboud (French, 1923-2016) Tehran, 1979, printed later. Signed “Marc Riboud” in pencil l.r., signed, titled, and dated “Marc Riboud...” in pencil on the verso at center. Gelatin silver print, image size 7 7/8 x 11 3/4 in. (19.8 x 29.7 cm), framed.

Condition: Scattered subtle foxing or similar on the recto, slight rippling to sheet.

Provenance: Acquired from the Howard Greenberg Gallery, New York, by the current owner, in 1998. A copy of the original invoice accompanies the lot. $1,000-1,500 153 Marc Riboud (French, 1923-2016) Gong Li, 1993, printed later. Signed “Marc Riboud” in pencil l.r., signed “Marc Riboud” in pencil on the verso, artist’s studio stamp on the verso. Gelatin silver print, sight size 14 x 9 1/2 in. (35.5 x 24.0 cm), framed.

Condition: Not examined out of frame.

Provenance: Acquired from the Howard Greenberg Gallery, New York, by the current owner in 1998. A copy of the original invoice accompanies the lot. $1,000-1,500

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154 Mark Morrisroe (American, 1959-1989) Two Photographs: Jonathan (Jack Pierson), 1982, dated and numbered “#6/7” in ballpoint pen within an estate stamp copyrighted 1996 and signed

by Pat Hearn, Executrix, on the verso l.c.; and Self-Portrait with Jack Pierson and Nan Goldin, inscribed “75/50” in ink l.c., inscribed “P” in ink l.r.

Chromogenic prints, image sizes to 12 1/2 x 12 1/2 in. (31.7 x 31.7 cm), framed.

Condition: Each hinged to board at upper corners and at the center of the left and right edges, floated in frames, Jonathan with chemical inconsistencies along upper edge of sheet.

Provenance: Collection of Charlene Engelhard. $2,000-3,000 155 Nan Goldin (American, b. 1953) Greer and Robert on the Bed, New York, 1982.

Signed and numbered “Nan Goldin #15/25 [crossed out] #11/25” in black ink on the verso l.r., titled and dated on the verso l.c. Cibachrome print, image size 15 3/8 x 23 5/8 in. (39.0 x 60.0 cm), framed.

Condition: Subtle scratch u.l. with small loss in margin, hinged in three places along top and bottom edges of sheet. $8,000-12,000 156 Nan Goldin (American, b. 1953) Dieter and Wolfgang at the O-Bar, West Berlin, 1984. Signed, dated, and numbered “Nan Goldin 8-84 1/15” in black ink l.r. Chromogenic print, image size 14 x 19 3/4 in. (35.5 x 50.0 cm), framed.

Condition: Minor handling crimps c.r.

Provenance: Collection of Charlene Engelhard.

N.B. Nan Goldin creates intensely personal, spontaneous, sexual, and transgressive photographs of her friends, lovers, and family. After graduating from the School of the Museum of Fine Arts/Tufts University in 1977/1978, she moved to New York where she captured the city’s vibrant post-Stonewall gay subculture, as well as the subculture of heavy drug use associated with the Bowery neighborhood.

She began visiting Berlin in 1984 where she premiered her provocative and influential project The Ballad of Sexual Dependency in West Berlin’s Arsenal Cinema. $3,000-5,000 154

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156

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157

157 Matthew Rolston (American, b. 1955) Jodie Foster, Profile with Camera, Los Angeles, 1991. Embossed with copyright symbol and artist name l.r., titled, dated, signed, and numbered “...Matthew Rolston 8/25� in pencil on the verso. Gelatin silver print, image size 18 1/8 x 15 in. (46.0 x 38.0 cm), framed.

Condition: Slight rippling to sheet, subtle scuff c.l.

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Provenance: Purchased from Fahey/Klein Gallery, Los Angeles, by the current owner in 1998. A copy of the original invoice accompanies the lot. $800-1,200

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158 Matthew Rolston (American, b. 1955) Anita, Clockface, New York, 1987.

Embossed with copyright symbol and artist’s name l.r., titled, dated, signed, and numbered “...Matthew Rolston 9/25” in pencil on the verso. Gelatin silver print, image size 14 7/8 x 14 in. (37.7 x 35.5 cm), framed.

Condition: Not examined out of frame.

Provenance: Purchased from Fahey/Klein Gallery, Los Angeles, by the current owner in 1998. A copy of the original invoice accompanies the lot. $800-1,200

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159

159 Kenro Izu (Japanese, b. 1949) Borobudur #15, Indonesia, 1996, printed 1998. Dated and signed “’98 Kenro Izu” in pencil l.r., inscribed and numbered “96 INS 15 9/20” in pencil l.l., titled, dated, numbered, and signed in black ink with photographer’s stamp in red ink on the mount verso l.r., identified on a label from Howard Greenberg Gallery, New York, affixed to the backing.

Platinum palladium print mounted to board, image size 13 x 19 in. (32.8 x 48.1 cm), framed.

Condition: Deckled sheet edges, slight rippling at edges where sheet is affixed to the mount.

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Provenance: Acquired from the Howard Greenberg Gallery, New York, by the current owner, in 2001. A copy of the original invoice accompanies the lot.

N.B. Japanese-born photographer Kenro Izu has traveled widely to document ancient religious sites. In the late 1990s, he began focusing on Buddhist and Hindu monuments in Southeast Asia, including Cambodia, Burma, Indonesia, Vietnam, Bhutan, and India.

This image was reproduced on the cover of the 2001 book Kenro Izu: Sacred Places by Clark Worswick. $1,000-1,500

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160 Kenro Izu (Japanese, b. 1949) Angkor 26, Ta Prohm, Cambodia, 1993, printed 2001. Dated and signed “’2001 Kenro Izu” in pencil l.r., titled, dated, numbered, and signed “...54 Kenro Izu” in black ink with photographer’s stamp in red ink on the mount verso l.r. Platinum palladium print, sight size 13 x 19 in. (32.8 x 48.1 cm), framed.

Condition: Not examined out of frame. $800-1,200 161 Kenro Izu (Japanese, b. 1949) Still Life #607, 1997, printed 1998. Dated and signed “’98 Kenro Izu” in pencil l.r., inscribed and numbered “97ST607 1/20” in pencil l.l., titled, dated, numbered, and signed in black ink with photographer’s stamp in red ink on the mount verso l.r., identified on a label from Howard Greenberg Gallery, New York, affixed to the backing. Platinum palladium print mounted to board, sheet size 21 3/4 x 16 3/4 in. (55.0 x 42.5 cm), framed.

Condition: Deckled sheet edges, slight rippling at edges where sheet is affixed to the mount.

Provenance: Acquired from the Howard Greenberg Gallery, New York, by the current owner, in 2001. A copy of the original invoice accompanies the lot. $2,000-3,000 161

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162

162 Yoko Yamamoto (Japanese, b. 1955) Geisha Painting Her Lips, 1998. Signed “Yoko Yamamoto” in black ink l.r. Gelatin silver print, image size 13 1/4 x 19 5/8 in. (33.5 x 49.8 cm), framed.

Condition: Not examined out of frame. $800-1,200 163 Annie Leibovitz (American, b. 1949) Eileen Collins, Johnson Space Center, Houston. Titled, dated, numbered, and signed “...1999 ap 3 Annie Leibovitz” in ink below the image. Chromogenic print, image size 15 x 14 5/8 in. (38.0 x 37.0 cm), framed.

Condition: Inscription and signature completely faded, gently light-struck.

Provenance: Sotheby’s New York, Sale 7450, Lot 264, April 6, 2000. $1,200-1,800

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Fine Paintings & Sculpture Lots 201–392 to be sold Friday, September 21, 2PM

201

203

202

201 Italian School, 17th Century

202 Continental School, 17th Century

The Arrival of Aeneas Unsigned, inscribed “Salvator Rosa” in ink on the back of the mount, with a collector’s stamp from Nathaniel Hone (British, 17181784) (Lugt L.2793) l.l. on the recto, attributed to Pier Francesco Mola (Italian, 1612-1666) on two unattributed labels affixed to the frame backing paper.

Brown ink and wash on paper, 7 3/8 x 10 1/16 in. (18.7 x 25.6 cm), framed.

Condition: Staining, toning, losses to upper corners, laid down on matboard support. $500-700

Portrait of a Young Nobleman in Armor Unsigned.

Oil on canvas, 32 1/2 x 27 1/2 in. (82.0 x 70.0 cm), framed.

Condition: Lined, retouch, craquelure, minor surface grime. $800-1,200

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203 Attributed to Gabriel de Saint-Aubin (French, 1724-1780) Louis XVI au sacre (At the Coronation) Unsigned, inscribed “...aubin” in pencil on the backing paper, titled on a typed label, and with labels from Aymonier, Paris, and Jean-Paul Chapelle, Paul Perrin, Dominique Fromantin auction house, Versailles, all affixed to the frame backing.

Charcoal on laid paper, 6 5/8 x 5 3/8 in. (17.0 x 13.5 cm), framed.

Condition: Small tear to l.r. edge, creasing, trimmed and backed with a secondary paper support. $300-500

204

204 Jan Chelminski (Polish, 1851-1925) Rheims Campaign de France 1814 Signed “Jan V. Chelminski” l.r., titled on a presentation plaque, canvas stencil from F. Dupré, Paris, on the reverse.

Oil on canvas, 15 1/2 x 27 in. (39.0 x 68.5 cm), framed.

Condition: Craquelure, drying cracks, surface grime. $5,000-7,000

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205

205 Venetian School, 17th Century Style Madonna and Child with Rosary Unsigned.

Oil on unstretched canvas, sight size 15 x 17 in. (38.5 x 43.5 cm), framed (under glass).

Condition: Paint losses, craquelure, surface grime, not examined out of frame. $800-1,200 206 Italian School, 17th/18th Century

206

Diana Clipping Cupid’s Wings Unsigned, with a partial collector’s stamp l.r., inscribed “Di Gio: Batti...” and numbered “...:22” in ink on the reverse.

Black chalk on laid paper with watermark, 7 1/8 x 9 3/4 in. (18.0 x 24.7 cm), matted, unframed.

Condition: Small holes/tears to u.r. quadrant, loss to l.l. corner, foxing, toning, some bleed through from the ink inscription on the reverse, affixed to window mat along edges of the reverse.

N.B. The inscription on the reverse provides an attribution to Giovanni Battista Lenardi (Italian, 1656-1704). The collector’s stamp at the lower right has been mostly trimmed off, but what remains strongly resembles the violet “A” of Duc de Genova-Savoia (Lugt L.47a). $300-500

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207 Italian School, 16th/17th Century Striding Half-nude Female Figure Seen from Behind Inscribed in pencil “Guid..” and with a second faint inscription l.r., collector’s stamp “A” for Duc de Genova-Savoia (Lugt L.47a) l.l.

Ink and wash on paper mounted to wove paper, 10 1/2 x 6 1/2 in. (26.5 x 16.5 cm), unmatted, unframed.

Condition: Foxing, staining, small tear to u.r. edge, abrasion and glue stains and residue to the reverse, with traces of a second drawing which must have been on the reverse visible when the work is held up against a light. $400-600 208 Adrianus van Kilsdonk (Dutch, b. 1754) The Last Supper Signed and inscribed “A. Van Kilsdonk Amsterdam” l.c.

Oil on cradled panel, 16 x 12 in. (40.0 x 30.0 cm), framed.

Condition: Vertical cracks to panel, heavy varnish coat.

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N.B. The artist was active in Leiden and in Rome.

The painting at hand was reviewed from digital photographs by the RKD in The Hague.

They suggested that this work may be the same painting sold by Palais des congrès, Versailles, France, Tableaux Anciens, Meubles et Objets d’Art, March 5, 1978, Lot 37 (as La Scène, presumably meant to be La Cène).

The medium, signature with inscription, and dimensions correspond very closely, but the painting was not illustrated in the catalog.

The works of Adrianus van Kilsdonk are not well documented, and heretofore the RKD archives did not contain photographs or reproductions of any of his paintings. Dr. Laurens Schoemaker (RKD) pointed out that van Kilsdonk based this composition after a large painting by Peter Paul Rubens of The Last Supper (1630-31), now in the collection of the Pinacoteca di Brera, Milan. $800-1,200

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209 Attributed to Nicola Casissa (Italian, d.

1731) Two Elaborate Still Life Compositions with Flowers, Fruit, and Animals One signed “NCasissa f” l.l., the other unsigned, with small labels from “Collezione Sangiorgi” on the sides of the frames.

Both oil on canvas, 24 1/2 x 29 1/2 in. (62.5 x 75.0 cm), framed.

Condition: Both lined, retouch, craquelure, varnish discoloration, surface grime.

N.B. Giuseppe Sangiorgi (1850-1928) was the proprietor of a gallery and auction house in Rome. $1,500-2,000 209

210 School of Mario Nuzzi (Italian, c. 16031673) Sprays and Vases of Flowers in a Classical Landscape Unsigned, attributed in a handwritten note and a typed card, both accompany the lot.

Oil on canvas, 15 x 29 in. (37.0 x 73.5 cm), framed.

Condition: Lined, old retouch, craquelure.

Provenance: Purchased in Rome, through to a Texas estate. $1,000-1,500

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211

211 Louis Tielemans (Belgian, 1826-1856) Titian’s Studio Signed “L. Tielemans” l.r., titled on a presentation plaque.

Oil on panel, 29 3/8 x 23 3/8 in. (74.5 x 59.5 cm), in a Newcomb-Macklin Company frame.

Condition: Retouch to u.l. corner, fine craquelure.

Provenance: A private Massachusetts collection. $5,000-7,000

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212

212 Joseph Jansen (German, 1829-1905) Alpine View Signed and dated “Jos. Jansen/1872� l.l.

Oil on canvas, 48 1/4 x 40 5/8 in. (122.5 x 103.0 cm), in a period frame from William Schaus, New York.

Condition: Lined, retouch primarily to the sky, fine craquelure. $5,000-7,000

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213

213 Johan Barthold Jongkind (Dutch, 1819-1891) Les Patineurs Signed “Jongkind” l.r., identified on a fragmentary printed label affixed to the reverse.

Oil on panel, 11 3/4 x 17 5/8 in. (30.0 x 45.0 cm), framed.

Condition: Retouch more prominent in the sky and to l.r. corner to cover a hairline crack to the left and through the first part of the signature, fine craquelure, horizontal craquelure or hairline surface cracks with bubbles of raised paint surface along the bottom quarter of the composition, horizontal crack to back of panel just above the center stabilized with a metal mending plate, surface grime.

N.B. The painting was reviewed via digital photographs by specialists at the RKD in The Hague. $4,000-6,000 214 Louis Apol (Dutch, 1850-1936) Molen in Winter Signed “Louis Apol” l.r., identified and numbered “449” on a label from Kunsthandel Roelofs, Amsterdam, affixed to the stretcher.

Oil on canvas, 19 3/4 x 14 in. (50.0 x 35.0 cm), in a J.H. Brugman frame.

Condition: Small repair with retouch l.c., fine vertical craquelure, minor frame abrasion, surface grime. $1,000-1,500

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215

215 Charles Bertrand d’Entraygues (French, 1851-1914) The Interrupted Picnic Signed and dated “D’Entraygues 1886” l.r.

Oil on canvas, 13 x 20 in. (33.0 x 50.5 cm), framed.

Condition: Subtle canvas rippling, minor surface grime. $5,000-7,000 216 William Walker Morris (British, fl. 18501867) A Rest on the Way/Boy with Two Dogs Signed and dated “WWMorris 1861” l.l.

Oil on canvas, 24 x 20 in. (61.0 x 50.8 cm), framed.

Condition: Lined, craquelure, scattered subtle retouch. $700-900

216

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217 German School, 18th/19th Century Merrymakers Before a Tavern Unsigned.

Oil on canvas, 14 1/2 x 18 3/8 in. (36.5 x 46.5 cm), unframed.

Condition: Lined, retouch to fill craquelure, frame abrasions. $1,200-1,800 218 Attributed to Romàn Ribera Cirera (Spanish, 1849-1935) A Gentleman Caller on Horseback Monogram signed and dated “RRibera/1879” l.l., inscribed “April/1910” on the back of the frame.

Oil on canvas, 34 3/4 x 30 1/2 in. (88.3 x 77.5 cm), framed.

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

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219 Julius LeBlanc Stewart (American, 18551919) Twilight on the Terrace, Paris Signed and dated “JL Stewart 1877” u.l.

Oil on panel, 29 1/4 x 39 in. (74.3 x 99.1 cm), in a period frame.

Condition: Craquelure, varnish discoloration/ inconsistencies, possible retouch, surface grime.

Provenance: A Massachusetts estate.

N.B. Though born in Philadelphia, Julius Stewart moved to Paris with his family at age ten and spent the rest of his life as a resident of the French capital. His father, William Hood Stewart (1820-1892), was a wealthy businessman who amassed one of the most important contemporary art collections of the nineteenth century. William Stewart had ample connections to assure his son’s access to the ateliers of the city’s most respected artists.

Stewart first studied painting with Eduardo Zamacois y Zabala, and later entered the studios of Jean-Léon Gérôme and Raimundo de Madrazo.

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In 1874, Stewart accompanied Gérôme on a trip to Egypt. This first-hand introduction to Gérôme’s interest in Orientalist themes clearly influenced the details of Stewart’s composition here, including the carpet beneath the seated figures and the Asian parasol and fan.

However, Stewart’s brushstrokes are far more painterly than Gérôme’s, as can be seen by comparing the carpet in this work to those in Gérôme’s Evening Prayer (see Lot 266).

Several of the objects in this work were standard props Stewart kept in his wellappointed studio at 13, rue Billault. The carpet appears in In the Artist’s Studio of 1875 (private collection), and the brightly-plumed parrots may have been Stewart’s pets, as one appears in another work from 1875, Lady with a Parrot (private collection).

Stewart’s debut at the Paris Salon, a year after completing this work, earned praise from French critics. Collectors and critics alike admired Stewart’s skilled, academic renderings of fashionably dressed figures at leisure. Stewart applied the delicate, meticulous attention to detail he learned from Zamacois y Zabala, Gérôme, and Madrazo to contemporary subjects, often his wealthy and well-connected family and friends. Though Stewart’s subject matter coincided with that of his fellow expatriate, John Singer Sargent, his painting style reflected his affinity for the academic manner of his teachers. $150,000-250,000

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220 Frank Henry Shapleigh (American, 18421906)

220

Cathedral and Spanish Monument, St. Augustine Signed and dated “F.H. Shapleigh 1887.� l.l., titled and signed on the reverse.

Oil on canvas, 16 x 10 in. (40.5 x 25.3 cm), framed.

Condition: Good.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $8,000-12,000

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222

221 Frank Henry Shapleigh (American, 18421906)

222 Attributed to John Joseph Enneking (American, 1841-1916)

Alpine Village Signed and dated “F.H. Shapleigh .1869.� l.l., with a stencil from Frost & Adams, Boston, applied to the reverse.

Oil on canvas (stretched with Boston tabs), 10 x 15 in. (25.4 x 38.1 cm), framed.

Condition: Fine craquelure, surface grime, possible retouch.

In the Swiss Alps Unsigned.

Oil on canvas, 8 x 20 in. (20.2 x 50.8 cm), framed.

Condition: Trimmed and lined, minor retouch, primarily at edges, gold leaf transfer from frame u.c. and l.c.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $1,000-1,500

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $4,000-6,000

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223

223 John Joseph Enneking (American, 18411916) Trout Pond Signed “Enneking” l.r., titled on a label from Haley & Steele, Boston, affixed to the frame backing.

Oil on canvas, 24 x 30 in. (61.0 x 75.5 cm), framed.

Condition: Lined, areas of craquelure, minor surface grime.

Provenance: A private Massachusetts collection. $6,000-8,000 224 Peter Fishe Reed (American, 1817-1887) and Joseph H.S. Reed (American, b. 1842) Forest Brook Signed and dated “P Fishe Reed/&/J.H.S. Reed/1882” l.l.

Oil on canvas, 35 1/2 x 44 1/2 in. (90.2 x 113.0 cm), framed.

Condition: Lined, retouch, surface imperfections to u.l. corner, slight bowing to the canvas.

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N.B. Peter Fishe Reed and J.H.S. Reed were father and son. $2,200-2,800

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225 Edward Mitchell Bannister (American, 1828-1901) Woman Reading Under a Tree Signed or inscribed “EM Bannister” l.r.

Oil on canvas, 8 x 12 in. (20.5 x 31.0 cm), framed.

Condition: Composition continues along the top edge of the canvas which is irregularly trimmed and perhaps cut down, fine craquelure.

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N.B. The painting at hand was reviewed via digital photographs by Anne Louise Avery, and the work will be included in her forthcoming catalogue raisonné of the works of Edward Mitchell Bannister. She groups the painting with Bannister’s mature works of the 1880s.

The lot is accompanied by a detailed analysis

by Dr. Avery, the first paragraph of which is reproduced below.

“Untitled (Woman Reading Under a Tree) is an intimate sous-bois oil painting depicting a woman peacefully reading, or perhaps sketching, in the shade under a tree in an autumnal Rhode Island landscape, possibly on the Goddard estate in Warwick. Sunlight illuminates the pasture before her, where a gaggle of geese trails through the long grass by an old oak. The subject and composition are typical of Bannister’s mature period, influenced heavily by the French Barbizon School and by the tides of Transcendentalism and Swedenborgianism flowing through 19th-century American landscape aesthetics.

The painting would probably have been executed en plein air and may have acted as a preparatory study for a larger work.” $3,000-5,000 226 Samuel Lancaster Gerry (American, 18131891) In Walpole, New Hampshire Signed “SL Gerry” l.r., titled in an inscription on the reverse.

Oil on board, 18 1/4 x 12 1/4 in. (46.3 x 31.0 cm), framed.

Condition: Minor surface grime. $700-900 226

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227

227 Montague Dawson (British, 1890-1973) Racing Yachts Signed “MONTAGUE DAWSON.” l.l.

Gouache on Whatman paperboard, 18 1/2 x 23 1/2 in. (46.5 x 60.0 cm), framed.

Condition: Toning, pale foxing, mat burn, surface creases, scattered surface repairs. $3,000-5,000

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228

228 Edmund Darch Lewis (American, 18351910)

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $4,000-6,000

Cliffs at Newport Signed and dated “Edmund D. Lewis 1881” l.r., titled on a presentation plaque and in an inscription on the stretcher, with a label from Janentzky & Co. Artists’ Materials, Philadelphia, affixed to the stretcher.

Oil on canvas, 36 x 29 1/4 in. (91.5 x 74.3 cm), framed.

Condition: Craquelure, two small punctures l.l., minor abrasions l.r., accretions (possibly gold leaf from frame) near lower edge, surface grime.

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229

229 Mauritz Frederik Hendrik de Haas (American, 1832-1895) Ship Aground - Crew Abandoning Ship Signed and dated “MFH de Haas NA/1877” l.r., identified on a label from Kennedy Galleries Inc., New York, affixed to the stretcher.

Oil on canvas, 19 x 31 in. (48.3 x 78.7 cm), framed (in a liner).

Condition: Lined, scattered retouch. $1,000-1,500 230 George Herbert McCord (American, 18481909) Setting Sail at Sunset Signed “G.H. McCord ANA” l.l., identified and dated “...1906” on a label affixed to the frame.

Oil on board, 20 x 16 in. (50.8 x 40.5 cm), framed.

Condition: Stable craquelure, minor retouch. $1,200-1,800

230

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231

231 William Bradford (American, 1823-1892) Rescue from the Rocks Signed and dated “Wm Bradford/64� l.r., identified on labels from Vose Galleries, Boston, and Haley & Steele, Boston, on the frame and frame backing board, respectively.

Oil on canvas, 17 1/2 x 21 1/2 in. (44.2 x 54.5 cm), framed.

Condition: Lined, retouch, fine craquelure.

Provenance: A private Massachusetts collection.

N.B. William Bradford, one of the preeminent marine painters of the 19th century, was born and raised near the harbor town of New Bedford, Massachusetts. Against the wishes of his strict Quaker parents, he pursued a career in painting. Initially self-taught, Bradford began to study with Dutch painter Albert Van Beest (1820-1860) in the late 1850s and the two artists frequently collaborated. Starting in 1861, Bradford made a series of trips to Labrador and the Arctic, where he was profoundly influenced by the bright light and vivid colors of the area. His paintings of the Arctic contain rich detail in sailing vessels and fishermen, while at the same time capture the expressiveness of the clouds, water, and ice formations. The rich scenery and atmospheric light remained a constant source of inspiration for Bradford throughout his career. $25,000-35,000

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232

233

232 Frederick Dickinson Williams (American, 1829-1915)

233 Charles Franklin Pierce (American, 18441920)

The Fishing Party Signed and dated “F.D. Williams -’75-” l.r.

Oil on canvas, 9 1/8 x 12 1/8 in. (23.0 x 30.8 cm), framed.

Condition: Minor retouch.

Heading Home/Figure and Dog in a Winter Landscape Initialed and dated “CFP 74” l.r.

Oil on canvas, 9 x 7 in. (22.8 x 17.8 cm), framed.

Condition: Lined, retouch.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $1,200-1,800

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $800-1,200

234 American School, 19th Century Gentleman Calling at the Garden Gate Unsigned.

Oil on canvas, 8 1/8 x 18 in. (20.8 x 45.5 cm), framed.

Condition: Fine craquelure.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $1,500-2,000

234

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235

235 Ernest Wadsworth Longfellow (American, 1845-1921) Study of Hillside, Manchester Initialed “E.W.L.” l.l., titled on the reverse, identified on a document from the University of Maryland Art Gallery, College Park, affixed to the reverse.

Oil on canvasboard, 12 x 10 in. (30.5 x 25.3 cm), framed.

Condition: Scratch u.l.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida.

Exhibitions: American Pupils of Thomas Couture, March 19–April 26, 1970, University of Maryland Art Gallery, College Park. $1,500-2,000 236 Frederick Dickinson Williams (American, 1829-1915) Gone Fishing Signed “F.D. Williams/-1875-” l.r., identified on a presentation plaque affixed to the frame.

Oil on canvas, 15 x 12 1/2 in. (38.0 x 31.8 cm), framed.

Condition: Lined, craquelure, retouch.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $1,200-1,800

236

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107

237

237 John Henry Dolph (American, 1835-1903) Boy and Chickens Signed “JH Dolph” l.l.

Oil on canvas, 10 x 14 1/4 in. (25.3 x 36.0 cm), framed.

Condition: Minor retouch.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $3,000-5,000 238 James Wells Champney (American, 18431903) Does Mother Want Me? Signed “J. Wells Champney” l.l., titled on the artist’s label affixed to the reverse.

Oil on canvasboard, 18 x 12 in. (45.7 x 30.5 cm), framed.

Condition: Frame abrasions, retouch.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $800-1,200

238

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239

239 John Gardner Low (American, 1835-1907) Herder with Ewe and Lamb Monogram signed, dated, and inscribed “JG Low 1859/PARIS” l.l.

Oil on artist board, 7 1/2 x 10 5/8 in. (19.0 x 26.7 cm), framed.

Condition: Frame abrasions, losses u.l., craquelure, retouch, minor surface grime.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida.

N.B. A native of Chelsea, Massachusetts, Low traveled to Paris in 1858 to study painting with Thomas Couture and Constant Troyon.

Low went on to found J. and J.G. Low Art Tile Works in Chelsea with his father in 1877, and the firm became internationally renowned. $700-900 240 Edward Burrill (American, 1835-1913) At the Well Signed “E BURRILL” l.l.

Oil on canvas, 16 x 11 5/8 in. (40.5 x 29.5 cm), framed.

Condition: Good.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $1,000-1,500

240

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109

241 242

241 George Forster (German/American, 18171896) Still Life with Peaches and Blue Butterfly Signed and dated “G Forster 1857” l.r.

Oil on panel, 9 1/2 x 12 in. (24.0 x 30.4 cm), framed.

Condition: Retouch. $1,000-1,500 242 Daniel Huntington (American, 1816-1906) 243

Portrait of Katrina Van Tassel Inscribed and possibly signed “Katrina Van Tassel/...untington” in pencil on the stretcher, identified on a presentation plaque, and with a canvas stencil from Goupil & Company, New York, on the reverse.

Oil on canvas, 12 x 10 in. (30.0 x 25.5 cm), framed.

Condition: Minor retouch, frame abrasion, surface grime.

243 Arnoud Wydeveld (American, 1823-1888)

N.B. Daniel Huntington created a larger painting showing Katrina Van Tassel paring apples while Ichabod Crane looks over her shoulder as an illustration for Washington Irving’s Legend of Sleepy Hollow in 1861, to which the painting at hand clearly relates. $1,000-1,500

Still Life with Pineapple and Other Fruits Signed “A. Wydeveld” l.l.

Oil on canvas, 14 1/8 x 22 1/8 in. (36.0 x 56.0 cm), framed.

Condition: Lined, scattered retouch, fine craquelure. $2,500-3,500

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244

244 Robert Spear Dunning (American, 18291905) Tabletop Still Life with Fruit Signed and dated “R.S. Dunning 1895” l.l., signed and dated “R.S. Dunning, P-/1895” on the reverse.

Oil on canvas, 10 1/8 x 14 in. (25.8 x 35.5 cm), in a period frame.

Condition: Small area of transfer of gold from the frame to the l.l. corner near the signature and date, fine craquelure, minor surface grime.

Provenance: A private Massachusetts collection. $4,000-6,000

245

245 Bryant Chapin (American, 1859-1927) Still Life with Four Apples Signed and dated “BRYANT CHAPIN ‘10” l.l.

Oil on canvas, 9 3/4 x 13 in. (25.0 x 33.0 cm), in a period frame.

Condition: Lined, scattered retouch, subtle rippling, minor frame abrasions. $3,500-5,500

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246

246 Frederick Dickinson Williams (American, 1829-1915) Feeding Time on the Farm Signed and dated “F.D. Williams -’74-” l.r.

Oil on canvas, 11 x 13 3/4 in. (27.8 x 34.8 cm), framed.

Condition: Trimmed and lined, small area of retouch l.c.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $1,000-1,500 247 Frank Henry Shapleigh (American, 18421906) Lane at Cohasset Signed and dated “F.H. Shapleigh 1874.” l.r., signed and titled on the reverse, with a Winsor & Newton canvas stencil on the reverse.

Oil on canvas, 16 x 10 in. (40.5 x 25.4 cm), framed.

Condition: Minor retouch.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $1,800-2,200

247

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248

248 John Bernard Johnston (American, 18471886) Plowing Signed “John B. Johnston” l.l., identified and titled on an exhibition label from the Essex Institute, Salem, Massachusetts (see below), affixed to the reverse.

Oil on canvas, 12 x 18 in. (30.4 x 45.7 cm), framed.

Condition: Trimmed and mounted to Masonite, craquelure, retouch.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida.

Exhibitions: William Morris Hunt and the Summer Art Colony at Magnolia, Massachusetts, 1876-1879, November 18, 1981–February 28, 1982, Essex Institute, Salem, Massachusetts. $1,000-1,500 249 William Otis Bemis (American, 1819-1883) 249

Cattle at Pasture Unsigned.

Oil on canvas, 25 1/4 x 30 in. (63.5 x 76.0 cm), framed.

Condition: Lined, retouch, craquelure, minor surface grime.

Provenance: From the estate of the artist, Spencer, Massachusetts, by descent through the artist’s family, purchased from the family by the current owner. $1,200-1,800

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250 Attributed to Ralph Albert Blakelock (American, 1847-1919) Landscape at Dusk Signed “R.A. Blakelock” in red l.r., identified with a Nebraska Blakelock Inventory label numbered “NBI-1625-III” affixed to the stretcher.

Oil on canvas, 12 x 14 in. (30.2 x 35.3 cm), framed.

Condition: Lined, paint loss to u.l. edge, craquelure, drying cracks, varnish discoloration, surface grime.

Provenance: A private Connecticut collection.

250

N.B. This painting was reviewed in 1995

by Norman Geske, and was assigned to Category III, a group whose provenance are missing or incomplete and whose physical and stylistic characteristics are partially in accord, partially divergent from the standards set by works designated as Category I and II. For this reason, the painting has been described as attributed to Blakelock. $4,000-6,000 251 Ralph Albert Blakelock (American, 18471919) Moonlight Signed “R.A. Blakelock” l.l., titled on a presentation plaque, numbered “1627” on a University of Nebraska Blakelock Inventory label affixed to the back of the frame, and with an unattributed label listing “Martin estate” on the back of the frame.

Oil on panel, 12 x 10 in. (30.5 x 25.2 cm), framed.

Condition: Craquelure, drying cracks, alligatoring, surface grime.

Provenance: Estate of Marie Martin, through to the current private Connecticut collection.

251

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N.B. NBI-1627, Moonlight, was examined

by Norman Geske in 1995 and was assigned to Category II, which is comprised of works with the undoubted technical and stylistic features of Blakelock, but without unbroken documentation of ownership back to the artist. $6,000-8,000

252

252 John Francis Murphy (American, 18531921) Late Afternoon Signed and dated “J. FRANCIS MURPHY. 1910� l.l., identified on a detached label from William Macbeth gallery, New York, encapsulated and affixed to the back of the frame.

Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), in a period frame.

Condition: Lined onto board, stable craquelure primarily to sky, retouch to sky, signature possibly reinforced. $7,000-9,000

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253

254

253 Phillip McCracken (American, b. 1928) Bird Family Incised signature, number, and date “Philip McCracken 3/9/1991” on the underside.

Bronze with a brown patina, 11 1/2 x 5 x 4 1/4 in. (29.2 x 12.7 x 10.8 cm).

Condition: Dust and dirt to the interstices.

N.B. A copy of the exhibition catalog Philip McCracken (Seattle and London: Tacoma Art Museum/University of Washington Press, 1980), accompanies the lot. $2,500-3,500 254 Arthur Clifton Goodwin (American, 18661929) North Woods (After Winslow Homer) Titled and signed “.../AC Goodwin/...” on the reverse.

Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed.

Condition: Scattered retouch, surface grime. $1,500-2,000 254A Tom Ryan (American, 1922-2011) A Cowboy and His Horse Signed “Tom Ryan” l.r. and in pencil l.l.

Mixed media on illustration board, board size 22 x 16 1/4 in. (55.8 x 41.2 cm), framed.

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

254A

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255 William Hald (American, b. 1948) Golden Eagle Titled, dated, numbered, and signed “.../©1980/23/24/Wm. Hald” on the top of the base.

Bronze with brown patina, height 55 3/4 in.

(141.5 cm) (including base).

Condition: Dust and dirt to interstices, accretions and small abrasion to the base. $1,000-1,500 256 John Cyril Harrison (American, 1898-1985) Two Works: Blackrock Aflight at Sunset and Ducks Alighting on a Coastal Rocky Cliff Both signed “JCHarrison” l.r.

Watercolor on paper, 21 x 29 1/2 in. (53.8 x 75.0 cm), framed.

Condition: Subtle rippling, not examined out of frames.

Provenance: Collection of Peter F. Packard, New York, until 1987, to the current owner by family descent. $1,000-1,500

255

256 partial

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117

257 Sydney Adamson (Scottish, act. 1892-1914) A Gathering of Officers and Civilians at the Time of the Boxer Rebellion Signed, inscribed, and dated “Sydney Adamson/Pekin1900” l.l.

Ink wash and whiting on paper, sight size 21 x 13 1/2 in.

(53.0 x 34.0 cm), framed.

Condition: Not examined out of frame.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $300-500 258 William T. Maud (British, 1865-1903) Lieutenant The Hon. de Montmorency and his Sergeant Major, Battle of Omdurman, September 2, 1898 Signed “W.T. MAUD” l.r., titled and inscribed on the reverse, titled and inscribed “.../Sketch by W.T. Maud in the Field” on a hanging tag affixed to the picture wire.

Pen and ink on paper, sight size 8 3/4 x 12 3/4 in. (22.2 x 32.5 cm), in a double-sided frame.

Condition: Creasing, toning, possible restored tear to l.r. corner, not examined out of frame.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida.

257

N.B. Montmorency (1867-1900) was a British recipient of the Victoria Cross, the most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces, for his bravery at the Battle of Omdurman, Sudan, September 2, 1898. $400-600

258

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259 Frederick Coffay Yohn (American, 18751933) Fight at Guantanamo Dedicated and signed “To my friend Hutchinson Scott/FC YOHN” l.l., titled on an unattributed label affixed to the frame backing.

Gouache and watercolor en grisaille on paper/ board, sight size 14 1/8 x 22 1/8 in. (35.8 x 56.4 cm), framed.

Condition: Scattered pinhole-size punctures, toning, not examined out of frame.

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $400-600 260 William Glackens (American, 1870-1938)

259

The Attack on the Blockhouse at El Caney or The Charge at El Caney Signed and inscribed “W. Glackens/Caney” l.l.

Ink, wash, and whiting on paper, sight size 17 x 13 1/4 in. (43.2 x 33.7 cm), matted, framed.

Condition: Toning, creases to upper quadrant, small abrasions u.l., scattered stains, not examined out of frame.

Provenance: Collection of Victor D. Spark; through to the collection of Frederic and Jean Sharf, Massachusetts and Florida.

Literature: Patricia Hills, Turn-of-the-Century America: Paintings, Graphics, Photographs, 1890-1910 (New York: Whitney Museum of American Art, 1977), illus. p. 98, figure 111.

Exhibitions: The American Personality: The Artist-Illustrator of Life in the United States, 1860–1930, Amon Carter Museum of Art, 1976; Turn-of-the-Century America: Paintings, Graphics, Photographs, 1890-1910, Whitney Museum of American Art, 1977; William Glackens: Illustrator in New York, Delaware Art Museum, 1985; (all toured to additional venues).

260

N.B. Along with fellow artist-reporters, including Frederic Remington, William Glackens was hired by McClure’s Magazine to cover the Spanish-American War. This work illustrates the attack of the 25th and 12th infantries on the Cuban village of El Caney and was published in the October 1898 edition of McClure’s. The majority of Glackens’s SpanishAmerican War drawings are in the collection of the Library of Congress. $1,000-1,500

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261 Molly Guion (American, 1910-1982) Trooper, The Life Guards Signed “M. GUION” l.l., titled on the reverse, identified on a presentation plaque.

Oil on canvas, 36 x 28 in. (91.5 x 71.0 cm), framed.

Condition: Craquelure, drying cracks, subtle rippling, surface grime. $2,000-3,000 262 John Steuart Curry (American, 1897-1946) The regiment was like a firework ignited, A Double-sided Sketch for The Red Badge of Courage Marked in pencil “I” on one side and “# 2” on the other side; estate stamped and numbered “B39920” l.r. of side I; inscribed with book title and caption and with other notations in the artist’s hand on side #2, with copyright stamps from the artist on both sides.

Charcoal on paper, image sizes 11 x 14 in.

(28.0 x 35.5 cm), framed.

Condition: Not examined out of frame.

N.B. The lot is accompanied by a signed copy of the limited edition leather-bound book in a slip case, The Red Badge of Courage by Stephen Crane, illustrated by John Steuart Curry (New York: The Limited Editions Club, 1944), more details at www.skinnerinc.com. $1,500-2,500 261

262

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263

263 John La Farge (American, 1835-1910) A Torii on Lake Chuzenji, Japan Titled and inscribed on the frame backing paper, with a Doll & Richards label numbered “A 36145” affixed to the frame backing paper.

Watercolor on paper mounted to paperboard, 8 5/8 x 11 1/16 in. (21.7 x 28.0 cm), framed.

Condition: Pencil lines framing the perimeter on three sides, gentle toning.

Provenance: Susan Channing Cabot Lyman (Mrs. Arthur T. Lyman, Jr.), by descent to Susan Channing Lyman Wearn c. 1934, by gift to Susan Lyman Wearn Drew (Brooklin, Maine), by descent to the current owner.

Literature: James L. Yarnall, Recreation and Idleness: The Pacific Travels of John La Farge (New York: Vance Jordan Fine Art, Inc., 1998), p. 37, color illustration fig. 59, p. 38.

N.B. John La Farge travelled with his longtime friend Henry Adams (1835-1915) to Japan in 1886, both men seeking fresh starts.

The two travelling companions were in the area of Nikko in July of that year to escape an epidemic of cholera that had broken out in Tokyo and Yokohama. As James Yarnall details in his book John La Farge, A Biographical and Critical Study, of the over thirty watercolors, two oils, and handful of drawings with Nikko subject matter, La Farge painted only a small percentage during the trip. Most were painted between 1887 and 1889 when La Farge reworked his journals for travel articles for Century Magazine.1 One reason for this was that La Farge often found the weather too difficult to paint from nature in Nikko due to the oppressive heat and inordinately wet summer. He would work from photographs taken on site and painted at their lodging in the coolness of the early morning or late evening. La Farge recorded that the mountains near Nikko were often shrouded

in mist, as is the mountain shown here, which is probably the holy mountain Mt. Nantai.

James Yarnall described this watercolor in his exhibition catalog essay “Recreation and Idleness: The Pacific Travels of John La Farge” as an exquisite picture and one which Yarnall believed may have been painted at least in part “on-the-spot.”2 1. James L. Yarnall, John La Farge, A Biographical and Critical Study (Farnham, Surrey, England: Ashgate, 2012), pp. 142-143.

2. James L. Yarnall, Recreation and Idleness: The Pacific Travels of John La Farge (New York: Vance Jordan Fine Art, Inc., 1998), p. 37.

$20,000-40,000

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264

264 Ernest Wadsworth Longfellow (American, 1845-1921) Helouan Initialed “EWL” l.r., inscribed “Arabs...” on the stretcher, identified on a copy of a label from the Lyman Allyn Museum, New London, Connecticut, affixed to the reverse.

Oil on canvas, 10 x 18 in. (25.3 x 45.5 cm), framed.

Condition: Lined onto tin backing, scattered minor retouch. $1,000-1,500

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265

265 John Prendergast (American, b. 1815) Tombs of Caliphs, Cairo Inscribed “Tombs of Caliphs Cairo” l.r., inscribed and signed “Egypt Prendergast” and “Cité des morts près du Caire” on the supporting sheet l.r., identified and dated c.

1840 on a label from Adamson-Duvannes Galleries, Downey, California, affixed to the frame backing.

Watercolor and pencil on paper affixed to a drawing book page, 8 5/8 x 12 1/8 in. (22.0 x 31.0 cm), framed.

Condition: Scattered pale fox marks, tiny loss to l.l. corner of sheet, subtle handling creases, with an ink sketch of a river with feluccas and dabs of watercolor on the reverse, sheet affixed to supporting sheet at the upper corners of the reverse.

N.B. The lot is accompanied by a Phillips, London, auction catalog dated October 3, 1989, which featured several lots of watercolors and drawings by John Prendergast. $1,000-1,500

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266

266 Jean-Léon Gérôme (French, 1824-1904) Evening Prayer, or Prayer in the East Signed “J.L. GEROME” c.l. along the edge of the wall of the roof, identified on a presentation plaque and on an encapsulated exhibition label from the Union League of Philadelphia (see below) affixed to the back of the frame, inscribed “BVC -19240-” in black ink across the center horizontal bar and with a gummed label with the typed number “H-513” also on the back of the panel.

Oil on cradled mahogany panel, 19 1/2 x 31 7/8 in. (49.5 x 81.0 cm), framed.

Condition: Minor dots of retouch to sky, retouch to edges to cover frame abrasion, a treatment report from the Art Conservation Department, Buffalo State College, accompanies the lot.

Provenance: Sam Mendel (1814-1884), Manchester, UK, from at least 1 July 1870 until 22 September 1873 (known as Prayer at Cairo); Agnew’s, London, from 22 September 1873 until 29 October 1873 (sold as Prayer at Cairo); to Henry William Ferdinand Bolckow (1806-1878), Middlesbrough, UK, in October, 1873 (known as Prayer in the East); by descent to Mrs. Henry William Ferdinand Bolckow in 1878; to Christie, Manson and Woods, London, Modern Pictures, May 5, 1888, as Lot 18 (sold as Prayer in the East); purchased from above by Goupil; to Boussod, Valadon & Cie. (“BVC-19240”) (sold as Prayer in the East); purchased from Boussod, Valadon & Cie. in New York by William P. Henszey (1832-1909), Wynnewood, Montgomery County, Pennsylvania, on September 28, 1889 (known as Evening Prayer); through to M.M. Pochapin, President, Art Movement, Inc., New York (as Evening Prayer); purchased by W.G. Dickenson, Lockport, New York, March 16, 1945, from the National Hall of Art, Art Movement, Inc. (as Evening Prayer); then by descent.

Exhibitions: Royal Mining, Engineering, and Industrial Exhibition (International and Colonial), Newcastleupon-Tyne, United Kingdom, 1887 (no. 905, as Prayer in the East), lent by Henry William Ferdinand Bolckow; Union League of Philadelphia, Loan Exhibition of Paintings by Eminent Artists Belonging to a few Citizens of Philadelphia, May 11-27, 1893 (no. 58, as Evening Prayer), lent by William P. Henszey; Union League of Philadelphia, Art Loan Exhibition, May 11–27, 1899 (no. 67, as Evening Prayer), lent by William P. Henszey.

N.B. A letter of authentication from Emily M. Weeks, Ph.D. will accompany the work. The painting will also be included in Dr. Weeks’s revision of the artist’s catalogue raisonné. We would like to thank Dr. Weeks for preparing the catalog note that follows on the next pages. $400,000-600,000

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Figure 1

Figure 2

Figure 3

Figure 5

Figure 6

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In the 1860s, Gérôme began a series of pictures depicting Muslim men at prayer. These would become a signature theme of the artist’s, and among his most popular Orientalist works. The present painting, Evening Prayer, holds a special place within this important group. A “perfected” version of one of Gérôme’s most evocative compositions, with all of the technical hallmarks and intellectual nuances of his art, it has recently been confirmed as an original work by his hand, and returned to the artist’s oeuvre.1 Gérôme’s path to Orientalism began in 1856, when he traveled to Egypt for the first time. (Earlier in his career, he had made his name with light-hearted Néo-Grec genre scenes and archaeologically exacting images of the classical past.) In Cairo, he accumulated a virtual library of souvenirs, costumes, and local crafts, as well as photographs, sketches, and drawings, which served as inspiration for his studio works. Subsequent trips to the region made during the 1860s and 1870s expanded his repertoire of subjects, confirming his talents as an ethnographer and his reputation as a privileged witness to all aspects of Middle Eastern life.

In the present work, Gérôme depicts the daily maghrib, or evening prayer, performed on the housetops of Cairo.2 In the background, the distinctive skyline of the city is visible, with the Mosque of Muhammad Ali and the Madrasa of Sultan Hasan helping to identify the geography of the site (fig. 1).3 Gérôme’s figures are executed with comparable documentary care: The men face east, towards Mecca, as the crescent moon and direction of the waning light suggest. They demonstrate each of the ritual postures associated with the prayer, from the initial standing qiyam to the last prostrate sajda (fig. 2). The motivation for this encyclopedic view was likely a favorite reference of Gérôme’s: Edward William Lane’s An Account of the Manners and Customs of the Modern Egyptians, first published in London in 1836, also described these poses, in pictures and in text (fig. 3).4 Despite these glosses of realism, Gérôme’s image is far from true.

A minaret from the Madrasa of the Amir Sarghitmish (1356), placed prominently on the left, should be miles from this scene, and the rooftop wind scoops are likewise curiously placed.5 (To catch the prevailing winds that sweep through Cairo, they should be facing north.) Several of the men, moreover, inspire a strong sense of dejà vu. They reappear in others of Gérôme’s compositions, in various contexts and dress.6 Rather than a sign of ignorance, however, or a thoughtless oversight, these were deliberate choices by the artist, made for aesthetic effect.7 Such artistic liberty did not diminish the overall popularity of Gérôme’s Middle Eastern works, nor jeopardize their worth. At least three painted versions of the present subject are known, and numerous reproductions and copies were made during the course of the artist’s career—a testament to its success.8 The original painting in the Hamburger Kunsthalle, exhibited at the Paris Salon in 1865, shares many of the same features with the present picture, including its formidable size (fig. 4). It is the differences between the two, however, that are most important here: In the present work, the absence of background figures and the substitution of a striking man in red—a favorite model of the artist’s—serve to focus all attention on the devotions of the group, and the poetry of prayer.

In the nineteenth century, making versions of a favorite or highly coveted subject was the standard practice of many artists, and held a specific societal value. Those without the resources to purchase a popular Salon painting could, by these means, enjoy similar works in their own homes, particularly through the production of a reduction, or smaller version of the piece.9 For those who wished for a grander addition to their well-hung walls, a répétition was the answer to their needs. This was understood to be a later version of a painting, of roughly the same size. Owing to a few compositional differences—a requisite of this type—the répétition was considered to be an original and costly work of art. As Patricia Mainardi explains: “The correct term for an artist’s later version of his own theme...was...répétition, the same word used in performance for a rehearsal. In performance, we never assume that opening night is qualitatively better than later presentations—first performances are, in fact, usually weaker than subsequent ones, which gain in depth from greater experience and familiarity with the material,” (“The 19th-century art trade: copies, variations, replicas,” The Van Gogh Museum Journal, 2000, pp.

63-64). Evening Prayer, then, the last of the three painted versions of this subject to be made, and the only répétition that is known, may be interpreted as Gérôme’s most valuable and profound rendition of this beloved theme.10 The techniques that Gérôme employs throughout this composition exhibit the trademarks of his style, as does the distinctive signature located along a background ledge (fig. 5).11 The application of paint around the head of the imam is particularly noteworthy, as it offers a glimpse into the artist’s working method. Here, Gérôme simultaneously applies fresh paint to both the figure and the ground, allowing him to balance the painting’s overall tones and avoid the hard-edged outlines of others’ academic style (fig. 6). The consequent appearance of this painted passage and across the surface of the picture as a whole, as a seamless, luminous sheet of glass, became identified closely with the artist, and with nineteenthcentury Orientalism as well.12

The appearance of Evening Prayer by 1870 in two prominent private collections in England and, fifteen years later, on the East Coast of America, was in keeping with the history of many of Gérôme’s best-known works.13 In 1859, Gérôme signed a contract with the French publisher and art dealer Adolphe Goupil (1806-1893).

Goupil’s calculated marketing of Gérôme’s works, through both the sale of originals and affordable, mass-produced reproductions, guaranteed their widespread distribution, and the growth of his international success. The industrial and commercial booms of the nineteenth century also had a critical role to play. They generated a new group of art purchasers and patrons in these countries, who were eager to prove the sophistication of their nouveau riche tastes.

Scenes of Middle Eastern prayer such as this one offered a broad and somewhat ironic appeal: In addition to reflecting—despite their foreign guise—the familiar moral principles that these new collectors were anxious to uphold, they could also offer hope and comfort at a time of rapid change. As the corruptive influences of capitalism were beginning to be recognized and the complexities of modern life were starting to take their toll, the idea of a pure and unquestioned faith was doubtless reassuring. Gérôme’s Evening Prayer then, a window into a distant and exotic world, may also, in this context, be read as the final solemn sermon to one closer than it seems.

—Emily M. Weeks, Ph.D.

Figure 4. Jean-Léon Gérôme (French, 18241904), Prayer in Cairo, 1865; oil on panel, 49.8 x 81.2 cm, Hambuger Kunsthalle, Germany; gift of Freiherr J.J. von Schroeder, 1910

Notes 1. A letter of authentication from Emily M. Weeks, Ph.D. will accompany this work. The painting will also be included in Dr. Weeks’s revision of the artist’s catalogue raisonné.

2. In addition to his own experiences in Egypt, Gérôme may have been influenced in his choice of subject matter by his friend and fellow Orientalist Alexandre Bida (1813-1895): Bida apparently showed the artist his drawing of Prayer on the Housetops (Walters Art Gallery), to which Gérôme responded, “I have done nothing to equal this,” (R.B. Gruelle, Notes: Critical & Biographical: Collection of W.T. Walters [Indianapolis?], 1895, p. 193).

8. The three confirmed versions are: a small oil sketch (private collection), a finished oil painting on panel in Hamburg, Germany (see above), and the present work. Most of the printed versions were produced and distributed by the French publisher and art dealer Adolphe Goupil (1806-1893) (see Gérôme and Goupil: Art and Enterprise, exh. cat., Paris, 2000, pp. 23, 119, 154).

9. Reductions were often done for the purpose of graphic reproduction; because exactitude was emphasized over creativity, the execution was often given over to the studio, with the resulting work being only partially by the artist’s hand.

3. The setting is intended to be the Qasaba, near the Bayn al-Qasrayn.

4. Cf. Lane, 1860 (definitive edition), pp. 75-79. The men’s costumes, on the other hand, draw from a far more personal source: the closetful of clothing and accessories that the artist had acquired while abroad.

5. See Caroline Williams, “Jean Léon Gérôme: A Case Study of an Orientalist Painter,” in “Fantasy or Ethnography? Irony and Collusion in Subaltern Representations,” edited

by Sabra Webber and Margaret R. Lynd, special issue, Papers in Comparative Studies 8 (1993-94), p. 121; and David A. King, “Aspekte angewandter Wissenschaften in Moscheen und Klöstern (Teil I),” Berichte zur Wissenschaftsgeschichte 18 (1995), pp.

90-1.

6. The kneeling figure on the right, for example, forehead to the ground, reappears in the same golden yellow robes in Prière dans la mosquée (art market, currently with Gallery 19c) of 1875. The imam, or leader of the prayer at far left, makes another appearance in Gérôme’s The Muezzin of 1866 (Joslyn Art Museum), and its many variations.

7. In addition to personal preference, Gérôme’s deviations from reality were also based on marketing considerations and client requests. In a letter to the dealer Knoedler, the artist explained: “Prayer in the Mosque had been reserved by Monsieur Simon and I remember that he made me put a figure facing the spectator, by saying that since all the others were seen from the back or in profile, it would not sell. I did as he wanted because his reasons were commercially sound,” (Letter to Knoedler, June 8, 1903, Custodia foundation, Fritz Lugt collection, Netherlands Institute, Paris).

10. The artist himself addressed this notion in a letter to the Belgian art dealer Ernest Gambart (1814-1902): “The alterations that I have made from the original picture [The Duel after the Masquerade, 1857-9, Walters Art Museum] have singularly improved this composition, especially in its general aspect...and I regret not to have thought of it at first when I executed the original,” (Hering, Gérôme, p. 75).

11. Written in capital letters, and devoid of accents or embellishment, it suggests that this work was intended as a finished and marketable version, rather than a study or personal gift. (Gérôme typically signed these latter works in longhand.)

12. The photographic quality of these works has long encouraged their interpretation as “factual”­—for better or for worse. For more on this subject, see Emily M. Weeks, “A Veil of Truth: The Art and Artistry of Jean-Léon Gérôme (1824-1906),” Private Journey Magazine (January 2011); and “A Veil of Truth and the Details of Empire: John Frederick Lewis’s The Reception of 1873,” Art and the British Empire, edited by Tim Barringer, Geoff Quilley, and Douglas Fordham (Manchester and New York: Manchester University Press, 2007), pp. 237-53.

13. Samuel Mendel (1814-1884), called the “Merchant Prince,” was a wealthy textile merchant from Manchester, England. His collection at Manley Hall was widely known and documented. Henry William Ferdinand Bolckow (1806-1878), of Middlesbrough, England, was a prominent industrialist and Member of Parliament. William Peddle Henszey (1832-1909), a Pennsylvania railroad baron, was a member of numerous clubs and associations, and a major supporter of the arts. His residence, called “Redleaf,” was filled with significant artworks, including the present painting by Gérôme. For more on Gérôme’s popularity in America, see Emily M. Weeks, “An Enduring Renaissance: Collecting Gérôme in America,” Gérôme, exh. cat., Gallery 19c, New York, 2017.

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268

130

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269

267 Emile Albert Gruppé (American, 1896-1978)

268 Emile Albert Gruppé (American, 1896-1978)

Silvery Day, Vermont Winter Signed “Emile A. Gruppé” l.r., titled in an inscription on the back of the frame.

Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.

Condition: Abrasion u.l., surface grime. $3,000-5,000

Winter, Mount Mansfield, Vermont Signed “Emile A. Gruppé” l.r.

Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed.

Condition: Possible small loss to impasto l.l., surface grime.

269 Aldro Thompson Hibbard (American, 18861972) Vermont River Valley in Winter Signed “A.T. Hibbard” l.r.

Oil on canvas, 30 1/4 x 26 in. (76.7 x 66.5 cm), framed.

Condition: Good. $7,000-9,000

Provenance: Shannon’s Fine Art Auctioneers, October 22, 1998, Lot 61. $10,000-12,000

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131

270

270 Harry Fenn (American, 1837-1911) Maine Coastal Town Signed and dated “Harry Fenn 1909” l.l.

Watercolor and pencil on paper/board, sight size 13 3/16 x 19 in. (34.0 x 48.3 cm), framed.

Condition: Toning, subtle mat burn, not examined out of frame. $800-1,200 271 Arthur Clifton Goodwin (American, 18661929)

271

Landscape with Birch Trees and Stream Signed “AC Goodwin” l.r. and on the stretcher, titled in an inscription on an unattributed hanging tag affixed to the back of the frame, inscribed “G.81.” on the reverse.

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

Condition: Craquelure, canvas rippling, scattered retouch, small puncture l.l., surface grime.

Provenance: Estate of the artist, to a private collection, to the current owner. $1,000-1,500

132

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272

273

272 Dodge Macknight (American, 1860-1950)

273 Hans Peter Kahn (American, 1921-1997)

Coastal View with Autumn Trees Inscribed “Dodge Macknight” in pencil on the frame backing board.

Watercolor on paper, 15 1/2 x 22 1/4 in. (39.0 x 57.0 cm), in a House of Heydenryk frame.

Condition: Tack holes and minor toning to the edges of the sheet, with an unfinished watercolor and pencil sketch to the reverse, tape hinge remnants and toning to the reverse. $1,000-1,500

Broad Summer Landscape with Farm Signed and dated “Kahn ‘60” l.r.

Oil on canvas, 25 x 70 in. (63.5 x 178.0 cm), framed.

Condition: Good.

N.B. Leaving his native Germany for New York at age 16, H. Peter Kahn studied at the Pratt Institute and the Art Students League, as well as the Hans Hofmann School in Provincetown, Massachusetts, and he earned undergraduate and graduate degrees in the early 1950s from New York University. In 1957 Kahn took a tenure-track position at Cornell University and moved with his wife and daughters to Etna, New York, outside of Ithaca, the area most likely depicted in this 1960 landscape. Kahn’s farm and studio became an influential gathering place for many Cornell students involved in the arts. $800-1,200

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274

274 John Nichols Haapanen (American, 18911968) Rushing Waters in Spring Signed and dated “HAAPANEN. 27” l.r.

Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), in an “A. Pancani. NY” frame.

Condition: Minor surface grime, several small losses. $1,200-1,800 275 Rex Jesse Ashlock (American, 1918-1999)

275

Summer Landscape, California Signed and dated “Ashlock/F 46” l.r.

Watercolor on paper, sight size 13 5/8 x 20 3/16 in. (34.5 x 51.3 cm), framed.

Condition: Toning, scattered minor surface abrasions, not examined out of frame. $800-1,200

134

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276

276 Harry Leslie Hoffman (American, 18741966) November Signed “Hoffman” l.c., titled, inscribed, and signed “.../H L Hoffman” on the reverse.

Oil on pressed paperboard, 12 x 15 7/8 in.

(30.3 x 40.3 cm), framed (under glass).

Condition: Minor craquelure, surface grime. $800-1,200 277 Arthur Clifton Goodwin (American, 18661929)

277

Spring Landscape with Pond Signed “A.C. Goodwin” l.l., signed and dated “A.C. Goodwin/08” on the turning edge l.l., titled in an inscription on an unattributed hanging tag affixed to the stretcher.

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

Condition: Stretcher replaced, scattered retouch, abrasions to edges, surface grime.

Provenance: Estate of the artist, to a private collection, to the current owner. $1,000-1,500

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135

278

279

278 Charles Herbert Woodbury (American, 1864-1940) Seascape with Cottages Signed and dated “...1932 Charles H Woodbury” l.l.

Oil on canvas, 20 x 27 in. (50.8 x 68.5 cm), framed.

Condition: Minor craquelure and surface grime. $1,200-1,800

136

279 David Dewey (American, b. 1946) Marshall’s Point at Sunset Signed and dated “Dewey 93” l.r., titled on a label from Corporate Art Directions, New York, affixed to the frame backing.

Watercolor on paper, sight size 18 3/8 x 38 1/4 in. (46.5 x 97.5 cm), framed.

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

Additional information and photos at www.skinnerinc.com

280

280 Joseph McGurl (American, b. 1958) Yachts off the Vineyard Signed and dated “JOSEPH McGURL/1997” l.r., signed, dated, and numbered “JOSEPH McGURL.../#175” on the reverse, titled on the back of the frame.

Oil on canvas, 23 3/4 x 55 3/4 in. (60.3 x 141.6 cm), framed.

Condition: Good. $3,500-5,500 281 Will Vawter (American, 1871-1941) 281

New Harbor Coast, Maine Signed “Will Vawter” l.l., titled on the reverse.

Oil on board, 14 x 17 in. (35.5 x 43.0 cm), framed (under glass).

Condition: Minor craquelure, not examined out of frame.

N.B. An inscription on the reverse indicates that the painting was sold to H. Edgar French in 1928. $1,000-1,500

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137

282 Hermann Dudley Murphy (American, 18671945) Nocturne/A Landscape Study Signed “H. Dudley...” l.l.

Oil on canvas, 29 1/8 x 36 in. (74.0 x 91.3 cm), in an unsigned period frame.

Condition: Subtle craquelure, minor surface grime. $2,500-3,500 283 Donald Allen Mosher (American, 19452014) 282

Awaiting Gondolas, Venice Signed “Donald Allen Mosher” l.l.

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

Condition: Good. $1,500-2,500 284 Alexei Vasilievich Hanzen (Russian, 18761937) Ships in Moonlight Signed “A. Hanzen” l.r. and on the reverse.

Oil on canvas, 30 x 36 in. (76.0 x 91.5 cm), framed.

Condition: Craquelure to areas of impasto, scattered abrasions with paint losses, punctures u.c. and l.c., surface grime. $1,000-1,500

283

284

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285

285 Takanori Oguiss (Japanese, 1901-1986) Venezia, Chiesa San Simeon Piccolo Signed “Oguiss” l.l., titled and dated “...1957” on the certificate of authenticity (see below).

Oil on canvas, 16 x 13 in. (41.0 x 33.0 cm), framed.

Condition: Pinholes to corners.

Provenance: Galerie Granoff, Paris, 1961; through to a private Florida collection.

N.B. A photo-certificate of authenticity from the Archives Oguiss, dated June 29, 2018, and signed by Emiko Oguiss Halpern, accompanies the lot. $35,000-55,000

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139

286

286 Hugues Claude Pissarro (French, b. 1935) Le Jardin Signed “H. Claude Pissarro” l.r.

Pastel on paper, 10 x 14 1/2 in. (25.3 x 36.5 cm), framed.

Condition: Not examined out of frame.

N.B. We would like to thank Stern Pissarro Gallery, London, for their assistance in reviewing this work. $1,000-1,500 287 Gaston Sébire (French, 1920-2001)

287

Plage à Arcachon Signed “G. SEBIRE” l.l., titled on a presentation plaque, with a label from Wally F Galleries, New York, affixed to the stretcher.

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

Condition: Minor surface grime.

Provenance: CRN Auctions, Cambridge, Massachusetts, Lot 20, September 9, 2012, to the current owner. $1,500-2,500

140

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288

288 Paul Signac (French, 1863-1935) Le Petit Andely Signed, titled, and dated “P. Signac/...-1924” l.r., signed or inscribed, titled, and dated “Paul Signac...” on the frame backing, with a label from framemaker R. Thellier, Paris, affixed to the frame backing.

Watercolor, gouache, and charcoal on paper, sight size 10 x 15 3/4 in. (25.4 x 40.0 cm), framed.

Condition: Sheet laid down on mat, pale mat burn, slight rippling to left and right edges.

N.B. A letter from Marina Ferretti, specialist in the work of Paul Signac, co-author of the Signac catalogue raisonné, and manager of the Archives Signac, confirming the authenticity of Le Petit Andely accompanies the lot. $25,000-35,000

Provenance: A Florida collection.

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289

289 Frank Myers Boggs (American, 1855-1926) Avignon Signed and inscribed “Frank-Boggs Avignon” l.l.

Charcoal and watercolor on paper, sight size 14 3/8 x 17 3/4 in. (36.5 x 45.0 cm), framed.

Condition: Foxing to sky, possible toning, not examined out of frame. $800-1,200 290

290 André Barbier (French, 1883-1970) Coastal Landscape with Tree Unsigned, identified on a presentation plaque.

Oil on canvas, 25 1/2 x 36 in. (64.8 x 91.5 cm), framed.

Condition: Craquelure, scattered small paint losses, tear l.l. repaired with patch to the reverse, retouch, surface grime. $1,500-2,500

142

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291

291 Charles Caryl Coleman (American, 18401928) View of Capri Looking Toward Vesuvius Signed with the artist’s triple-C monogram, dedicated, and dated “.../To CDH/ 2...Aug 99” l.l., with a label from Doll & Richards, Boston, numbered “A 19510,” affixed to the frame backing paper.

Oil on canvas mounted to paperboard, 5 x 8 1/2 in. (12.5 x 21.7 cm), framed.

Condition: Small paint losses and tack holes to the corners, fine craquelure, surface grime. $1,500-2,500 292 Frank Milton Armington (Canadian, 18761941) 292

Avenue d’Orleans, Paris Signed and dated “Frank M. Armington 1926” l.l., titled and signed “...Frank M. Armington” on the reverse.

Oil on panel, 8 1/2 x 10 5/8 in. (21.5 x 27.0 cm), framed.

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

Online bidding at www.skinnerinc.com

143

293

293 Hugues Claude Pissarro (French, b. 1935) Along the Snowy Path Signed “Claude Pissarro” l.r.

Pastel on paper, 9 1/2 x 14 1/2 in. (36.5 x 24.0 cm), framed.

Condition: Not examined out of frame.

N.B. We would like to thank Stern Pissarro Gallery, London, for their assistance in reviewing this work. $1,000-1,500 294 James Whitelaw Hamilton (Scottish, 1860-1932)

294

144

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The Harbour—Eyemouth Signed “J. WHITELAW HAMILTON” l.r., titled and signed “J. Whitelaw Hamilton” on a label affixed to the reverse.

Oil on panel, 10 1/2 x 13 3/4 in. (26.5 x 35.0 cm), framed.

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

295 Henry Hobart Nichols (American, 18691962) Beach at Katwyk Signed “H.Hobart.Nichols.” l.l., identified and dated “...about 1905” on a label from Bernard Black Gallery, New York, affixed to the reverse.

Oil on cradled panel, 11 x 14 1/8 in. (28.0 x 36.0 cm), framed.

Condition: Small paint losses to l.r. corner, minor craquelure and drying cracks in areas of heavy impasto. $800-1,200 296 Hugues Claude Pissarro (French, b. 1935) Village Life Signed “Claude Pissarro” l.l.

Pastel on paper, 9 3/4 x 14 1/2 in. (24.7 x 36.5 cm), framed.

Condition: Not examined out of frame.

295

N.B. We would like to thank Stern Pissarro Gallery, London, for their assistance in reviewing this work. $1,000-1,500

296

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145

297

297 Clark Hulings (American, 1922-2011) Market-Skopje, Yugoslavia Signed and dated “Hulings 1968� l.c., titled on a presentation plaque and on an inventory tag from Grand Central Art Galleries, Inc., New York, both affixed to the frame.

Oil on canvas, 24 x 36 in. (61.0 x 91.0 cm), framed.

Condition: Minor surface grime.

Provenance: Purchased from Grand Central Art Galleries, Inc., New York, on November 13, 1968, by Virginia and James Marion Jr., through to the current owners by family descent. $25,000-35,000

146

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298

298 Clark Hulings (American, 1922-2011) Palmar #2 (Province of Valencia, Spain) Signed “Hulings� l.l., titled on an inventory tag from Grand Central Art Galleries, Inc., New York, affixed to the frame.

Oil on canvas, 20 x 30 in. (51.0 x 76.5 cm), framed.

Condition: Minor surface grime.

Provenance: Purchased from Grand Central Art Galleries, Inc., New York, on November 13, 1968, by Virginia and James Marion Jr., through to the current owners by family descent. $20,000-30,000

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147

299

300

148

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301

299 Paul Strisik (American, 1918-1998) Retreat Signed “P. Strisik” l.l., titled on a label from Paul Strisik Gallery, Rockport, Massachusetts, affixed to the stretcher, artist’s stamp on the stretcher and the reverse.

Oil on canvas, 20 x 30 in. (50.8 x 76.1 cm), framed.

Condition: Area of stable craquelure u.l.

Provenance: Collection of Dr. Richard Young, a senior executive at the Polaroid Corporation from 1962-1982, by family descent. Dr. Young served as Senior Vice President of Research and Development, and later as President of the International Division and played a key role in the development and marketing of Polaroid’s revolutionary products. $1,000-1,500

300 Vladimir Federovitch Tchekhlov (Russian, 1922-1992) Young Pioneers on a Sabotnik Signed in Cyrillic and dated “.../1962” l.r., inscribed and titled in Cyrillic and English on the reverse, identified on a label from Overland Gallery of Fine Art, Scottsdale, Arizona, affixed to the frame backing.

Oil on cardboard, 12 3/4 x 18 in. (32.3 x 45.7 cm), framed.

Condition: Natural pigment fluorescence. $700-900

301 Jules René Hervé (French, 1887-1981) Sailing Toy Boats in the Tuileries Gardens Signed “Jules R. Hervé” l.l.

Oil on canvas, 24 x 30 in. (61.0 x 76.0 cm), framed.

Condition: Canvas stretched over mat board or similar and likely removed from a stretcher, retouch. $1,000-1,500

Online bidding at www.skinnerinc.com

149

302

302 Arthur Clifton Goodwin (American, 18661929) Late Afternoon, Boylston Street, Boston Signed “A.C. Goodwin� l.l. and on the stretcher, titled in an inscription on the stretcher.

Oil on canvas, 21 x 25 in. (53.4 x 63.5 cm), unframed.

Condition: Pinholes near the edges, abrasions to edges, surface grime.

Provenance: Estate of the artist, to a private collection, to the current owner. $3,000-5,000

150

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303 Johann Berthelsen (American, 1883-1972) Forty-second Street in Snow Signed “Johann Berthelsen” l.r., numbered “11855” in ink on the reverse, with a label from Milton Schepps, New York, affixed to the frame backing paper.

Oil on canvasboard, 16 x 12 in. (40.5 x 30.5 cm), framed.

Condition: Surface grime, possible varnish discoloration.

N.B. We would like to thank Lee Berthelsen, the artist’s son and founder of The Johann Berthelsen Conservancy, LLC, for authenticating this work and providing the following commentary. “The scene is 42nd street looking east at Grand Central Station all the way to the Chrysler building at 42nd Street and Lexington Avenue. Traders in Treasures was a shop owned by Milton Schepps who always claimed that his two closest friends in life were the writer Damon Runyon and my father. His store was also known as ‘Jeweler to the stars,’ and he was the man who introduced my father to Frank Sinatra who over the years collected over 30 of my father’s paintings. The frame is by my mother, and the scene was always very popular. This rendition probably dates from the early 1950s and is one of the finest renditions I have seen.”1 1. Text of email from Lee Berthelsen dated 7/13/2018.

$1,200-2,200

303

304 Arthur Clifton Goodwin (American, 18661929) Sunset on Boylston Street, Boston Signed “A.C. Goodwin” l.l.

Oil on canvas, 19 x 24 in. (48.3 x 61.0 cm), unframed.

Condition: Craquelure u.l., abrasions l.r., surface grime.

Provenance: Estate of the artist, to a private collection, to the current owner. $1,200-1,800

304

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151

305 Laura Coombs Hills (American, 1859-1952) Little Luster Pitcher Signed “Laura Hills” in pencil u.l., identified on a label from the Guild of Boston Artists and with a label from Haley & Steele, Boston, both affixed to the frame backing paper.

Pastel on paper/board, sight size 10 1/2 x 8 in. (26.7 x 20.5 cm), in the original blackpainted frame.

Condition: Small tack hole to u.l. corner, not examined out of frame.

Provenance: From the artist to Gertrude Hanson, Jaffrey, New Hampshire, and Weston, Massachusetts, through to the current owner. $1,500-2,500 306 Gustave Adolph Wiegand (German/ American, 1870-1957)

305

The Last Chrysanthemums Signed “GUSTAVE WIEGAND” l.l., titled and signed or inscribed “.../GUSTAVE WIEGAND” on the reverse, identified on a label from the Fuller Museum of Art affixed to the reverse and on a hanging tag affixed to the wire.

Oil on panel, 12 x 10 in. (30.0 x 25.3 cm), framed (under glass).

Condition: Not examined out of frame.

Provenance: Scott and Gloria Eaton, Seekonk, Massachusetts, to the Fuller Museum of Art, Brockton, Massachusetts, to Skinner, Sale 2260, Lot 273, to a private New England collection. $2,000-3,000

306

152

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307

307 Laura Coombs Hills (American, 1859-1952) Dahlias and Campanulas Signed “Laura Hills” u.l., said to be titled on the reverse, also titled on an old framer’s label affixed to the new frame backing paper.

Pastel on artist board, sight size 28 x 23 1/2 in. (71.5 x 59.5 cm), framed.

Condition: Not examined out of frame. $4,000-6,000

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153

308 Romain De Tirtoff, called Erté (Russian, 1892-1990)

308

Lady in Yellow Signed “Erté” l.r., stamped and inscribed “Composition originale/Erté/N. 4·383/1938/6 Sheila Huntley” on the reverse.

Gouache, pencil, and ink on paper, 14 3/16 x 10 1/8 in. (36.0 x 27.0 cm), framed.

Condition: Hinged to window mat with tape to three places along the upper edge on the reverse, toning, mat burn, foxing, staining l.r., crease and small tear c.r., pinhole u.l., scattered handling creases.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota. $800-1,200 309 Georges Barbier (French, 1882-1932) Art, Goûte, Beauté Signed and dated “G BARBIER 1922” u.r., titled “ART/GOUTE [sic], BEAUTE” within the composition l.l.

Gouache, watercolor, and ink on paperboard, 9 3/8 x 6 1/2 in. (24.0 x 16.5 cm), framed.

Condition: Taped to window mat at upper and lower edges, staining and abrasions to the reverse.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota. $500-700 309

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310 Romain De Tirtoff, called Erté (Russian, 1892-1990)

310

L’Amore dei Tre Re Signed “Erté” l.r., titled within the composition l.c.

Gouache and ink on paperboard, 20 3/4 x 13 7/8 in. (52.7 x 35.3 cm), framed.

Condition: Hinged to window mat with tape to three places along the upper edge on the reverse, minor abrasions to edges, small stains u.c. and u.l., staining to the reverse.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota. $2,000-3,000

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313

311

311 Rex Jesse Ashlock (American, 1918-1999) Cellist (Margaret Jane 1952) Signed “Ashlock” l.l., signed, inscribed, and titled on the reverse.

Oil on canvas, 25 7/8 x 17 3/4 in. (65.0 x 45.0 cm), unframed.

Condition: Minor paint loss to back of chair, minor scuffs and surface grime. $1,200-1,800 312 Nicolai S. Cikovsky (American, 1894-1987) Girl at Mirror Signed “N. Cikovsky” l.r.

Oil on canvas, 24 x 16 in. (61.0 x 40.6 cm), framed.

Condition: Surface grime. $1,000-1,500 313 Isaac Maimon (Israeli, b. 1951) Rendezvous Signed “Maimon” l.r.

Mixed media including gouache, ink, and pencil on paperboard, 30 x 41 1/4 in. (76.2 x 104.8 cm), framed.

Condition: Creasing to corners, scattered abrasions, pinholes to edges, staining and tape remnants to the reverse. $1,200-1,800

312

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314

314 Mary Louise (M.L.) Snowden (American, b.

1952) Tectonic Signed, titled, and numbered “M.L. Snowden/’Tectonic’ 18/75” at the lower edge, with a foundry stamp “Snowden Rodin Eberhard” just above the edition number.

Bronze, height 19 in. (48.3 cm), on an oval black stone plinth.

Condition: Areas of oxidation, scattered scratches to the patina, pitting, dust and dirt to interstices.

N.B. M.L. Snowden learned the art of sculpture from her father, George Holburn Snowden, N.A. (1901-1990). The family shared a notable tradition in art. Upon winning the Prix de Rome of 1926, George Snowden was given 38 of the original sculpting tools of Auguste Rodin by his teacher and mentor, Robert Georges Eberhard (1884-1965).

Eberhard had been a protégé, friend, and sculpture assistant to Rodin, and after Rodin’s death in 1917, received some of the master’s tools. Eberhard immigrated to the U.S. and became Chairman of the Sculpture Department at Yale University, where he and George Snowden met. After her father’s death, M.L. inherited these historic tools as well as the formulas for the luminous patinas for which she is known. $15,000-25,000

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315

315 Eben Farrington Comins (American, 18751949) Hat Booth Titled and signed “.../EBEN F. Comins� 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.

Provenance: The estate of Lee and Grace Hasenbush, Brookline, Massachusetts. $5,000-7,000

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316

316 John Whorf (American, 1903-1959) Country Circus Signed “John Whorf.” l.r., numbered and titled “32/...” in pencil on the reverse.

Watercolor on paper, 20 x 26 in. (50.5 x 66.0 cm), unframed.

Condition: Subtle rippling and handling creases, tack holes to lower corners, glue and tape residue to the edges of the reverse.

N.B. A thin wood frame without glass accompanies the lot. $4,000-6,000

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317

317 Zoran Antonio Music (Slovenian/Italian, 19092005) Nudo (Reclining Nude) Signed “Music” l.l., titled and dated “...1946” on unattributed labels affixed to the reverse and to the back of the frame.

Oil on board, 18 x 22 3/4 in. (46.0 x 58.0 cm), framed.

Condition: Holes to edges, accretions u.l., surface grime.

N.B. The present painting, dated 1946, was done the year after Music left Dachau concentration camp. Music was living in Venice at this time, and he painted a series of nudes, often using his future wife, Ida Cadorin, as a model. The couple married in 1949.

We would like to thank Gojko Zupan, Secretary of the Ministry of Culture, Directorate for Cultural Heritage, Republic of Slovenia, for his kind assistance with this lot. $8,000-12,000

Provenance: A New York estate.

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318 Leonard Baskin (American, 1922-2000) Dead Man Unsigned.

Bronze with an orange patina, 3 x 12 3/4 x 4 in. (7.5 x 32.3 x 10.0 cm).

Condition: Areas of oxidation. $1,500-2,500 319 Nancy Ellen Craig (American, 1927-2015) Surrealistic Landscape with Helmet Shells Signed “NE Craig” l.r., dated “2000-2011” on the stretcher.

Oil on canvas, 26 x 36 in. (66.0 x 91.5 cm), unframed.

Condition: Surface grime. $600-800

318

319

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320

320 Mario Miguel Mollari (Argentinian, 19302010) Girl with Flowers Signed “mollari” u.l.

Oil on canvas, 31 1/2 x 27 1/2 in. (80.0 x 69.7 cm), framed.

Condition: Scattered minor paint losses, minor surface grime. $1,000-2,000 321 Angel Chávez (Peruvian, 1929-1995) Two Women with a Dove Signed “Angel Chávez” l.l.

Oil on canvas, 20 x 16 in. (50.8 x 40.5 cm), framed.

Condition: Good. $700-900

321

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322

322 Alexis Miguel Pantoja Perez (Cuban, b.

1969) Dancing Couple Signed and dated “A/pantoja/2014� l.r.

Oil on canvas, 86 x 59 in. (218.4 x 149.9 cm), unstretched, unframed.

Condition: Subtle horizontal rippling, with possible scattered fine craquelure. $2,500-3,500 323-324 No lots.

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163

325

325 Joseph Christian Leyendecker (American, 1874-1951) Study for a Saturday Evening Post Cover, September 3, 1932 Monogram signature “JCLeyendecker” l.r., identified in an inscription from John A. Weatherwax on the reverse.

Oil with pencil on canvas, 20 3/4 x 27 1/2 in.

(52.8 x 69.7 cm), unframed.

Condition: Applied pencil grid to scale for transfer, scattered minor losses and abrasions, area of covering retouch to l.l. corner, varnish discoloration, glue residue and accretions to edges, laid down on wood panel, replica of the Saturday Evening Post cover affixed to the reverse.

164

Provenance: Gift from the artist to John A. Weatherwax (Chicago) in 1936, by family descent to the current owner.

N.B. John Weatherwax graduated from the Art Institute of Chicago and then became Art Director at Leo Burnett agency and President of the Art Director’s Club of Chicago. He knew many of the leading arts figures of the time including László Moholy–Nagy, Frank Lloyd Wright, Carl Sandburg, Grant Wood, and Rockwell Kent. Later he relocated to California and served as Chairman of the Board of Weatherwax, Spurgeon, Heath, Borchell, a boutique advertising agency in Los Angeles. $7,000-9,000

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326

327

326 Yingzhao Liu (Chinese, b. 1956)

327 Robert W. Stark III (American, b. 1964)

Still Life with Pears Signed and inscribed “Yingzhao Liu/U.S.A.” l.r.

Oil on linen, 20 x 28 in. (50.8 x 71.1 cm), framed (in a liner).

Condition: Canvas rippling, varnish inconsistencies. $2,500-3,500

Seckel Pear and Letterblocks Signed “RW STARK 3” within a rectangle l.r., dated and titled “2005/Seckle [sic] Pear & Letterblocks” in an inscription on the artist’s label affixed to the stretcher bar, with a gummed label from Gardner Colby Galleries, Edgartown, Massachusetts, and Naples, Florida, affixed to the stretcher bar.

Oil on panel, 6 3/8 x 20 in. (16.2 x 50.8 cm), framed.

Condition: Minor surface grime.

Provenance: The estate of Marie Cosindas, pioneer photographer, Boston. $400-600

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165

Lots 328–346 from the Collection of Dory Previn Dory Previn was a composer, lyricist, author, playwright, recording artist, and performer.

Her early successes came in Hollywood while working for MGM, where she wrote songs for films, usually as a lyricist teaming up with her then-husband, composer and conductor André Previn. They worked on soundtracks including one for the film version of Valley of the Dolls, the theme song of which was recorded by Dionne Warwick. Together they were nominated for two Academy Awards and wrote songs recorded by Rosemary Clooney, Vic Damone, Bobby Darin, Sammy Davis Jr., Doris Day, Leontyne Price, Tony Bennett, Frank Sinatra, and others. Ms. Previn gained a third Academy Award nomination for a collaboration with the composer Fred Karlin. Her lyrics for television garnered an Emmy Award and an Emmy nomination.

By 1970, she had begun to write and perform her own songs, eventually recording over ten albums. In addition to lyrics, she wrote and published memoirs, short stories, and plays. In 1986, Ms. Previn married actor and artist Joby Baker with whom she shared a deep interest in art and artists. Baker’s illustrations accompany the musical compositions in Ms. Previn’s songbook, published in 1995, and works from the couple’s collection offered in this sale include prints by William Blake, whose poetry and art greatly influenced both Previn and Baker, portraits of Previn by Baker and other contemporary artists (many of whom were close personal friends), and paintings by 20th century American masters John Sloan and Charles Demuth.

328 Joby Baker (Canadian/American, b. 1934) Stripes Crucified Dated, inscribed, and signed “1991/Southfield/ Ma./#3/Baker” on the reverse, titled on labels from Salander-O’Reilly Galleries, New York, and Lauren Clark Fine Art, Great Barrington, Massachusetts, affixed to the reverse.

Oil on board, 20 x 15 3/4 in. (51.0 x 40.0 cm), framed.

Condition: Abrasions and small losses to edges, surface grime.

Provenance: Collection of Dory Previn, Massachusetts.

N.B. An actor and artist, Joby Baker first appeared on television in the 1950s and went on to join the casts of many films and TV shows such as Girl Happy with Elvis Presley, the Gidget movie series, and Good Morning, World. By the early 1960s, Baker was dividing his time between acting and painting. He exhibited artworks in Los Angeles and San Francisco and associated with artists of the Bay Area figurative movement including his close friend Nathan Oliveira (see Lot 330). Baker married Dory Previn in 1986 and the two moved to the East coast, where Baker had his first solo show in New York in 1987 and continues to work and exhibit his paintings, sculpture, and jewelry in western Massachusetts. The isolated figure of a man, seemingly in agony or distress, recurs throughout Baker’s work with its features obscured under dense layers of paint, as appears the figure in this painting. $1,500-2,000 328

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329 William Theophilus Brown (American, 19192012)

329

Red Swimmer Initialed and dated “W.T.B. 65” l.r., titled in an inscription on the back of the frame and on a label from Felix Landau Gallery, Los Angeles, affixed to the reverse.

Acrylic on Masonite, 22 x 20 in. (55.9 x 50.8 cm), framed.

Condition: Craquelure, flaking u.r., surface grime.

Provenance: Collection of Dory Previn, Massachusetts. $2,000-3,000 330 Nathan Oliveira (American, 1928-2010) Portrait of Dory Previn Inscribed, signed, and dated “.../Nathan Oliveira/1962” l.c.

Watercolor and ink on paper laid down on paper/board, sight size 12 3/8 x 9 3/4 in. (31.3 x 24.7 cm), framed.

Condition: Rippling, creasing, not examined out of frame.

Provenance: Collection of Dory Previn, Massachusetts.

N.B. This portrait was used for the cover of Dory Previn’s first solo album, On My Way to Where, released in 1970. $2,000-3,000

330

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331 Joby Baker (Canadian/American, b. 1934) Dory and Georgia, Morning Star/Evening Star Incised signature “Baker” l.r., inscribed “GEORGIA O’KEEFE [sic] + DORY PREVIN/ ABAQUE N.M.” on the back of the frame.

Oil on canvasboard, 13 3/4 x 10 7/8 in. (34.8 x 27.5 cm), framed.

Condition: Scattered small paint losses near edges, surface grime.

Provenance: Collection of Dory Previn, Massachusetts.

331

N.B. Upon learning that Dory Previn had written a song entitled Morning Star/Evening Star, Georgia O’Keeffe was struck by the similarity to her “Morning Star” and “Evening Star” watercolor series. Baker and Previn ultimately went to visit O’Keeffe and spent the day with her. Baker reports that he brought an old hand-held camera, similar to one that O’Keeffe’s husband, Alfred Stieglitz, had used, and took a picture of Previn and O’Keeffe.

Baker painted this work based on the photograph he took that day, atypically using a palette knife to capture the quality of the original photograph. $1,500-2,000 332 Paul Wonner (American, 1920-2008) Jacob Wrestling with an Angel Signed “Paul Wonner” on the frame backing, signed or inscribed, titled, and dated “Paul Wonner/.../1965 (?)” on the frame backing.

Oil on pressed paperboard, 12 1/8 x 6 7/8 in.

(30.7 x 17.3 cm), framed (in a liner).

Condition: Fine craquelure, minor surface grime.

Provenance: Collection of Dory Previn, Massachusetts.

N.B. Jacob is a self-portrait, and the model for the strawberry-blond angel is Dory. $1,000-1,500

332

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333 Charles Demuth (American, 1883-1935) Blue Hat Signed and dated “C. Demuth./’13” l.l., identified on labels from The Downtown Gallery, New York, and the Santa Barbara Museum of Art (see below) affixed to the frame backing paper.

Watercolor on paper, 8 3/8 x 5 3/16 in. (21.3 x 13.2 cm), framed.

Condition: Trimmed sheet mounted to Fabriano solid sketch block support, toning, crease and surface loss with repair to l.r. corner.

Provenance: Collection of Dory Previn, Massachusetts.

Exhibitions: Three Young Collections: Selections from the Collections of Donald and Lynn Factor, Dennis and Brooke Hopper, André and Dory Previn, Santa Barbara Museum of Art, January 15-February 26, 1967, cat. no. 10.

333

N.B. Dory Previn began collecting art with her first husband, André Previn, a worldrenowned conductor, composer, and pianist.

The breadth of their collection was wide, including American and Mexican folk art, Indian miniatures, and modern American and European paintings and drawings. The Previns particularly favored small, exceptional artworks

by American modernists like this example by Charles Demuth. $20,000-30,000 334 No lot.

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335

335 John French Sloan (American, 1871-1951) White House, Pennsylvania Signed “-John Sloan-” l.l., identified on labels from Kraushaar Galleries, New York, and the Santa Barbara Museum of Art (see below) affixed to the frame backings, and in a letter from Carole M. Pesner to André Previn also affixed to the frame backing.

Oil on linen mounted on cardboard, 9 x 11 in.

(22.5 x 28.3 cm), framed.

Condition: Surface grime.

Provenance: Mr. Daniel Fraad; Kraushaar Galleries, New York; Collection of Dory Previn, Massachusetts.

Literature: Rowland Elzea, John Sloan’s Oil Paintings, A Catalogue Raisonné, Part One (Newark: University of Delaware Press, 1991), no. 94, p. 96.

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Exhibitions: Three Young Collections: Selections from the Collections of Donald and Lynn Factor, Dennis and Brooke Hopper, André and Dory Previn, Santa Barbara Museum of Art, January 15-February 26, 1967, cat. no. 31 (ill.).

N.B. In the above referenced letter from Carole Pesner of Kraushaar Galleries, Mrs. Pesner provides the Sloan estate number of “JS 582” and dates the work to 1907 based on John Sloan’s diaries. The work is also dated 1907 in the Sloan catalogue raisonné.

The painting is registered in the Sloan archive at the Delaware Art Museum, which holds the largest collection of art by Sloan, as well as the John Sloan Manuscript Collection, donated by Helen Farr Sloan (1911-2005).

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In the catalogue raisonné entry for a related work (No. 71, Pasture, Fort Washington), Rowland Elzea noted that in August 1906 Sloan wrote in his diary that he bought a wooden sketch box that he was fitting out to try some outdoor work while in Fort Washington (Pennsylvania). Robert Henri had taken up the practice of painting small, rapid pochades from nature while he was in France, and he urged his friends to try this technique. Elzea quotes John Sloan from his diary (August 11, 1906), “Made a try with my sketch box and find it quite a new thing to paint outdoors. My work of this sort has usually been of city subjects from memory...”

Between 1906 and 1911, Sloan went on to paint about 50 small, 9 x 11 inch canvases from nature. $15,000-20,000

336 William Theophilus Brown (American, 19192012) Portrait of Dory Previn Initialed and dated “W.T.B./67” on the reverse.

Oil on Masonite, 8 x 7 in. (20.3 x 17.7 cm), framed.

Condition: Small paint loss l.l., surface grime.

Provenance: Collection of Dory Previn, Massachusetts. $800-1,200 337 Joby Baker (Canadian/American, b. 1934)

336

Dory as a Dog (Figure and Figure) Signed, inscribed, and dated “Baker/ SOUTHFIELD/MA/00” on the reverse, title provided by the artist, with an unidentified printed label and a label from Salander-O’Reilly Galleries, New York, affixed to the reverse.

Mixed media including paint and metal on board, 17 1/2 x 14 1/2 in. (44.5 x 37.0 cm), unframed.

Condition: Craquelure, possible small losses (these may be intentional, as part of the artist’s process), surface grime.

Provenance: Collection of Dory Previn, Massachusetts.

N.B. In this work, Baker cast Dory Previn as a dog being stomped on by a male figure, in order to reflect Dory’s perception of herself as held down by men. $1,500-2,000

337

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338 William Theophilus Brown (American, 19192012) Portrait of Dory Previn (Dory with Cat) Initialed and dated “WTB 66” l.l., titled on an exhibition label from the Santa Barbara Museum of Art (see below) affixed to the frame backing and in a pencil inscription on the frame backing.

Acrylic on Masonite, 15 1/2 x 13 in. (39.3 x 33.0 cm), framed.

Condition: Small paint loss l.l., heavy surface grime.

Provenance: Collection of Dory Previn, Massachusetts.

Exhibitions: Three Young Collections: Selections from the Collections of Donald and Lynn Factor, Dennis and Brooke Hopper, André and Dory Previn, Santa Barbara Museum of Art, January 15–February 26, 1967, cat. no. 5. $2,000-3,000 339 Joby Baker (Canadian/American, b. 1934) and Dory Previn (American, 1925-2012)

338

Falling Man/Nine Eleven. Numbered and signed “1-1 Baker” in pencil l.r., titled on a label from Salander-O’Reilly Galleries, New York, and on unattributed printed labels, and with pencil inscribed notes for the poem on notebook paper, all included in a clear plastic envelope affixed to the frame backing.

Monotype and ink on paper, sight size 17 1/8 x 9 3/4 in. (43.5 x 24.8 cm), matted, framed.

Condition: Toning and fading to poem, not examined out of frame.

Provenance: Collection of Dory Previn, Massachusetts.

N.B. Joby Baker’s monotype is framed together with a poem by Dory Previn. Baker and Previn would often collaborate, with Baker first creating an image, then Previn writing a response to the image. Her verses were sometimes spontaneous, but other times took her a while, as indicated by her notes affixed to the back of the work. $800-1,200

339

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340 After Joby Baker (Canadian/American, b.

1934) Dory in the Morning, edition of 4. Signed “Baker” in ink l.r., titled in ink l.c., numbered “1/4” in ink l.l. Color giclée on paper, image size 14 1/2 x 10 1/2 in. (36.5 x 26.5 cm), unmatted, unframed.

Condition: Good.

Provenance: Collection of Dory Previn, Massachusetts. $250-350 341 William Theophilus Brown (American, 19192012) Boy with Horse Signed and dated “William Brown 60” l.r., titled in an inscription on the frame backing.

Oil on paper, 10 1/4 x 14 5/8 in. (26.0 x 37.2 cm), framed.

Condition: Rippling, pinholes near upper corners, toning, staining near lower corners (possibly from adhesive/tape residue to the verso), floated in mat, not examined out of frame.

Provenance: Collection of Dory Previn, Massachusetts. $800-1,200 340

341

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342 Morris Cole Graves (American, 1910-2001) Bird and Fruit, alternatively titled Blind Bird of the Inner Eye Signed “MGraves” in pencil l.r., titled l.l.

Ink and whiting on paper, sight size 23 x 16 5/8 in.

(58.4 x 42.2 cm), framed.

Condition: Minor tears l.l. and l.c., abrasion u.c., scattered creases, toning, fading, not examined out of frame.

Provenance: Collection of Dory Previn, Massachusetts.

Exhibitions: Three Young Collections: Selections from the Collections of Donald and Lynn Factor, Dennis and Brooke Hopper, André and Dory Previn, Santa Barbara Museum of Art, January 15–February 26, 1967, cat. no. 14. $4,000-6,000 343 Morris Cole Graves (American, 1910-2001) Two Birds Signed “MGraves” in pencil l.r., inscribed “Morris Graves” on the backing.

Ink on paper, sight size 21 1/4 x 27 1/4 in. (54.0 x 69.2 cm), framed.

Condition: Toning, rippling, scattered small tears and handling creases, possible foxing, not examined out of frame.

342

Provenance: Collection of Dory Previn, Massachusetts. $2,000-3,000

343

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344 Joby Baker (Canadian/American, b. 1934) Dory and the Monster Signed and dated “BAKER 75” l.r.

Gouache on paper, 6 3/4 x 4 7/8 in. (17.2 x 12.4 cm), framed.

Condition: Rippling, fine craquelure, possible dust or mold, floated in frame, not examined out of frame.

Provenance: Collection of Dory Previn, Massachusetts.

N.B. This painting was used as the cover art for Dory Previn’s book, Bog-Trotter: An Autobiography with Lyrics (London: Weidenfeld and Nicolson, 1980), a copy of which accompanies the lot. $2,000-2,500 345 William Blake (British, 1757-1827)

344

Six Facsimile Books. Songs of Innocence, London and Edmonton: John Pearson and William Muir, 1885, copy number 24, and Songs of Experience, London and Edmonton: Bernard Quaritch and William Muir, 1885, copy number 11, two volumes bound together; The Gates of Paradise, London and Edmonton: Bernard Quaritch, Mary Hughes, and William Muir, 1888, numbered and signed “17 Wm Muir” in ink; Illustrations of the Book of Job, edition of 1000, London: J.M. Dent and New York: G.P. Putnam, 1902; Visions of the Daughters of Albion, London and Toronto: J.M. Dent and New York: E.P. Dutton, 1932; Blake’s Grave: William Blake’s Illustrations for Robert Blair’s ‘The Grave’, Providence: Brown University Press, 1963; William Blake’s Relief Inventions by Robert N. Essick, edition of 365, Los Angeles: William and Victoria Dailey, 1978, numbered and inscribed “227/ This copy is for Dory,/with our best wishes/Will + Victoria” in ink. view online at skinnerinc.com Provenance: Collection of Dory Previn, Massachusetts. $600-800 346 William Blake (British, 1757-1827) Four Plates from Illustrations of the Book of Job: And Smote Job with Sore Boils, And When They Lifted Up Their Eyes Afar Off, I Am Young and Ye Are Very Old, and Thou Hast Fulfilled the Judgment of the Wicked, 1825, published by the artist and John Linnell, London, inscribed “Proof” in the plate l.r. (Bindman, 631, 632, 637, and 640). Engravings on paper, plate sizes approximately 8 1/2 x 6 1/2 in. (21.4 x 16.4 cm), framed.

Condition: Toning, foxing, staining, not examined out of frames.

Provenance: Collection of Dory Previn, Massachusetts. $1,000-1,500

346 partial

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347

347 Purvis Young (American, 1943-2010) Good Bread Alley Signed “young” at center, titled in an inscription on the reverse.

Acrylic, carpet, and plywood on particle board, 17 3/4 x 97 1/2 in. (45.1 x 247.7 cm), framed.

Condition: Surface grime. $2,000-2,500 348 David Davidovich Burliuk (Ukrainian/ American, 1882-1967) Night Ride Signed “Burliuk” l.r., identified on a label from ACA Gallery, New York, affixed to the back of the frame.

Oil on panel, 8 3/4 x 11 3/4 in. (22.0 x 30.5 cm), framed.

Condition: Small areas of fine craquelure.

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

348

349

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349 Purvis Young (American, 1943-2010) Procession Possibly signed indistinctly u.r.

Mixed media including oil, fabric, and wood on wood panel, 17 1/4 x 35 1/4 in. (43.7 x 89.5 cm), unframed.

Condition: Rippling to fabric, scattered abrasions, surface grime. $1,000-1,500

350

350 David Davidovich Burliuk (Ukrainian/ American, 1882-1967) Sharing a Meal on the Farm Signed “BURLIUK” l.r.

Oil on canvasboard, 6 3/4 x 9 in. (17.0 x 22.8 cm), framed.

Condition: Good.

N.B. The Burliuk Committee has kindly confirmed that this work will appear in the forthcoming catalogue raisonné. $2,000-3,000 351 David Davidovich Burliuk (Ukrainian/ American, 1882-1967) Gathering Eggs Signed “BURLIUK” l.l., dedicated, dated, and signed “May 15/1964...David Marussy Burliuk” on the reverse, Burliuk Gallery stamp on the reverse.

Oil on board, 10 x 7 7/8 in. (25.3 x 20.0 cm), framed.

Condition: Good.

N.B. The Burliuk Committee has kindly confirmed that this work will appear in the forthcoming catalogue raisonné. $3,000-5,000

351

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352

353

352 Purvis Young (American, 1943-2010) Figures over the City Signed “Young” l.l. and u.r.

Oil on wood panel, 43 1/2 x 72 in. (110.5 x 182.9 cm), framed.

Condition: Cracking to wood panel, surface grime. $2,000-3,000

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353 Philip Lawrence Sherrod (American, b.

1935) Two Paintings: Heinz Hang(s) Christ and (Circus-Circus-Oxydol/Snotol/Protol!)

Before the Super-cleaner Came!

Heinz signed and dated “SHERROD/’77” u.c., Circus dated and signed “’74/SHERROD” l.r., both titled in inscriptions on the stretchers.

Both oil on canvas, sizes to 13 1/2 x 48 in.

(34.3 x 121.9 cm), framed.

Condition: Craquelure, surface grime, Heinz with canvas rippling. $1,000-2,000

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354

355

354 Howard Finster (American, 1916-2001)

355 Howard Finster (American, 1916-2001)

I Love Horses Signed and titled “...BY Howard Finster...” within the composition, inscribed, signed, and dated “16.000.260 WORKS SINCE 1976/

BY Howard Finster SEPT.26.1990/God Bless You-10:42:PM” on the reverse, with additional compositions on the reverse.

Oil and marker on board, 18 x 24 in. (45.7 x 61.0 cm), unframed.

Condition: Scattered minor abrasions, surface grime. $400-600

Angels Love You Titled, dated, signed, and inscribed “...FEB.15.1990...BY.HOWARD/ FINSTER FROM/GOD...” within the composition, inscribed, signed, and dated “13.000.748-WORKS SINCE 1976/BY Howard Finster God Bless You All/FEB-151990-1:29:PAST MIDNIGHT” and with a drawing of a bird on the reverse.

Oil and marker on board, 49 3/4 x 11 3/4 in.

(126.4 x 29.8 cm), unframed.

Condition: Abrasions and losses to edges, scattered minor abrasions, surface grime. $300-500

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179

357

356

356 Gen Paul (French, 1895-1975)

357 Abraham Walkowitz (American, 1878-1965)

The Violinist Signed “GenPaul� l.r.

Oil on canvas, 39 1/2 x 25 3/4 in. (100.0 x 65.0 cm), framed.

Condition: Surface grime.

Isadora Duncan, 1932 Unsigned, identified on a label affixed to the backing.

Watercolor on paper, sight size 8 1/2 x 5 5/8 in. (21.5 x 14.2 cm), framed.

Condition: Possible toning, not examined out of frame.

Provenance: Purchased July 31, 1970, from Galerie de Cannes, by the parents of the current owner.

N.B. Accompanied by a copy of the bill from Galerie de Cannes, which provides the date of c. 1934-35 for the painting. $8,000-12,000

180

Exhibitions: Damsels to Divas, Key West Museum of Art and History, 2002. $600-800

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358 Abraham Walkowitz (American, 1878-1965) Isadora Duncan, 1932 Dedicated and signed “to Carl Van Vechten A: Walkowitz” l.c.

Watercolor, ink, and pencil on paper, image/ sheet size 14 x 8 1/2 in. (35.5 x 21.5 cm), framed.

Condition: Sheet floated in the frame, scattered foxing, possible toning, not examined out of frame.

Exhibitions: Dance—Art Objects from Area Collections, New Jersey State Museum, October 6-28, 1984; Damsels to Divas, Key West Museum of Art and History, 2002. $600-800 359 Hassan El Glaoui (Moroccan, 1924-2018) Fantasia Signed “Hassan el Glaoui” l.l.

Watercolor and gouache on paper with S.A.V. Velin blindstamp, sight size 19 1/4 x 24 3/4 in.

(49.0 x 63.5 cm), framed.

Condition: Not examined out of frame.

Provenance: A Florida collection.

358

N.B. This work will be included in the forthcoming Hassan El Glaoui catalogue raisonné. A certificate of authenticity from the family of the artist accompanies the lot. $7,000-9,000

359

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181

360 Dimitri Hadzi (American, 1921-2006)

360

Pollux Signed and numbered “D. HADZI V/VII” l.c.

Bronze with brown patina, height 13 in. (33.0 cm), on a white marble plinth.

Condition: Dust and dirt to interstices.

Provenance: The estate of Marie Cosindas, pioneer photographer, Boston.

N.B. We would like to thank Danese/Corey Gallery, New York, which represents the Estate of Dimitri Hadzi, for their assistance cataloging this lot. A signed copy of Peter Selz, Dimitri Hadzi (New York: Hudson Hills Press, 1996) and several exhibition brochures accompany the lot. $1,500-2,000 361 Mark Luyten (Belgian, b. 1955) Untitled Triptych Inscribed, signed, and dated “#90/62/ Mark Luyten/1990” on the verso and the frame backing of the photograph, with an installation diagram on the frame backing of the photograph.

Acrylic on canvas, mixed media including lead, sand, and pigment, and gelatin silver print (framed), sizes to 62 3/4 x 47 x 8 in. (159.4 x 119.3 x 20.3 cm).

Condition: Surface grime, rippling to photograph, abrasion c.r. to the sculptural component. $300-500

361

182

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362

362 Jose de Rivera (American, 1904-1985) Untitled Stamped “JOSE DE RIVERA/880” on the underside of the sculpture, stamped “8 82/ JOSE DE RIVERA” on the motor, identified “8-80/JD859” on labels affixed to the interior of the base.

Power-driven brass sculpture on a black base, height 9 1/2 in. (24.0 cm), with a small pedestal.

Condition: Scattered small spots of oxidation, scattered abrasions to base and pedestal. $5,000-7,000 363 Louis Siegriest (American, 1899-1989) Casablanca Signed, dated, and titled “Siegriest 69/ CASABLANCA” on the reverse, with a stamp from Triangle Gallery, San Francisco, applied to the reverse.

Mixed media on board, 48 x 36 in. (121.9 x 91.4 cm), framed.

Condition: Scattered abrasions. $700-900

363

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183

365

364

364 Giacomo Manzù (Italian, 1908-1991)

365 Dorit Levinstein (Israeli, b. 1956)

Two Figures Signed “Manzù” l.l.

Ink on paper, sight size 18 1/8 x 13 1/2 in.

(46.0 x 34.2 cm), framed.

Condition: Not examined out of frame. $1,200-1,800

The Swing Unsigned.

Bronze with acrylic paint, height 78 in. (198.1 cm), mounted to a Lucite plinth.

Condition: Scattered abrasions with paint losses, dust and dirt.

N.B. Accompanied by a copy of an invoice from Eden Gallery, Ltd., Jerusalem, dated May 12, 2008. $6,000-8,000

184

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366 Henry Faulkner (American, 1924-1981) Floral Explosion Signed “Faulkner” l.r.

Acrylic on board, 28 7/8 x 23 1/4 in. (73.2 x 59.0 cm), unframed.

Condition: Minor surface grime, subtle wear at corners.

Provenance: The estate of Marie Cosindas, pioneer photographer, Boston. $2,000-3,000 367 Suzanne Caporael (American, b. 1949) The Architecture of Trees: Oaks No visible signature, identified, titled, and dated “.../...1990” on labels from Katie Block Fine Art, Boston, and Richard Green Gallery, Santa Monica, affixed to the frame backing.

Oil on paper, sight size 32 1/4 x 39 1/4 in.

(81.9 x 99.7 cm), framed.

Condition: Rippling, pinholes near u.l. and l.l. corners, small abrasion l.r., scattered minor handling creases, not examined out of frame. $800-1,800

366

367

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185

368

369

368 Naoto Nakagawa (Japanese/American, b.

1944) Liberated Still Life Titled, signed, and dated “.../NAKAGAWA/ 1970” on the reverse, with a label from Obelisk Gallery, Boston, affixed to the stretcher.

Acrylic on canvas, 65 x 52 in. (165.1 x 132.1 cm), unframed.

Condition: Canvas dent c.l., small abrasion u.c., surface grime. $3,000-5,000

186

369 John Weir Jägel (American, 1929-2006) The Birth of Venus Signed, dated, and titled “J. JAGEL 17-1268...” on the stretcher bar.

Mixed media on Masonite, 54 x 24 in. (137.0 x 61.0 cm), framed.

Condition: Minor surface grime.

N.B. Jägel studied with Josef Albers at Yale and was a Boston-based artist. $700-900

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370

370 Tom Wesselmann (American, 1931-2004) Study for Sunset Nude (Two Legs Up) Signed and dated “Wesselmann 02” within the composition l.r., inscribed “MAT TO JUST COVER EDGES” u.l., with pencil annotations to the verso.

Ink and colored pencil on 100% rag tracing paper, 4 x 6 1/4 in. (10.3 x 16.0 cm), framed.

Condition: Torn left and upper edges (as part of the artist’s process), small crease to l.l. corner, fox mark l.r., floated in frame, not examined out of frame.

Provenance: Sold by the artist’s estate to Galleria Flora Bigai Arte Contemporanea, Pietrasanta, Italy, 2006; Galleria Forni, Bologna; a private Massachusetts collection.

N.B. American Pop artist Tom Wesselmann made numerous small studies for his final series of paintings, Sunset Nudes (20022004). Drawing inspiration from Matisse and Manet, Wesselmann set his take on the odalisque before vibrant, flat swaths of pattern.

We would like to thank the Tom Wesselmann Studio for their kind assistance in cataloging this lot. $8,000-12,000

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187

371

371 Larry Zox (American, 1936-2006) Scissors Jack Series Dated and signed “1965 Zox” l.l., titled l.r., with a stamp from Forager House Collection, Nantucket, applied to the frame backing.

Ink and gouache on graph paper, 11 x 13 7/8 in. (28.0 x 35.7 cm), framed.

Condition: Toning, scattered small stains, scattered handling creases, pinhole and adhesive residue u.l. $400-600 372 Lyman Kipp (American, 1929-2014) Akron Signature, date, inscription, and number “KIPP/1977/AKRON/1·3” stamped at the bottom edge.

Painted aluminum, height 23 3/4 in. (60.3 cm).

Condition: Minor wear to the painted surface on some of the rivets.

372

188

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N.B. This work has been reviewed by the Lyman Kipp Foundation and will be included in their forthcoming catalogue raisonné. It is listed online at http://www.lymankipp.com/ work.html as #K0101. $1,000-1,500

373 Louise Nevelson (American, 1899-1988) Maquette for Sky Landscape I (A) Incised signature and number “NEVELSON 5/6/7987” on the underside, titled and dated “...1977-79” on a label from The Pace Gallery, New York, affixed to the underside.

Welded steel painted black, height 30 1/4 in.

(76.8 cm).

Condition: Dust and dirt to the interstices, possible small area of oxidation to the base.

Provenance: A private Massachusetts collection.

Literature: Nevelson: Maquettes for Monumental Sculpture, exhibition catalog, New York: The Pace Gallery, 1980, illustrated.

Exhibitions: Nevelson: Maquettes for Monumental Sculpture, The Pace Gallery, New York, May 2–June 27, 1980.

N.B. Louise Nevelson made her first monumental outdoor steel sculpture, Atmosphere and Environment X (Princeton University), in 1969. By that time, she was already recognized as one of the leading figures in twentieth-century American sculpture. She had represented the United States at the 1962 Venice Biennale and had been honored with a retrospective exhibition at the Whitney Museum of American Art in 1967.

This maquette for the large Sky Landscape I (currently on view at the Seattle Art Museum’s Olympic Sculpture Park) demonstrates the elegance of Nevelson’s smooth opaque black surfaces, and the balanced fusion of her geometric angles and anthropomorphic curves.

373

Nevelson developed her signature monochromatic, spray-painted wooden assemblages in the 1950s and began to translate the hallmarks of her style— monochromatic black color, collage/ assemblage form, and influences from Native American and Mayan art and from Cubism—to steel in order to fulfill the Princeton commission. She embraced the idea of her works being able to withstand the outdoor environment, and the freedom in moving beyond limitations in size. She said, “Remember, I was in my early seventies when I came into monumental outdoor sculpture...

I had been through the enclosures of wood.

I had been through the shadows. I had been through the enclosures and come out into the open.”1 1. Rapaport, Brooke Kamin, The Sculpture of Louise Nevelson: Constructing a Legend (New York: Jewish Museum of New York, 2007), pp. 21-22.

$50,000-70,000

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189

374 Stanley Robert Boxer (American, 19262000) Limnedofatautwhere Signed, dated, and inscribed “©/S Boxer/4/87/B6-87” on the reverse, titled on the stretcher, with a label from Andre Emmerich Gallery, New York, affixed to the stretcher and an unattributed printed label affixed to the side of the frame.

Oil on linen, 75 x 80 in. (190.5 x 203.2 cm), framed.

Condition: Drying cracks, lifting, and flaking with scattered paint losses, all to areas of impasto, surface grime.

Provenance: Collection of Charlene Engelhard. $3,000-5,000 375 Albert Alcalay (American, 1917-2008) Sunset at the Pond Signed and dated “ALCALAY 73” l.r., titled, dated, and signed “.../.../ALBERT ALCALAY” on the reverse.

Oil on canvas, 34 x 40 1/4 in. (86.5 x 102.0 cm), framed.

Condition: Small area of flaking with paint loss l.r.

374

Provenance: Purchased from the artist by the current owner in the mid 1970s.

N.B. The painting at hand and Lot 377 are inspired by the landscape of Chilmark on Martha’s Vineyard. $1,500-2,000 376 No lot.

375

190

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377 Albert Alcalay (American, 1917-2008) The Red Sun Signed and dated “ALCALAY 72” l.r., titled, dated, signed, and inscribed “.../.../ALBERT ALCALAY/MARTHA’S VINEYARD ISLAND/ MASS, US” on the reverse.

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

Condition: Minor surface grime.

Provenance: Purchased from the artist by the current owner in the mid 1970s. $1,500-2,000 378 Paul Jenkins (American, 1923-2012) Phenomena Canyon Lost Signed “Paul Jenkins” c.l., signed, titled, and dated “Paul Jenkins/.../1968” on the reverse.

Watercolor and gouache on paper with Arches blindstamp, 22 1/2 x 30 1/2 in. (57.0 x 77.5 cm), framed.

Condition: Hinged to mat with tape to upper edge and to two places near side edges, all on the reverse, fine craquelure to gouache, staining to the reverse.

377

Provenance: An Illinois estate. $1,000-1,500

378

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191

379

379 Claude Venard (French, 1913-1999) Abstraction Signed “C. Venard” l.l., inscribed “hammer” and “18451-10” in ink on the stretcher.

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

Condition: Minor craquelure, surface grime. $3,000-5,000 380 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way ‘84” l.l.

Oil on paper, 24 1/8 x 19 3/16 in. (61.3 x 48.7 cm), unframed.

Condition: Small areas of flaking u.l. and u.r., toning/staining to the verso. $1,500-2,500

380

192

Additional information and photos at www.skinnerinc.com

381

381 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way ‘82” l.c.

Oil on paper, 19 1/8 x 24 1/8 in. (48.5 x 61.3 cm), unframed.

Condition: Craquelure, possible small area of flaking to center, small creases to lower corners, toning/staining to the verso, tape remnants to corners on the verso. $1,500-2,500 382 Rex Jesse Ashlock (American, 1918-1999) Abstract Composition Signed “REX ASHLOCK” l.r. and again, faintly, “Rex Ashlock” l.l., signed, dated, and inscribed “REX ASHLOCK 1958/12 ST MARKS PL/NYC/...” on the reverse.

Oil on canvas, 36 x 38 in. (91.2 x 96.0 cm), unframed.

Condition: Scattered minor paint losses, drying cracks, surface grime. $1,500-2,500

382

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193

383

383 Giampaolo Bertozzi (Italian, b. 1957) and Stefano Dal Monte Casoni (Italian, b. 1961) Cover Inscribed “INV. 433/NOSTRA/NON C’É” on a label affixed near the lower edge.

Glazed ceramic, 23 x 17 x 13 1/2 in. (58.4 x 43.2 x 34.3 cm).

Condition: Minor chips, losses, and cracks, many of which may have been an intentional part of the artists’ process. $5,000-7,000

194

Additional information and photos at www.skinnerinc.com

384 Christo (American, b. 1935) Wrapped Invoices from Johnson Printing Company, Minneapolis, Minnesota Signed and dated “Christo 1979” on the back l.l.

Mixed media including paper, polyethylene, and twine, 4 1/2 x 9 3/4 x 3/4 in. (11.5 x 24.8 x 2.0 cm).

Condition: Toning, tearing and losses to polyethylene, dust and dirt.

Provenance: Collection of Frank and Dorothy Shear of St. Paul, Minnesota.

384

N.B. Christo moved to Paris and made his first wrapped objects in 1958. These initial works were small, empty paint cans that he covered in resin-soaked canvas, tied up, and coated with a mixture of glue, varnish, sand, and a thin layer of dark-black or brown lacquer. By 1961, Christo had begun to wrap a variety of everyday objects, including magazines, a telephone, and a motorcycle, in clear polyethylene plastic. He wrapped these invoices from Johnson Printing Company/ Contemporary Art Lithographers and returned the package to the company as payment for the books and posters they printed for him in the 1970s. The artist and his wife, JeanneClaude, expounded on the wrapping theme in subsequent years, applying it in monumental scale to the natural and built environment, as they did by wrapping the Museum of Contemporary Art in Chicago and a section of the Australian coastline (both 1968-69).

We would like to thank the artist for his kind assistance in cataloging this lot. $1,500-2,500 385 Cameron Shaw (American, b. 1956) Two Works: Untitled Katzenjammer Kids with Newsprint and Untitled Bottle Box Kids signed and dated “Cameron Shaw/1991” on the back, Bottle signed and dated “Cameron Shaw/90” on the back.

Mixed media including beeswax, canvas, newsprint, metal, corrugated paperboard, and glass, sizes to 53 x 19 1/2 x 13 1/4 in. (134.5 x 49.5 x 33.5 cm).

Condition: Scattered minor abrasions, dust and dirt to the interstices, Kids: toning to newsprint, scattered tears to stack of newsprint, tears to canvas at u.l. on the back and l.c. on the right side, Bottle: scattered scuffs and stains, punctures from previous mounts to the back, adhesive residue u.r. on the back. $800-1,200

385

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195

386 with reverse view

386 Jesús Rafael Soto (Venezuelan, 1923-2005) Estela Doble Faz Numbered and signed “7/8/Soto” on the base.

Screenprint on Plexiglas with nylon and painted wooden bars, 31 x 18 x 8 in. (78.7 x 45.7 x 20.3 cm).

Condition: Minor abrasions and surface irregularities u.c. and u.l. on red panel. $10,000-15,000

196

Additional information and photos at www.skinnerinc.com

387

387 Jesús Rafael Soto (Venezuelan, 1923-2005) Blanc et Couleur Signed and numbered “7/8/Soto” on the reverse.

Mixed media including Plexiglas, wood, paint, and metal, 23 5/8 x 23 5/8 in. (60.0 x 60.0 cm), unframed.

Condition: Scattered minor abrasions and scuffs, scattered surface inconsistencies to colored tiles, craquelure and small losses to edge of white tile. $15,000-20,000

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197

388

388 Bernard Langlais (American, 1923-1977) Two Driftwood Fish Sculptures One signed, one unsigned.

Driftwood and nails, heights to 12 1/2 in. (31.8 cm), on driftwood plinths.

Condition: Natural wear to the surfaces, rust to some of the nails, mounted to plinths with carved wood dowels. $1,000-1,500

198

Additional information and photos at www.skinnerinc.com

389

389 Graham Nickson (British, b. 1946) Study of Large Bather Painting Signed “Graham Nickson” in pencil l.r., signed, titled, and inscribed “...coloured pencils on Rag (100%) paper” on the reverse l.r.

Colored pencil on Fabriano rag paper, 27 1/2 x 38 7/8 in. (70.0 x 98.5 cm), unmatted, unframed.

Condition: Surface losses to orange border, staining, rippling, soiling, handling creases. $10,000-15,000

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199

390

390 Michael Byron (American, b. 1954) Kneeling Ganesh Signed “M J BYRON” on the reverse, titled, inscribed, and dated “...Thailand or Cambodia/c 1150-1200 AD./3 5/8” h./Feb 3, 98/St, Louis” on the reverse.

Oil on canvas, 16 x 12 in. (40.5 x 30.5 cm), unframed.

Condition: Good.

Provenance: Collection of Charlene Engelhard. $800-1,200 391 David True (American, b. 1942) Amphora No visible signature, identified, titled, and dated “.../1986...” on a label from Barbara Krakow Gallery, Boston, affixed to the frame backing.

Ink, watercolor, and sea salt on paper, 30 x 22 1/4 in. (76.2 x 56.5 cm), framed.

Condition: Deckled left and right edges, gentle rippling, floated in frame, not examined out of frame. $400-600

391

200

Additional information and photos at www.skinnerinc.com

392

392 Giulio Paolini (Italian, b. 1940) Eclipse (Painted by George Stubbs) Unsigned, edition of 6, 1986 (as confirmed by the Fondazione Giulio e Anna Paolini).

Framed photostatic reproduction, fractured plaster cast, Plexiglas sheet on a white wooden plinth (plinth not pictured), overall size 119 3/4 x 23 5/8 x 23 5/8 in. (304.0 x 60.0 x 60.0 cm).

Condition: Staining to the reverse of the photostatic reproduction, minor scuffs and stains to plaster.

Provenance: Marian Goodman Gallery, New York; estate of Richard E. Anderson, New York, New York/Redding, Connecticut.

Literature: Maddalena Disch, Giulio Paolini: Catalogo Ragionato 1960–1999 (Milan: Skira Editore, 2008), vol. 2, pp. 997–98, cat. no.

576.

N.B. The framed image is a reproduction of a lithographic print of a painting by George Stubbs, Eclipse at Newmarket, with a Groom and a Jockey (1770). Behind the print lie the fragments of a plaster cast of the sculpture of a horse (a reproduction of Cavallino arabo [1819] by Gaetano Monti). $7,000-9,000

End of Sale 3140B

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201

Index of Artists Abbott, Berenice........................................................................... 115-122 Adams, Ansel........................................................................127, 128, 140 Adamson, Sydney.................................................................................257 Albers, Josef...........................................................................................47 Alcalay, Albert................................................................................375, 377 American School, 19th Century.............................................................234 Apol, Louis............................................................................................214 Appel, Karl...............................................................................................48 Arbus, Diane..........................................................................................141 Armington, Frank Milton.........................................................................292 Ashlock, Rex Jesse...............................................................275, 311, 382 Atget, Eugène................................................................................ 110-114 Azechi, Umetaro......................................................................................73 Baker, Joby...........................................................328, 331, 337, 339, 344 Baker, Joby (After).................................................................................340 Baltz, Lewis...........................................................................................145 Bannister, Edward Mitchell.....................................................................225 Barbier, André........................................................................................290 Barbier, Georges...................................................................................309 Baskin, Leonard........................................................................10, 11, 318 Bellows, George......................................................................................12 Bemis, William Otis................................................................................249 Benson, Frank Weston...................................................................... 13-16 Berthelsen, Johann................................................................................303 Bertozzi, Giampaolo..............................................................................383 Blake, William................................................................................345, 346 Blakelock, Ralph Albert..........................................................................251 Blakelock, Ralph Albert (Attributed to)....................................................250 Boggs, Frank Myers..............................................................................289 Bosman, Richard.....................................................................................49 Boxer, Stanley Robert............................................................................374 Bradford, William...................................................................................231 Bravo, Manuel Álvarez...........................................................................124 Brockhurst, Gerald Leslie...........................................................................4 Brown, William Theophilus.............................................329, 336, 338, 341 Buffet, Bernard........................................................................................50 Burliuk, David Davidovich......................................................348, 350, 351 Burrill, Edward.......................................................................................240 Byron, Michael.......................................................................................390 Calder, Alexander....................................................................................51 Capa, Robert.........................................................................................130 Caporael, Suzanne................................................................................367 Cartier-Bresson, Henri...........................................................................126 Casissa, Nicola......................................................................................209 Cassatt, Mary..........................................................................................17 Champney, James Wells........................................................................238 Chapin, Bryant......................................................................................245 Chávez, Angel.......................................................................................321 Chekalov, Vladimir.................................................................................300 Chelminski, Jan.....................................................................................204 Christo..................................................................................................384 Cikovsky, Nicolai S................................................................................312 Coleman, Charles Caryl.........................................................................291 Comins, Eben Farrington.......................................................................315 Continental School, 17th Century..........................................................202 Corneille..................................................................................................52 Craig, Nancy Ellen.................................................................................319 Cucchi, Enzo...........................................................................................53 Curry, John Steuart................................................................................262 Dalí, Salvador..........................................................................................54 Dawson, Montague...............................................................................227 Demuth, Charles....................................................................................333 Dewey, David.........................................................................................279 Diebenkorn, Richard................................................................................55 Dine, Jim........................................................................................... 56-58 Dolph, John Henry.................................................................................237 Dunning, Robert Spear..........................................................................244

202

El Glaoui, Hassan..................................................................................359 Enneking, John Joseph.........................................................................223 Enneking, John Joseph (Attributed to)...................................................222 d’Entraygues, Charles Bertrand.............................................................215 Erté...............................................................................................308, 310 Estes, Richard.........................................................................................59 Faulkner, Henry......................................................................................366 Fenn, Harry............................................................................................270 Finster, Howard.............................................................................354, 355 Foltz, Lloyd Chester.................................................................................18 Forster, George.....................................................................................241 Gardiner, Eliza Draper..............................................................................19 German School, 18th/19th Century.......................................................217 Gérôme, Jean-Léon...............................................................................266 Gerry, Samuel Lancaster........................................................................226 Giacometti, Alberto..................................................................................60 Glackens, William..................................................................................260 Goldin, Nan...................................................................................155, 156 Goltzius, Hendrik.......................................................................................1 Goodwin, Arthur Clifton.........................................254, 271, 277, 302, 304 Gowland, Peter.....................................................................................133 Graves, Morris Cole.......................................................................342, 343 Gruppé, Emile Albert.....................................................................267, 268 Guion, Molly..........................................................................................261 Haapanen, John Nichols........................................................................274 Haas, Ernst...................................................................................146, 147 de Haas, Mauritz Frederik Hendrik.........................................................229 Hadzi, Dimitri.........................................................................................360 Haku, Maki..............................................................................................73 Hald, William.........................................................................................255 Halsman, Philippe..........................................................................131, 132 Hamilton, James Whitelaw.....................................................................294 Hanzen, Alexei Vasilievich......................................................................284 Harrison, John Cyril...............................................................................256 Hartung, Hans.........................................................................................61 Hassam, Childe.......................................................................................20 Hervé, Jules René.................................................................................301 Hibbard, Aldro Thompson.....................................................................269 Hills, Laura Coombs......................................................................305, 307 Hodgkin, Howard..............................................................................62, 63 Hoffman, Harry Leslie............................................................................276 Hulings, Clark................................................................................297, 298 Huntington, Daniel.................................................................................242 Indiana, Robert........................................................................................64 Italian School, 16th/17th Century...........................................................207 Italian School, 17th Century...................................................................201 Italian School, 17th/18th Century...........................................................206 Izu, Kenro...................................................................................... 159-161 Jachna, Joseph D.................................................................................142 Jägel, John Weir....................................................................................369 Janco, Marcel..........................................................................................65 Jansen, Joseph.....................................................................................212 Jenkins, Paul.........................................................................................378 Johnston, John Bernard........................................................................248 Jones, Allen.............................................................................................66 Jongkind, Johan Barthold......................................................................213 Josephson, Kenneth..............................................................................143 Josey, Richard...........................................................................................5 K.O.S....................................................................................................101 Kahn, Hans Peter..................................................................................273 Karsh, Yousuf........................................................................................129 Kenna, Michael......................................................................................149 Kent, Rockwell.................................................................................. 21-32 Kinoshita, Tomio......................................................................................73

Kipp, Lyman..........................................................................................372 La Farge, John......................................................................................263 Langlais, Bernard..................................................................................388 Le Corbusier......................................................................................67, 68 Léger, Fernand (After)..............................................................................69 Leibovitz, Annie.....................................................................................163 Levinstein, Dorit.....................................................................................365 Lewis, Edmund Darch...........................................................................228 Lewis, Martin...........................................................................................33 LeWitt, Sol...............................................................................................70 Leyendecker, Joseph Christian..............................................................325 Lichtenstein, Roy (After).....................................................................71, 72 Link, O. Winston....................................................................................135 Liu, Yingzhao.........................................................................................326 Longfellow, Ernest Wadsworth.......................................................235, 264 Low, John Gardner................................................................................239 Luyten, Mark.........................................................................................361 Macknight, Dodge.................................................................................272 Maekawa, Sempan..................................................................................73 Maimon, Isaac.......................................................................................313 Manzù, Giacomo...................................................................................364 Masaji, Yoshida........................................................................................73 Matisse, Henri...........................................................................................6 Matta, Roberto........................................................................................74 Maud, William T.....................................................................................258 McCord, George Herbert.......................................................................230 McCracken, Phillip.................................................................................253 McGurl, Joseph.....................................................................................280 McNulty, William C...................................................................................34 Miró, Joan......................................................................................... 75-82 Mollari, Mario Miguel..............................................................................320 Moore, Henry..........................................................................................83 Morgan, Barbara...................................................................................125 Mori, Yoshitoshi.......................................................................................73 Moriyama, Daido...................................................................................144 Morris, William Walker............................................................................216 Morrisroe, Mark.....................................................................................154 Mosher, Donald Allen.............................................................................283 Murphy, Hermann Dudley......................................................................282 Murphy, John Francis............................................................................252 Music, Zoran Antonio............................................................................317 Nakagawa, Naoto..................................................................................368 Nevelson, Louise.............................................................................84, 373 Nichols, Henry Hobart...........................................................................295 Nickson, Graham...................................................................................389 Nuzzi, Mario (School of )........................................................................210 Oguiss, Takanori....................................................................................285 Oldenburg, Claes.....................................................................................85 Olitski, Jules............................................................................................86 Oliveira, Nathan.....................................................................................330 Pantoja Perez, Alexis Miguel..................................................................322 Paolini, Giulio.........................................................................................392 Paolozzi, Eduardo..............................................................................87, 88 Paul, Gen..............................................................................................356 Picasso, Pablo................................................................................... 90-99 Picasso, Pablo (After)...............................................................................89 Pierce, Charles Franklin.........................................................................233 Pissarro, Hugues Claude.......................................................286, 293, 296 Poliakoff, Serge.....................................................................................100 Prendergast, John.................................................................................265 Reed, Joseph H.S.................................................................................224 Reed, Peter Fishe..................................................................................224 Reika, Iwami............................................................................................73 Rembrandt van Rijn...............................................................................2, 3 Renoir, Pierre-Auguste...............................................................................7

Ribera Cirera, Romàn (Attributed to)......................................................218 Riboud, Marc.................................................................134, 148, 152, 153 de Rivera, José......................................................................................362 Rivière, Henri.............................................................................................8 Rollins, Tim............................................................................................101 Rolston, Matthew..........................................................................157, 158 Rothenberg, Susan................................................................................102 Rungius, Carl Clemens Moritz............................................................ 35-37 Ryan, Tom.......................................................................................... 254A Sadao, Watanabe....................................................................................73 Saint-Aubin, Gabriel de (Attributted to)...................................................203 Samaras, Lucas....................................................................................151 Sébire, Gaston......................................................................................287 Shapleigh, Frank Henry.........................................................220, 221, 247 Shaw, Cameron.....................................................................................385 Sherrod, Philip Lawrence.......................................................................353 Siegriest, Louis......................................................................................363 Signac, Paul..........................................................................................288 Siskind, Aaron...............................................................................136, 137 Sloan, John French................................................................................335 Snowden, Mary Louise (M.L.)................................................................314 Soto, Jesús Rafael.........................................................................386, 387 Stark, Robert W., III...............................................................................327 Stein, Fred.............................................................................................123 Stella, Frank..................................................................................103, 104 Stewart, Julius LeBlanc.........................................................................219 Strisik, Paul...........................................................................................299 Tamami, Shima........................................................................................73 Tchekhlov, Vladimir Federovitch.............................................................300 Tielemans, Louis....................................................................................211 Tilson, Joe.............................................................................................105 De Tirtoff, Romain..........................................................................308, 310 Tooker, George.................................................................................. 38-42 de Toulouse-Lautrec, Henri........................................................................9 True, David............................................................................................391 Tseng, Kwong Chi (After).......................................................................106 Turrell, James........................................................................................107 Unichi, Hiratsuka.....................................................................................73 van Kilsdonk, Adrianus..........................................................................208 Vawter, Will............................................................................................281 Venard, Claude......................................................................................379 Venetian School, 17 Century Style.........................................................205 Walkowitz, Abraham......................................................................357, 358 Warhol, Andy.........................................................................................108 Way, John......................................................................................380, 381 Wei Letang....................................................................................380, 381 Wengenroth, Stow...................................................................................43 Wesselmann, Tom.................................................................................370 Weston, Brett................................................................................138, 139 Whistler, James Abbott McNeill...............................................................44 Whistler, James Abbott McNeill (After).......................................................5 Whorf, John...........................................................................................316 Wiegand, Gustave Adolph.....................................................................306 Williams, Frederick Dickinson.................................................232, 236, 246 Winters, Terry........................................................................................109 Wonner, Paul.........................................................................................332 Wood, Grant............................................................................................45 Woodbury, Charles Herbert...................................................................278 Wydeveld, Arnoud.................................................................................243 Yamamoto, Yoko...................................................................................162 Yohn, Frederick Coffay...........................................................................259 Young, Purvis........................................................................347, 349, 352 Zox, Larry..............................................................................................371 Zúñiga, Francisco....................................................................................46

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Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot.

2. All property is sold “as is,� and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability.

3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. Any bidder that plans on spending in excess of $100,000 should make arrangements with the accounting department at least five (5) days in advance of the sale, as a deposit may be required to participate.

4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and the purchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days of the date of sale.

Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than three (3) days from the date of sale. If any property has not been removed within three (3) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc., may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the three days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser.

5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank.

The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases.

6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale.

7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item.

8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots.

9. Sales in Massachusetts, Florida, and New York are subject to the respective current sales taxes. Dealers, museums, and other qualifying parties may be exempt from sales tax upon submission of proper documentation.

10. A premium equal to 23% of the final bid price up to and including $100,000, plus 20% of the final bid price from $100,001 up to and including $1,000,000, plus 12% of the final bid price from $1,000,001 and over will be applied to each lot sold, to be paid by the buyer as part of the purchase price.

11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid.

12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent.

13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law).

The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the exclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit.

Revised January 21, 2015

204

Absentee Bid Form Sale Title

Sale Date

First Time Bidder?

YES

NO

Customer #

Name (Please Print)

Business Name

Address City

Phone #

Alternate #

check if change in address

State

Zip Code email

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

Signature (Required)

Lot #

Date

Description

Bid confirmation via email?

YES

Bid Price

NO

FOR OFFICE USE Marlborough

Boston

Phone

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

Fax

Mail

Person

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

Employee:

www.skinnerinc.com

Board of Directors

Departments

Chairman of the Board

20th Century Design

Discovery Auctions

Jane D. Prentiss

Carly Babione

20thcentury@skinnerinc.com

Kyle Johnson

508.970.3253

discovery@skinnerinc.com

Stephen L. Fletcher Bear Albright

508.970.3202

John Deighton Karen M. Keane

American & European Paintings & Prints

Andrew Payne

Robin S.R. Starr Elizabeth C. Haff Michelle Lamunière

Executive Management President/Chief Executive Officer Karen M. Keane

Kathleen M. Leland paintings@skinnerinc.com

Don Kelly

Executive Vice President

Stuart G. Slavid Stephanie Opolski european@skinnerinc.com 508.970.3203

508.970.3206

Historic Arms & Militaria American Furniture & Decorative Arts

Joel Bohy

Stephen L. Fletcher

militaria@skinnerinc.com

Chris Barber

508.970.3125

Christopher D. Fox americana@skinnerinc.com

Chief Financial Officer

European Furniture & Decorative Arts

508.970.3200

Jewelry John Colasacco Kaitlin Shinnick

American Indian & Ethnographic Art

Rebecca Ponder

Michael Evans

jewelry@skinnerinc.com

americanindian@skinnerinc.com

617.874.4313

Stephen L. Fletcher

508.970.3254

Managing Director

Antique Motor Vehicles

Kerry Shrives

Jane D. Prentiss

judaica@skinnerinc.com

antiquemotorvehicles@skinnerinc.com

508.970.3256

Judaica Marie Keep

508.970.3253

Senior Vice Presidents Marie Keep Kerry Shrives Stuart G. Slavid

Musical Instruments Asian Works of Art

Adam Tober

Judith Dowling

music@skinnerinc.com

Helen Eagles

508.970.3216

Suhyung Kim

Vice Presidents

asian@skinnerinc.com 508.970.3263

Eric Jones Gloria Lieberman Jane D. Prentiss Robin S.R. Starr

Oriental Rugs & Carpets Lawrence Kearney rugs@skinnerinc.com

Books & Manuscripts

508.970.3247

Devon Eastland books@skinnerinc.com 508.970.3293

Photographs Michelle Lamunière photographs@skinnerinc.com

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

Florida: 305.503.4423 florida@skinnerinc.com

Ceramics

508.970.3264

Stuart G. Slavid ceramics@skinnerinc.com 508.970.3203

Silver Stuart G. Slavid silver@skinnerinc.com

Clocks, Watches & Scientific Instruments

508.970.3203

Jonathan Dowling clocks@skinnerinc.com 508.970.3201

Wine, Whisky & Ale Marie Keep Joseph Hyman

Coins & Currency

Anna Ward

Kyle Johnson

finewines@skinnerinc.com

coins@skinnerinc.com 508.970.3191

206

508.970.3296

Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services

Exhibitions & Property Boston:

LaGina Austin

Pamela Van de Houten

Christine E. Finn

Jeffrey R. Antkowiak

Rachel Kingsley

Stanley P. Bystrowski

Samantha Minshull

Kristina M. Harrison

508.970.3299

Kathleen Jones

Laura V. Sweeney Julia M. Dry Drew Porter Katrina Wilson

Cheryl Richards Photography

Consignment Services Tara Lima

Valerie Santos

Receptionist

Penina Seigel

Florentina Gutierrez 617.350.5400

Carol Zeigler 508.970.3204

Skinner Online Marlborough: Kerry Shrives

Accounting

Daniel Bar Judie Ochsner

Denise Cheney

Nicole Nicas Rovner

508.970.3269

Valerie Santos

William Madden

online@skinnerinc.com

508.970.3266

508.970.3279

Warehouse Frederic Trottier 508.970.3209 Samantha Heighton

Receptionist Lindsay White 508.970.3000

Catalog Sales Absentee & Telephone Bidding

508.970.3000

Transportation Eric Jones 508.970.3229

Boston: 617.874.4318 Marlborough: 508.970.3211 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

207