American & European Works of Art | Skinner Auction 3248B

American & European Works of Art Sale 3248B | May 10, 2019 | Boston

American & European Works of Art

Specialists

Robin S.R. Starr

Elizabeth C. Haff

Kathleen M. Leland

Department Director 508.970.3259

508.970.3258

508.970.3297

Department Inquiries: 508.970.3206

Auction Information Auction 3248B

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Absentee Bidding

Friday, May 10

Wednesday, May 8 12 to 5PM

T: 617.874.4318 F: 617.350.5429

Fine Prints, Multiples & Photographs, 10AM Fine Paintings & Sculpture, 2PM

Thursday, May 9 12 to 8PM

63 Park Plaza Boston, MA

View all lots online at www.skinnerinc.com cover : 381 ; interior front cover : 320; interior back cover : 246; back cover : 132

General Inquiries 617.350.5400

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Lot 404: Mirko Basaldella (Italian, 1910-1969) Canto Fermo. Bronze with a green patina, height 19 1/2 in. $2,000-3,000

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Table of Contents 1

Auction & Specialist Information

2

Online Bidding

4

Provenance and Glossary of Terms

5

Prints, Multiples & Photographs: Lots 1–140

57

Paintings & Sculpture: Lots 200–416

172

Artist Index

173

Conditions of Sale

174

Company Directors & Specialty Departments

175

Administrative Staff & Client Services

176

Absentee Bid Form

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

Please refer to page 173 of this catalog for the full terms and conditions governing your purchase.

Copyright © Skinner, Inc. 2019 All rights reserved MA LIC. 2304

Provenance Collection of Joseph Thomas Alvarez III, California

Estates in Massachusetts, Connecticut, and Ohio

Collection of Jonathan Goldin, Massachusetts

The Family of Frank Weston Benson

Collection of Maria Lopez and Stephen Mindich, Massachusetts

The Family of Dwight Blaney

Collection of Frederic and Jean Scharf, Massachusetts and Florida

The Family of Maxfield Parrish

Private Collections in Connecticut, Massachusetts, New York, Pennsylvania, Florida, and Kentucky

The Family of Franz Sedlacek The Family of John Way

Estate of Elizabeth M. Ames, Boston, Massachusetts The Family of Carleton Wiggins Estate of Francis M. Bator, Massachusetts

By Descent in the Family of Meyer Jacobs, New York Estate of A. Margaret Bok, Rockport, Maine

By Descent in the Family of Estelle G. Livingston, California Estate of Henry D. Childs, Massachusetts and Florida

By Descent in the Family of Russell Veit, Connecticut Estate of Alvin Epstein, New York City

By Gift from the Photographer Howard Schatz Estate of A.C. Goodwin, Massachusetts Estate of Donald A. Hall Jr., New Hampshire

Property Sold to Benefit the Clark Art Institute, Williamstown, Massachusetts

Estate of Paul J. Tracey, New York State

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/Circle 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 1–140 to be sold Friday, May 10, 10AM

1 William Blake (British, 1757-1827) What! Shall we recieve [sic] Good at the hand of God..., from The Book of Job, 1825, (Binyon, 112). Identified within the plate.

Etching on paper, plate size 8 3/8 x 6 5/8 in.

(21.2 x 16.7 cm), framed.

Condition: A number of pinpoint fox marks, gentle rippling, not examined out of frame.

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $700-900

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2 Giovanni Antonio Canal, Called Canaletto (Italian, 1697-1768) Al Dolo, c. 1742, final state of three (De Vesme, 4; Bromberg, 4iii/iii). Annotated “FF 3” within the plate. Etching on laid paper, plate size 11 7/8 x 16 13/16 in. (30.1 x 42.6 cm), matted, unframed.

Condition: Margins 3/16 inches or more, foxing. $1,500-2,500

3 Charles Meryon (French, 1821-1868) Le Petit Pont, 1850, probably the fourth state of nine (Schneiderman, 20iv). Monogrammed within the plate, collector’s mark (see below) on verso, identified on a label from Frederick Keppel & Co., New York, affixed to the backing. Etching on cream Japan paper, plate size 10 1/4 x 7 1/2 in. (26.0 x 18.6 cm), framed.

Condition: Unobtrusive toning, gentle rippling, not examined out of frame.

Provenance: Ex-collection of financier and print collector Charles H. Ellingwood, New York, per collector’s mark (Lugt, 822); through to a Massachusetts estate. $500-700 3

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4 Rembrandt Harmensz van Rijn (Dutch, 1606-1669) The Descent form the Cross, 1633, a 19th century impression printed by Lamoureux, Paris (Hind, 103; Bartsch/Hollstein, 81 v/v).

Signed, dated, and with printer in the plate.

Etching on thick cream wove paper, plate size 20 7/8 x 16 1/16 in. (53.0 x 40.6 cm), matted, unframed.

Condition: Margins about 3/8 inches, central horizontal crease across sheet, subtle soiling.

Provenance: A Massachusetts estate. $500-700 5 Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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The Return of the Prodigal Son, 1636, a late impression (Hind, 147; Bartsch/Hollstein, 91i/i). Signed and dated in the plate. Etching on fine white 18th century laid paper, plate size 6 1/4 x 5 1/4 in. (15.8 x 13.3 cm), matted, unframed.

Condition: Margins over 5/8 inches, pencil annotations to margins and verso, soiling/ staining to margins.

Provenance: A Massachusetts estate. $250-350 6 Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Jan Uytenbogaert, The Goldweigher, 1639, a 19th century impression (Hind, 167; Bartsch/Hollstein, 281ii/ii). Signed and dated within the plate. Etching on thick cream wove paper, plate size 10 1/16 x 8 1/8 in. (25.5 x 20.5 cm), framed.

Condition: Margins about 1/16 inches.

Provenance: A Massachusetts estate. $300-500

7 Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Self Portrait Drawing at a Window, 1648, a late impression (Hind, 229; Bartsch/Hollstein, 22 v/v). Signed and dated in the plate.

Etching on thick off-white 18th century laid paper, plate size 6 1/4 x 5 1/8 in. (16.0 x 13.0 cm), matted, unframed.

Condition: Margins about 3/8 inches, printed text and pencil annotations to verso.

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Provenance: A Massachusetts estate. $300-500

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8 Adriaen Jansz van Ostade (Dutch, 16101685) The Anglers, c. 1653, probably an 18th century impression (Godefroy, 26vi/vii).

Monogrammed within the plate. Etching on laid 18th century paper, image size 4 5/16 x 6 3/16 in. (10.9 x 15.5 cm), matted, unframed.

Condition: Repair to corner l.l., several pale fox marks, margins about 1/8 inch. $800-1,200

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9 Félix Hilaire Buhot (French, 1847-1898) L’Hiver à Paris, 1879, probably the fourth state of nine (Bourcard & Goodfriend, 128).

Signed and extensively identified within the plate. Etching with drypoint and aquatint on paper, plate size 9 3/8 x 13 3/4 in. (23.5 x 34.8 cm), framed.

Condition: Rich impression, gentle rippling, not examined out of frame. $400-600

10 Félix Hilaire Buhot (French, 1847-1898) Westminster Palace, 1884, sixth state of seven (Bourcard & Goodfriend, 155vi/vii).

Signed, titled, and dated within the plate, artist’s red ink stamp (Lugt, 977) l.c. Etching and drypoint on laid paper, plate size 11 1/2 x 15 13/16 in. (29.3 x 39.4 cm), matted, unframed.

Condition: Full sheet with deckled edges, toning, staining to outer edges of margins, three pinpoint holes within image. $500-700

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10A Paul Jacoulet (French, 1902-1960) Vent du nord, Corée, 1953. Signed “Paul Jacoulet” in pencil within the image l.r. and with peony seal mark, identified in text l.r.

Color woodcut on paper, image size 15 1/2 x 11 7/8 in. (39.3 x 30.0 cm), framed.

Condition: Sheet backed with a thin paper, loss to corner of margin l.r., toning/staining to verso (to backing sheet). $250-350

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11 Käthe Kollwitz (German, 1867-1945) Betendes Mädchen, 1892, probably from the third state, published in 1931 (Knesebeck, 14 III). Signed “Kollwitz” in pencil l.r., identified in text within the plate. Etching with drypoint and aquatint printed in brown/black ink on wove paper, plate size 7 3/4 x 6 in. (19.6 x 15.2 cm), unmatted, unframed.

Condition: Unobtrusive toning and lightstaining, old hinges and tape along upper edge on verso. $300-500

12 Käthe Kollwitz (German, 1867-1945) 11

Two Impressions of Mutter mit Kind auf dem Arm, 1910, one probably from the 1918 printing and the other after 1931 (Klipstein, 110; Knesebeck, 114IVc and 114VIIb-d).

The former signed “Käthe Kollwitz” in pencil l.l. and by the printer, Otto Felsing, in pencil l.l., the latter with the publisher’s dry stamp “AVDBECKE MUENCHEN22” l.r. Etchings, the signed version on laid paper with a partial shield and fleur-de-lis watermark, the other on wove paper, plate sizes 7 5/8 x 4 7/8 in. (19.3 x 12.3 cm), framed.

Condition: Full sheets with most edges deckled, signed version with toning and lightstaining, both with old hinges. $400-600 13 Käthe Kollwitz (German, 1867-1945) Two Plates from Ein Weberaufstand: Beratung, plate 3, probably from the 1921 edition, with the publisher’s early single line “VERLAG A.v.d.BECKE.BERLIN” dry stamp, lithograph printed in brown (Knesebeck, 35AIIc); and Ende, plate 6, probably from the 1931 edition, etching and aquatint (Knesebeck, 38IV). Both signed “Kollwitz” in pencil l.l. and inscribed and titled “Weber Bl...” in pencil l.r. Image sizes to 9 3/4 x 12 in. (24.6 x 30.2 cm), unmatted, unframed.

Condition: Both with toning and masking tape residue to edges. $400-600

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14 Marie Laurencin (French, 1883-1956) La promenade á cheval, 1928, published by Jacquart, Paris (Marchesseau, 135). Signed “Marie Laurencin” in pencil l.c. Etching with roulette and hand-coloring on paper, plate size 9 1/2 x 7 in. (24.0 x 17.5 cm), with facing mat, unframed.

Condition: Toning, color partially faded, glued to facing mat along upper edge of margin. $300-500

15 Louis Auguste Mathieu Legrand (French, 1863-1951) L’Habillage, 1908, edition of 100. Unsigned, numbered “46/100” in pencil l.r. Etching and aquatint on paper, plate size 15 5/8 x 11 1/4 in. (39.5 x 28.5 cm), framed.

Condition: Gentle rippling, not examined out of frame. $700-900 15

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16 Odilon Redon (French, 1840-1916) Brunnhilde (Crépuscule des dieux), 1894, projected edition of 80, printed by Mourocq, Paris (Mellerio, 130). Dedicated and signed “à Armand Parent Odilon Redon” in pencil l.c., identified in text on supporting sheet, collector’s stamp from Henri Marie Petiet (Lugt, 5031) to verso. Lithograph on chine appliqué, image/chine size 14 7/8 x 11 3/4 in.

(37.5 x 29.8 cm), framed.

Condition: Pale foxing to supporting sheet and its verso, pencil annotations to lower margin and verso of support, crease to both lower corners of supporting sheet.

Provenance: Ex-collection of Henri Marie Petiet (1894-1980), Paris, a well-known print and drawing dealer (per stamp on verso), possibly through the collection of Armand Parent.

N.B. Although the edition was intended to be 80 it is commonly thought that the actual number of impressions pulled was less.

Armand Parent (1863-1934) was an accomplished music professor and violinist.

He was also a member of Redon’s intellectual circle and a close personal friend—Redon even drew a portrait of Parent. It is fitting that Redon should dedicate this particular print to Parent, as Brunnhilde is one of the main characters from Richard Wagner’s famous Ring cycle. $10,000-15,000 16

17 James Jacques Joseph Tissot (French, 1836-1902) Sur l’herbe, 1880, the first of the two published states (Wentworth, 50). Signed “J. Tissot” in pencil l.r., signed and dated within the plate, artist’s stamp (Lugt, 1545) l.r.

Etching and drypoint on paper, plate size 7 3/4 x 10 5/8 in. (19.5 x 27.0 cm), framed.

Condition: Gentle rippling and mat burn, not examined out of frame. $500-700 18 Henri de Toulouse-Lautrec (French, 18641901)

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Polin, 1898, from Portraits d’Acteurs et d’Actrices, Treize Lithographies, from the edition of 400 printed after 1901 (Adriani, 269; Wittrock, 261). Monogrammed within the matrix. Lithograph in gray/black on paper, image size 11 3/8 x 9 1/4 in. (28.7 x 23.4 cm), framed.

Condition: Not examined out of frame. $350-550

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19 Hiroshi Yoshida (Japanese, 1876-1950) Sailing Boats, Morning, c. 1926. Signed “Hiroshi Yoshida” in pencil l.r., titled in pencil l.l. signed with chop and inscriptions in Japanese in the block. Color woodcut on paper, image size 20 1/8 x 14 1/2 in. (51.0 x 36.6 cm), framed.

Condition: Not examined out of frame.

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Provenance: A Connecticut estate. $400-600

20 Anders Zorn (Swedish, 1860-1920) Seaward Skerries, 1913 (Asplund, 256).

Signed “Zorn” in pencil l.r., monogrammed and dated within the plate, identified on labels from E. Weyhe, New York, and Commonwealth Print Conservation, Boston, affixed to the backing. Etching in brown/black ink on paper, plate size 7 x 9 3/4 in. (17.8 x 24.8 cm), framed.

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

21 Emilio Amero (Mexican, 1901-1976) Donde? (Where?), 1950, edition of 250, published by Associated American Artists, New York (AAA/Windisch et al., 1071). Signed “E. AMERO” in pencil l.r. Lithograph on paper, image size 12 1/4 x 10 1/4 in. (31.0 x 25.9 cm), framed.

Condition: Gentle toning, not examined out of frame. $200-300

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22 Frank Weston Benson (American, 18621951) Salem Harbor, 1882, only (published) state, edition of about 1,500 (Paff, 1). Signed and dated within the plate. Etching on laid paper, plate size 5 x 7 7/8 in. (12.5 x 20.0 cm), unmatted, unframed.

Condition: Toning, holes and tears to margin along lower edge.

N.B. This was Benson’s very first etching, and he would not return to the medium for 30 years. It was published as a frontispiece for the second number of the magazine The Art Student. The publication was created by the students of the Boston Museum of Fine Arts School. Benson was one its editors. $600-800

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23 Frank Weston Benson (American, 18621951) Over Currituck Marshes, 1926, published state, edition of 150 (Paff, 259). Signed “FrankWBenson.” in pencil l.l. Drypoint on laid paper with “ENGLAND” watermark, plate size 7 x 11 7/8 in. (17.5 x 30.0 cm), unmatted, unframed. Condition: Full margins two edges deckled, minor handling creases to margins, pencil annotations to margins.

Provenance: Descended within the family of the artist.

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N.B. The Currituck Marshes fall between the mainland and the Outer Banks in North Carolina, and include the Pine Island Audubon Sanctuary, which is now owned and conserved by Audubon North Carolina, and is a favorite spot with local birders. $400-600

24 Frank Weston Benson (American, 18621951) The Passing Flock, 1927, published state, edition of 150 (Paff, 277). Signed “FrankWBenson.” in pencil l.l. Etching on laid paper with “ENGLAND” watermark, plate size 11 3/4 x 13 7/8 in. (29.7 x 35.2 cm), unmatted, unframed.

Condition: Margins 1 1/4 inches or more with deckled edges to two sides, pencil annotations to lower margin, minor rippling and handling creases to margins, pinhole to image l.l.

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

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25 Frank Weston Benson (American, 18621951)

26 Frank Weston Benson (American, 18621951)

28 Frank Weston Benson (American, 18621951)

Three Trial Proofs of Here They Come!, 1928, trial proofs A-4, B-1, and C-3 (Paff, 278). Each signed “FrankWBenson.” in pencil l.l. Drypoints on laid paper with “ENGLAND” watermark, plate sizes 13 7/8 x 11 3/4 in.

(35.2 x 29.7 cm), unmatted, unframed.

Condition: Margins over 1 inch with deckled edges, pencil annotations to lower margins, ink soiling, unobtrusive creases, and nicks to margins.

Yellowlegs at Dusk, 1928, published state, edition of 150 (Paff, 279). Signed “FrankWBenson.” in pencil l.l. Etching on laid paper with “ENGLAND” watermark, plate size 7 7/8 x 11 3/4 in. (19.8 x 29.7 cm), unmatted, unframed.

Condition: Margins over 1 3/4 inches with deckled edges to two sides, pencil annotations to lower margin, old hinges to upper corners verso.

Casting for Salmon, 1929, published state, edition of 150 (Paff, 288). Signed “FrankWBenson.” in pencil l.l. Etching on laid paper, plate size 7 3/4 x 9 7/8 in. (19.5 x 25.1 cm), unmatted, unframed.

Condition: Full margins with deckled left and lower edges, pencil annotations l.r., gentle rippling and unpressed handling creases.

Provenance: Descended within the family of the artist.

Provenance: Descended within the family of the artist. $200-300

N.B. This lot presents a rare opportunity to watch Benson’s composition shift from conception through its early development.

Benson began by delineating the individual birds and marking in a fine line to represent the horizon. Trial C shows the birds essentially completed and the water and horizon expressed, but before grasses and clouds are added. In all the artist created seven states before arriving at the final published state of this composition. $1,200-1,800

27 Frank Weston Benson (American, 18621951) Yellowlegs in Sunlight, 1928, published state , edition of 150 (Paff, 285). Signed “FrankWBenson.” in pencil l.l., initialed and dated within the plate. Drypoint on laid paper with “ENGLAND” watermark, plate size 9 7/8 x 7 3/4 in. (25.0 x 19.5 cm), unmatted, unframed.

Condition: Full margins with deckled edges to two sides, pencil annotations l.l., extremely subtle soiling marks to margins.

Provenance: Descended within the family of the artist. $400-600

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Provenance: Descended within the family of the artist. $700-900 29 Frank Weston Benson (American, 18621951) Pintails Passing, 1930, published state, edition of 150 (Paff, 300). Signed “FrankWBenson.” in pencil l.l. Drypoint on laid paper with “ENGLAND” watermark, plate size 15 x 9 7/8 in. (38.1 x 24.9 cm), unmatted, unframed.

Condition: Full margins with deckled edges to three sides, pencil annotations l.r., pinhole to image l.l.

Provenance: Descended within the family of the artist. $700-900

30 Thomas Hart Benton (American, 18891975) Strike, alternatively titled Mine Strike, 1933, edition of 300, published by the Contemporary Print Group, New York (Fath, 5). Signed “Benton” in pencil l.r. Lithograph on Rives paper with BFK watermark, image size 9 7/8 x 10 3/4 in. (25.0 x 27.0 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, fingerprints to left margin, extremely subtle staining to left edge. $6,000-8,000 31 Thomas Hart Benton (American, 18891975)

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Sunday Morning, 1939, edition of 250 plus proofs, published by Associated American Artists, New York (Fath, 26). Signed “Benton” in pencil l.r. and within the matrix, label from AAA affixed to mat. Lithograph on cream wove paper with “ecw” watermark, image size 9 5/8 x 12 3/4 in. (24.4 x 32.3 cm), matted, unframed.

Condition: Full sheet with deckled edges. $2,000-3,000

32 Thomas Hart Benton (American, 18891975) The Race, alternatively titled Homeward Bound, 1942, edition of 250, published by Associated American Artists, New York (Fath, 56). Signed “Benton” in pencil l.r. and within the matrix, identified on a label from AAA affixed to the backing paper. Lithograph on paper, image size 8 15/16 x 13 1/8 in. (22.5 x 33.3 cm), framed.

Condition: Full sheet with deckled edges, laid down, mat burn, old hinges near upper corners on recto.

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $4,000-6,000

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33 Mary Cassatt (American, 1844-1926)

35 Mabel Dwight (American, 1876-1955)

37 Childe Hassam (American, 1859-1935)

Looking into the Hand Mirror No. 2, c. 1905 (Breeskin, 202). Unsigned. Drypoint on chine collé, plate size 8 1/4 x 5 3/4 in. (20.8 x 14.4 cm), framed.

Condition: Margins over 1/2 inch with mat burn, unobtrusive toning, not examined out of frame. $300-500

Staten Island Shore, alternatively titled Bathers II, 1931, edition of 25, printed by George Miller (Robinson & Pirog, 51). Signed and dated “Mabel Dwight - 1931” in pencil l.r.

Lithograph on paper, image size 9 3/8 x 13 1/8 in. (23.7 x 33.3 cm), framed.

Condition: Very pale foxing (primarily to upper margin), possible subtle mat burn, gentle rippling, not examined out of frame. $300-500

Déshabillé, 1918, edition of 56 (Griffith, 14).

Monogrammed in pencil l.r., signed and dated within the matrix, identified in information affixed to the backing. Lithograph on paper, image size 12 x 8 7/8 in. (230.4 x 22.5 cm), framed.

Condition: Not examined out of frame. $400-600

34 Mabel Dwight (American, 1876-1955) Houston Street Burlesque, 1928, edition of 50, printed by George Miller (Robinson & Pirog, 37). Signed and dated “Mabel Dwight 1928” in pencil l.r. Lithograph on paper, image size 9 3/4 x 7 7/8 in. (24.6 x 19.8 cm), framed.

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

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36 Wanda Gag (American, 1893-1946) Two Landscapes: Spring on the Hillside, alternatively titled Farmland, 1935, edition of 50 (Winnan, 107); and Ploughed Fields, 1936, final state of two, edition of approximately 115 (Winnan, 109). Spring signed and dated “WANDA GAG-’35” in pencil l.r., Fields unsigned. Lithographs on paper, image sizes approximately 9 x 11 1/2 in. (22.8 x 29.2 cm), framed.

Condition: Gentle rippling, pale toning and fox marks to Spring, not examined out of frames. $700-900

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38 Alfred Heber Hutty (American, 1877-1954) Gossips, Ile de Noirmoutier, c. 1927.

Signed “Alfred Hutty...” in pencil l.r. Etching on paper, plate size 10 1/8 x 8 1/4 in. (25.5 x 20.8 cm), framed.

Condition: Gentle toning and rippling, not examined out of frame. $250-350

39 Rockwell Kent (American, 1882-1971) Pinnacle, 1928, edition of 100 (Jones, 20). Signed “Rockwell Kent” in pencil l.r.

Lithograph on paper, image size 12 x 7 1/4 in.

(30.4 x 18.4 cm), framed.

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

40 Rockwell Kent (American, 1882-1971) Susanna, 1929, edition of 100 (Jones, 38). Signed “Rockwell Kent” in pencil l.r.

Lithograph on paper, image size 7 5/8 x 5 1/2 in. (19.3 x 13.9 cm), framed.

Condition: Not examined out of frame. $400-600

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41 Rockwell Kent (American, 1882-1971) Greenland Hunter, alternatively titled Kayaker, 1933, edition of 150 (Jones, 94).

Signed “Rockwell Kent” in pencil l.r., titled in pencil l.l. Lithograph on Rives paper with watermark, image size 8 7/8 x 6 5/8 in. (22.4 x 16.7 cm), matted, unframed.

Condition: Full sheet with deckled edges, staining to deckles along upper edge, several subtle soiling marks to margins. $300-500

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42 Rockwell Kent (American, 1882-1971) Young Greenland Woman, alternatively titled Young Woman, 1933, edition of 150 (Jones, 95). Signed “Rockwell Kent” in pencil l.r., titled in pencil l.l. Lithograph on wove paper with “FRANCE” watermark, image size 8 7/8 x 6 5/8 in. (22.4 x 16.7 cm), matted, unframed.

Condition: Full sheet with deckled edges. $300-500

43 Rockwell Kent (American, 1882-1971) Small Boy and Big Bird, 1962, edition of 15 (Jones, 150). Signed “Rockwell Kent” in pencil l.r., titled and dedicated “...To Dorothy & Paul Schum” in pencil l.l. Lithograph on cream wove paper, image size 8 1/16 x 5 1/16 in. (20.3 x 12.7 cm), framed.

Condition: Full sheet with deckled edges, light stained, old hinges to upper corners recto. $350-550 43

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44 Martin Lewis (American, 1881-1962) Stoop in Snow, 1930, final state of two, edition of 115 (McCarron, 89). Signed “Martin Lewis-” in pencil l.r., signed within the plate.

Drypoint and sand ground on paper, plate size 9 15/16 x 14 15/16 in. (25.0 x 37.9 cm), framed.

Condition: White cloth tape along all edges, image gently light-struck, sheet gently rippled.

N.B. Lewis is best known for his evocative views of New York City and the regular people who live there. The scene here was originally titled Stoops in Snow - West Forties and depicts the comings and goings of men and women as they brave the driving wind and snow of a New York blizzard. Although the subjects are the people and architecture, as is often the case in Lewis’s prints, an underlying theme is how these elements are affected by light and weather. $15,000-25,000

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45 John McCrady (American, 1911-1968) Swing Low, Sweet Chariot, 1941, edition of 250, published by Associated American Artists, New York (Czestochowski/AAA, 1941.048). Signed “John McCrady” in pencil l.r., titled in pencil l.l. Lithograph on paper, image size 11 x 14 7/8 in. (27.8 x 37.7 cm), framed.

Condition: Pale foxing and toning, gentle rippling, not examined out of frame. $600-800

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46 Margaret Jordan Patterson (American, 1867-1950) Lone Pine at Sunset. Signed “Margaret Patterson” in pencil within the image l.r. Color woodcut on paper, image/sheet size 7 1/4 x 10 1/8 in. (18.4 x 25.6 cm), framed.

Condition: Bright colors, loss to image near corner u.r., minor creases, not examined out of frame. $500-700 47 James Abbott McNeill Whistler (American, 1834-1903) Old Westminster Bridge, 1859, fourth state of four from A Series of Sixteen Etchings of Scenes on the Thames (Glasgow, 47iv/iv; Kennedy, 39ii/ii). Signed and dated within the plate. Etching on paper, plate size 3 x 8 in.

(7.5 x 20.3 cm), framed.

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

46

48 James Abbott McNeill Whistler (American, 1834-1903) The ‘Adam and Eve’ Old Chelsea, 1878, final state (Glasgow, 182iii/iii; Kennedy, 175ii/ii).

Butterfly monogram within the plate. Etching on thin Japan paper, plate size 6 7/8 x 11 3/4 in. (17.3 x 29.9 cm), framed.

Condition: Gentle rippling, not examined out of frame. $700-900 48

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49 Grant Wood (American, 1891-1942) Two Still Lifes: Tame Flowers and Wild Flowers, 1938, editions of 250, published

by Associated American Artists, New York (Czestochowski, W9 & W11). Both signed “Grant Wood” in pencil l.r. and identified on a label from AAA affixed to the backing paper.

Lithographs with hand-coloring on paper, image sizes approximately 6 3/4 x 10 in. (17.0 x 25.4 cm), framed.

Condition: Gentle toning (slightly more so to Wild Flowers, also with gentle fading), not examined out of frames.

N.B. Grant Wood mapped out the coloring for these works, but it was executed by his sister Nan (the model for the wife in American Gothic) and Nan’s husband Edward Graham. $1,500-2,000

50 Grant Wood (American, 1891-1942) Shriner’s Quartet, 1939, edition of 250, published by American Associated Artists, New York (Czestochowski, W16). Signed “Grant Wood” in pencil l.r., label from AAA affixed to the mat. Lithograph on cream Rives paper with watermark, image size 8 x 11 7/8 in. (20.3 x 30.0 cm), matted, unframed.

Condition: Full sheet with deckled edges. $1,000-1,500

49

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51 Grant Wood (American, 1891-1942) December Afternoon, 1941, edition of 260 or more, published by Associated American Artists, New York (Czestochowski, W19).

Signed “Grant Wood” in pencil l.r., identified on a label from AAA affixed to the backing paper. Lithograph with hand-coloring on paper, image size 9 x 11 7/8 in. (22.7 x 30.0 cm), framed.

Condition: Full sheet with deckled upper and lower edges, gently light-stained, the coloring is not of the artist’s conception and is a later addition, old hinges/double-sided tape to corners. $800-1,200

52 Grant Wood (American, 1891-1942)

51

Family Doctor, 1941, edition of 300 (Czestochowski, W20). 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 11 7/8 in. (25.4 x 30.2 cm), framed.

Condition: Gentle rippling, several pinpoint 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. This print was completed just before Wood himself was admitted to the hospital on November 24th, 1941. $3,000-5,000 53 Richard Anuszkiewicz (American, b. 1930) Burning Bright, 1970, from the portfolio Inward Eye, edition of 500 plus proofs, printed by Editions Domberger, Stuttgart, published by Aquarius Press, Baltimore and New York. Unsigned, identified in text printed on the reverse. Color screenprint on paper, image size 25 1/2 x 19 3/4 in. (64.5 x 50.0 cm), framed.

Condition: Pale mat burn, not examined out of frame. $350-550

52

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54 Karel Appel (Dutch, 1921-2006)

54

Untitled. Signed and inscribed “Appel ea” in pencil l.r. Color lithograph on paper, image/ sheet size 25 1/2 x 19 3/4 in. (64.6 x 50.0 cm), framed.

Condition: Floated within the mat (hinges slightly loose), not examined out of frame.

Provenance: A Connecticut estate. $500-700

55 Karel Appel (Dutch, 1921-2006) Untitled (Two Figures), 1969, edition of 75. Signed and dated “Appel 69” in pencil l.r., numbered “54/75” in pencil l.l. Color lithograph on paper, image size 20 x 23 1/2 in.

(50.6 x 59.6 cm), framed.

Condition: Unobtrusive toning, not examined out of frame. $300-500 55A Leonard Baskin (American, 1922-2000) Chief White Man/Kiowa, 1973, edition of 100 (Fern & O’Sullivan, 639). Signed “Baskin” in pencil l.r., titled, signed, and dated within the matrix, inscribed and dedicated “A.P. for Bill” in pencil l.l. Lithograph on paper, image size 34 3/8 x 23 7/8 in. (87.2 x 60.5 cm), framed.

Condition: Not examined out of frame. $400-600 55

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56

56 Alexander Calder (American, 1898-1976) Untitled (Circus). Signed “Calder” in pencil within the image l.r., inscribed “E.A.” in pencil within the image l.l. Color lithograph on paper, sight size 25 1/2 x 38 in. (64.5 x 96.3 cm), framed.

Condition: Possible subtle toing to sheet, not examined out of frame. $1,000-1,500

57 Massimo Campigli (Italian, 1895-1971) La Passeggiata, 1952, edition of 200, published by Guilde de la Gravure, Paris. Signed and dated “CAMPIGLI 52” in pencil l.l., numbered “14/200 168” in pencil l.r. Color lithograph on paper, image size 17 x 12 7/8 in. (43.2 x 32.5 cm), framed.

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

58 Patrick Caulfield (British, 1936-2005) Plant Pot, 1979-80, printed by Kelpra Studio, London, published by Waddington Graphics, London (Dempsey, 61).

Signed and numbered “Patrick Caulfield 66/100” in pencil within the image l.r., publisher’s dry stamp l.r., printer’s stamp to verso. Color screenprint on wove paper, image/sheet size 33 x 23 1/2 in. (83.6 x 59.5 cm), unmatted, unframed.

Condition: Subtle abrasion to ink along right edge, minor surface rubs. $400-600

57

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59

59 Marc Chagall (Russian/French, 18871985) Chloé, from Daphnis et Chloé, 1961, from the edition of 250, published by Tériade Éditeur, Paris (Mourlot, 339; Cramer Books, 46). Unsigned. Color lithograph on cream wove paper, image/sheet size 16 5/8 x 12 3/8 in. (42.2 x 31.4 cm), framed.

Condition: Full sheet with deckled edges, unobtrusive toning, pencil annotations to verso. $1,200-1,800

60 Marc Chagall (Russian/French, 18871985)

60

Femme avec parapluie, from Derrière le miroir, 1964, from the edition of 75, published by Maeght Éditeur, Paris, printed by Mourlot Frères, Paris (Mourlot, 412). Signed “Marc Chagall” in pencil l.r., numbered “43/75” in pencil l.l. Color lithograph on paper, image size 13 5/8 x 18 1/2 in. (34.5 x 47.0 cm), framed.

Condition: Even toning, gentle rippling, not examined out of frame. $3,500-5,500

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61 Marc Chagall (Russian/French, 1887-1985) Bouquet sur la ville, 1983, proof outside of the edition of 50 (Mourlot, 1009). Signed “Marc Chagall” in pencil l.r., inscribed “H.C.” in pencil l.l., dry stamp l.l. Color lithograph on paper, image size 18 1/4 x 12 1/2 in. (46.3 x 31.7 cm), framed.

Condition: Deckled lower and right edges, floated within the mat, not examined out of frame. $3,000-5,000

62 Francesco Clemente (Italian, b. 1952) Cathay: Poems after Li Po, by Ezra Pound, illustrated with seven prints, 1992, proof outside of the edition of 300, published by the Limited Editions Club, New York. Each sheet except the cover numbered and signed “PP 1/2 Francesco Clemente” in pencil along lower edge. Color woodcuts on Japan paper mounted to text pages, image sizes to 11 3/4 x 7 3/4 in. (29.8 x 19.5 cm), framed.

Condition: Each sheet floated within its frame, not examined out of frames. $800-1,200

61

62 partial

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63 Salvador Dalí (Spanish, 1904-1989) Four Images of Club Cards, from the suite Playing Cards, 1972, from the edition of 150 (Field, 72-4; Michler & Löpsinger, 1287, 1291, 1295, and 1299). Each signed “Dalí” in pencil l.r. and numbered “125/150” in pencil l.l. Color lithographs on paper, image sizes 14 1/4 x 9 1/4 in. (36.2 x 23.5 cm), framed.

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

64 Salvador Dalí (Spanish, 1904-1989) Les Amoureux/Portfolio of Three Prints, 1978-79, from the I edition of 350, total edition of 1,195 (Field, 79-7; Löpsinger & Michler, 1563, 1565 & 1568). Each signed “Dali” in pencil l.r. and numbered “I 33/350” in pencil l.l., identified on the colophon page. Color lithographs on wove paper, sight sizes 27 x 19 1/2 in. (68.4 x 49.4 cm), framed.

Condition: Possible fading, not examined out of frames.

N.B. The original folio cover with title, descriptive text, embossed certificate, and colophon pages accompany the lot (mold to folio; foxing to pages). $1,200-1,800

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64

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65 Willem de Kooning (Dutch/American, 19041997) Paris Review, 1979, edition of 200. Signed “deKooning” in pencil l.r., numbered “67/200” in pencil l.l., signed, dated, and identified within the matrix. Color offset lithograph on paper, image size 23 x 29 1/4 in. (58.4 x 74.1 cm), framed.

Condition: Possible subtle toning, not examined out of frame.

Provenance: The estate of Donald A. Hall Jr., New Hampshire.

65

N.B. Donald Hall publish his first book of poetry at the age of 26. Hall was also a passionate patron and admirer of fine arts.

He was the first literary editor of the Paris Review (1953-1961) and during his tenure he collected the lithographs used for the covers created by icons of the art world including Robert Motherwell, Andy Warhol, and Willem de Kooning, to name a few. $1,000-1,500 66 Marcel Duchamp (French, 1887-1968) Rotorelief, 1935, from the 1965 edition of 150 (Schwarz, 294e). Signed, dated, numbered, and titled “Marcel Duchamp 1965...44/150” incised into copper plaque affixed to interior.

Mixed media multiple with single lithographed disk mounted to a plate mounted to electric motor, housed in a velvet-covered box.

Condition: Electrical cord in need of repair/ replacement, losses to surface of disc, wear to velvet at corners.

67

N.B. The work was initially produced in 1935.

Subsequent editions of various sizes and with varying numbers of discs were created in 1953, 1959, 1963, and 1965. $800-1,200 67 Elisabeth Frink (British, 1930-1993) The Reeve’s Tale, from The Canterbury Tales, 1970, edition of 70, published by Leslie Waddington Prints, London (Wiseman, 30A).

Signed “Frink” in pencil l.r., titled in pencil l.c., numbered “9/70” in pencil l.l. Etching and aquatint on wove Hayle Hand Made paper with watermarks, plate size 10 3/4 x 11 3/4 in.

(27.2 x 29.6 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, soiling to left margin and verso. $400-600

68

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68 Elisabeth Frink (British, 1930-1993) Mouflon, 1970, edition of 70, printed at Curwen Studio, Chilford, published by Leslie Waddington Prints, London (Wiseman, 31).

Signed “Frink” in pencil l.r., numbered “57/70” in pencil l.l., inscribed with artist and title on verso. Color lithograph on wove paper with watermark, image size 17 7/8 x 16 1/4 in.

(45.3 x 41.2 cm), unmatted, unframed.

Condition: Full sheet with deckled edges to three sides, subtle soiling to verso. $600-800

69 Alberto Giacometti (Swiss, 1901-1966)

69

Frontispiece to Dans la chaleur vacante, 1961, edition of 70 (Lust, 107).

Signed “Alberto Giacometti” in pencil l.r.

Etching on laid paper with “...Richard de Bas” watermarks, plate size 6 1/2 x 4 5/8 in. (16.4 x 11.5 cm), framed.

Condition: Deckled edges, unobtrusive toning and rippling, corrugation staining and pencil annotations to verso, Scotch (or similar) tape to all edges on verso. $3,500-5,500 70 Nancy Graves (American, 1939-1995) Calibrate, 1981, edition of 30 plus proofs, published by Tyler Graphics, Ltd., Bedford Village, New York (Tyler Graphics, 210:NG9).

Signed and dated “N.S. GRAVES ‘81” in pencil l.r., numbered “24/30” in pencil l.l., publisher’s dry stamp l.r. Color etching with aquatint, engraving, and lithography on wove paper, image size 23 3/4 x 26 3/4 in. (60.2 x 67.8 cm), framed.

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

Provenance: Sold to benefit the Clark Art Institute, Williamstown, Massachusetts. $250-350

71 Robert Gwathmey (American, 1903-1988) Non-Fiction, 1941 (Williams, 5). Signed “Gwathmey” in ink within the image l.l. Color screenprint on paper, sight size 16 7/8 x 13 1/2 in. (42.7 x 34.2 cm), framed.

Condition: Not examined out of frame. $400-600

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72

72 Patrick Heron (British, 1920-1999) Winchester Four IV, 1967, edition of 33.

Signed “Patrick Heron” in pencil l.r., titled, dated, and numbered “...May 1967 4/33” in pencil l.l. Color screenprint on paper, image size 22 1/2 x 35 1/4 in. (57.0 x 89.4 cm), unmatted, unframed.

Condition: Handling creases (primarily to margins), 3/4 inch tear to upper edge. $2,000-3,000

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73 Patrick Heron (British, 1920-1999) Magenta Disk, Red Edge, 1970, proof outside of the edition of 100. Signed and dated “Patrick Heron 70” in pencil l.r., inscribed “Artist’s Proof” in pencil l.l., signed and titled in pencil on verso. Color screenprint on wove paper, image size 23 3/8 x 31 in.

(59.3 x 78.5 cm), unmatted, unframed.

Condition: Full sheet with deckled upper and right edges, minor handling creases. $2,000-3,000

74 Patrick Heron (British, 1920-1999)

74

January 1973: 3, 1973, edition of 72, printed

by Kelpra Studios, London. Signed and dated “Patrick Heron 73” in pencil l.r., numbered “21/72” in pencil l.l., signed, dated, and titled in pencil on verso, printer’s stamp on verso.

Color screenprint on wove paper, image size 23 1/4 x 32 in. (59.0 x 81.2 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, minor handling creases (one with breaks to ink l.c.), subtle surface rubs. $1,500-2,500

75 Patrick Heron (British, 1920-1999) January 1973: 7, 1973, edition of 72, printed

by Kelpra Studios, London. Signed and dated “Patrick Heron 73” in pencil l.r., numbered “9/72” in pencil l.l., signed, dated, and titled in pencil on verso, printer’s stamp on verso.

Color screenprint on wove paper, image size 23 1/4 x 31 3/4 in. (59.0 x 81.0 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, minor handling creases, subtle surface rubs. $2,000-3,000

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76 Howard Hodgkin (British, 1932-2017)

76

David’s Pool, 1979/1985, edition of 100 plus proofs, published by Petersburg Press, New York, printed by the Atelier Crommelynck, Paris (Heenk, 55). Numbered, initialed, and dated “40/100 HH 85” in pencil within the image l.c., identified on a label from The Harcus Gallery, Boston, affixed to the backing.

Color softground etching with hand-coloring on paper, plate/sheet size 25 x 31 in. (63.5 x 78.5 cm), framed.

Condition: Full sheet with deckled edges, gentle rippling, floated within the frame, blue ink gently faded, not examined out of frame. $2,500-3,500

77 John Hoyland (British, 1934-2011)

77

Large Green Swiss, 1968, edition of 75, published by Waddington Graphics, London.

Signed and dated “John Hoyland 68.” in pencil l.r., numbered “27/75” in pencil l.l., inscribed with artist’s name and title on verso.

Color lithograph on BFK Rives paper with watermarks, image size 19 5/8 x 30 5/8 in.

(49.6 x 77.7 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, minor handling creases. $700-900

78 Lester Frederick Johnson (American, 19192010)

78 partial

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Two Prints: Spring Street, 1972, edition of 30; and Lafayette Street, 1972, edition of 37. Both signed “Lester Johnson” in pencil l.r., titled in pencil l.c., and numbered in pencil l.l. Color screenprints on paper, image/sheet sizes to 35 x 23 1/8 in. (88.8 x 58.6 cm), unmatted, unframed.

Condition: Water or similar staining to l.l. corner of Spring Street, both with inks to verso. $300-500

79

79 Ellsworth Kelly (American, 1923-2015) Philodendron I, 1983-85, edition of 30 plus proofs, published by Gemini G.E.L., Los Angeles (Axsom, 207; NGA/Gemini, 28.131).

Numbered and signed “21/30 Kelly” in pencil l.c., publisher’s and copyright dry stamps l.r., identified on a label from The Harcus Gallery, Boston, affixed to the backing. Lithograph on paper, image size 17 1/2 x 28 in. (44.4 x 71.2 cm), framed.

Condition: Full sheet with extremely subtle toning to edges, floated within the frame, not examined out of frame. $3,500-5,500 80 Ellsworth Kelly (American, 1923-2015) Calla Lilly III, 1983-85, edition of 30 plus proofs, published by Gemini G.E.L., Los Angeles (Axsom, 211; NGA/Gemini, 28.135).

Numbered and signed “21/30 Kelly” in pencil l.c., publisher’s and copyright dry stamps l.r., identified on a label from The Harcus Gallery, Boston, affixed to the backing. Lithograph on paper, image size 31 3/4 x 7 1/2 in. (80.5 x 19.0 cm), framed.

Condition: Full sheet with extremely subtle water or similar staining to edges of sheet at corner l.r., floated within the frame, not examined out of frame. $3,500-5,500 80

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81

81 Kim Lim (Chinese/British, 1936-1997) Two Works: Red Engraving, 1972, edition of 35; and Yellow Etching, 1972, edition of 30.

Both signed and dated “Kim Lim 1972.” in pencil l.r., inscribed and numbered in pencil l.l., and inscribed with artist’s name and titled on verso. Etchings with aquatint on wove paper, plate sizes to 17 3/8 x 17 1/2 in. (44.0 x 44.4 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, Red Engraving with minor handling creases and crimps to corner of margin l.l. $400-600

82.

After Roy Lichtenstein (American, 19231997) Against Apartheid Poster, 1983, from the edition of approximately 5,000, published by the artist and Galerie Maeght-Lelong (Corlett, III.32). Signed “rf Lichtenstein” in pencil l.r.

Offset color lithographic poster, sheet size 33 1/2 x 23 5/8 in. (85.0 x 59.9 cm), unmatted, unframed.

Condition: Minor soiling, minor wear to edges. $700-900 82

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83

83 Agnes Martin (Canadian/American, 1912–2004) The Portfolio Paintings and Drawings 1974-1990, 1991, complete set of ten works, edition of 2,500, published by Nemela & Lenzen GmbH, Monchengladback, Germany, and the Stedelijk Museum, Amsterdam. Identified in accompanying texts. Color lithographs on translucent vellum, sheet sizes 11 3/4 x 11 3/4 in. (30.0 x 30.0 cm), presented unbound (sold with two books: Agnes Martin: Paintings and Drawings and Agnes Martin: Alexej von Jawlensky Preisträgerin 1990) in a cardboard cover as issued.

Condition: Subtle wear to cover. $3,000-5,000

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84

84 Michael Burton Mazur (American, 19352009) Suite of Three Works: Calla Lilly 4, alternatively titled Amanda’s Folly, Calla Lilly 1, alternatively titled Sentinel/Single Calla, and Calla Lilly 3, alternatively titled Calla & Leaf, 1988. Each with stamped monogram l.c., signed, titled, and dated on verso, and with labels from Jan Turner Gallery, Los Angeles, and Kohn Turner Gallery, Los Angeles, on verso. Monoprints on silk backed with paperboard, image sizes 30 1/4 x 22 in.

(76.7 x 55.7 cm), framed (unglazed).

Condition: Good. $1,500-2,000

85 Joan Miró (Spanish, 1893-1983)

86 After Joan Miró (Spanish, 1893-1983)

Two Works: Le 13 l’échelle a frôlé le firmament and L’Échelle de l’evasion, from Constellations, 1959, edition of 350 (Cramer Books, 58). Both signed within the matrix and in printed text on verso. Collotypes with pochoir on wove paper, image/sheet sizes 17 x 14 1/8 in. (43.2 x 35.7 cm), unmatted, unframed.

Condition: Both with tape, tape residue, and thinned areas from tape removal to verso, L’Évasion with abrasions/losses to image l.r. $1,000-1,500

Le chien bleu, 1958-59, edition of 300, published by Maeght Éditeur, Paris, printed by Atelier Crommelynck, Paris (Maeght, 1714).

Signed “Miró” in pencil l.r., numbered “26/300” in pencil l.l., printer’s dry stamp l.l. Color etching and aquatint on cream Rives paper with watermark, plate size 24 1/4 x 19 in.

(61.5 x 48.3 cm), unmatted, unframed.

Condition: Full sheet with deckled edges to three sides, toning, mat burn, pinholes to upper corners, tape/residue along upper edge and tops of side edges recto, handling creases. $2,500-3,500

85 partial

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87 Henry Moore (British, 1898-1986) Mary and Martha, 1981, edition of 50 plus proofs (Cramer et al., 622). Signed “Moore” in pencil l.r., numbered “I/XV” in pencil l.l. Color lithograph on paper, image size 8 7/8 x 9 3/4 in. (22.4 x 24.6 cm), framed.

Condition: Gentle rippling, not examined out of frame. $800-1,200

88 Robert Motherwell (American, 1915-1991)

87

The Paris Review, 1965, edition of 150, published by The Paris Review, Flushing, New York (Dedalus, 17). Numbered and signed “65/150 Motherwell” in pencil l.r., titled within the matrix. Color screenprint on paper, image size 30 x 22 1/4 in. (76.2 x 56.5 cm), framed.

Condition: Rippling, fly specks and related to lower margin, not examined out of frame.

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $350-550 88A Robert Motherwell (American, 1915-1991) Untitled, from Paroles Peintes III, 1967, from outside the edition of 200, possibly a later printing (Dedalus, 55; Terenzio & Belknap, 31). Unsigned and unnumbered. Open-bite etching on wove paper, plate size 9 7/8 x 6 3/4 in. (25.0 x 17.0 cm), framed.

Condition: Full sheet with deckled edges, pencil annotations to lower edge.

Provenance: The estate of Donald Hall Jr., New Hampshire. $600-800

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89 Robert Motherwell (American, 1915-1991) The Quarrel, 1983, edition of 100 plus proofs, published by Tyler Graphics Ltd., Bedford Village, New York (Dedalus, 318). Signed and numbered “Motherwell 12/100” in pencil l.r., publisher’s dry stamp l.r., identified within the matrix. Color lithograph on paper, image size 35 3/4 x 25 in.

(90.5 x 63.4 cm), framed.

Condition: Gentle rippling, not examined out of frame.

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $300-500

90 LeRoy Neiman (American, 1921-2012) Borzoi, 1988, proof outside of the edition of 375.

Signed “LeRoy Neiman” in pencil l.r., numbered “A.P. 66/70” in pencil l.l. Color screenprint on heavy wove paper with “LeRoy Neiman” watermarks, image size 24 x 28 in. (60.8 x 71.0 cm), unmatted, unframed.

Condition: Unpressed vertical crease to image plus additional minor handling creases, 1/4 inch deformation to sheet at edge of image, thinned spots and hinge residue to upper edge on verso. $300-500

90

91 Beverly Pepper (American, b. 1922) Two Works, 1968, editions of 60. Both signed and dated “”Beverly Pepper ‘68” in pencil l.r. and numbered”.../60” in pencil l.l., dry stamp l.l.

Embossing and collage on C.M. Fabriano paper with watermark, plate sizes 18 1/8 x 25 3/4 in.

(45.8 x 65.3 cm), unmatted, unframed.

Condition: Full sheets with deckled edges, handling crimps and creases near edges. $500-700

92 Pablo Picasso (Spanish, 1881-1973) Raphaël et la Fornarina XI: Le Pape est bouche bée dans son fauteuil, 1968, from Séries 347, published by Galerie Louise Leiris, Paris, 1969, edition of 50 (Bloch, 1786; Baer et al., 1803 Bb1).

Signed “Picasso” in pencil l.r., numbered “47/50” in pencil l.l., dated “2.9.68 II” (reversed) in the plate.

Etching on Rives paper with watermark, plate size 5 7/8 x 8 1/8 in. (14.8 x 20.5 cm), framed.

Condition: Full sheet with deckled edges, pale mat burn, handling crease to image at left edge, masking tape and/or residue to edges on verso, pencil annotations to verso. $4,000-6,000 91

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93 After Pablo Picasso (Spanish, 1881-1973) Mother and Child with Shawl, 1903, 1966, from the Barcelona Suite, a proof before letters outside of the edition of 60, printed by Foto-Repro S.A., Barcelona, published by Museo Picasso, Barcelona (Czwiklitzer, 231). Signed “Picasso” in pencil below the plate l.r., publisher’s dry stamp to image l.l.

Offset color lithograph on smooth paper, image size 18 x 16 1/8 in. (45.7 x 41.0 cm), unmatted, unframed.

Condition: Margins over 2 1/2 inches, possible subtle toning, very minor staining/soiling to margins. $1,000-1,500

94 After Pablo Picasso (Spanish, 1881-1973) Madame Ricardo Canals, 1905, 1966, from the Barcelona Suite, a proof before letters outside of the edition of 60, printed by Foto-Repro S.A., Barcelona, published by Museo Picasso, Barcelona (Czwiklitzer, 232). Signed “Picasso” in pencil below the plate l.r., publisher’s dry stamp to image l.l.

Offset color lithograph on smooth paper, image size 22 3/4 x 17 1/4 in. (57.7 x 43.7 cm), unmatted, unframed.

Condition: Margins 2 inches or more, possible subtle toning, staining/soiling to margins (especially upper margin which also has several nicks to the edge). $1,000-1,500 94

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95 Kiyoshi Saito (Japanese, 1907-1997) Pansy, 1964, edition of 100. Signed “Kiyoshi Saito” in whiting within the image l.l., titled, numbered, and dated “...14/100 1964” in pencil beneath the image. Color woodcut on Japan paper with “KIYOSHI SAITO” watermark, image size 20 3/4 x 15 1/8 in.

(52.5 x 38.3 cm), matted, unframed.

Condition: Full sheet with deckled edges, unobtrusive toning to margins, stain to background, tape/residue to edges on verso, handling creases, pencil annotations to verso. $1,000-1,500

96 Tomás Sánchez (Cuban, b. 1948) Orilla, 1994, edition of 30. Signed and dated “Tomás Sanchez 94” in pencil within the image l.r., numbered “XXV/XXX” in pencil within the image l.l. Color screenprint on heavy wove paper, image/sheet size 27 1/2 x 39 5/8 in.

(69.7 x 100.7 cm), unmatted, unframed.

Condition: Minor nicks and ink losses at edges, water staining visible to verso. $800-1,200 95

96

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97 William Scott (British, 1913-1989) Cobalt Predominates, from The Alexandra Suite, 1972, edition of 72, printed by Kelpra Studios, London. Signed and dated “W. SCOTT 72” in pencil within the image l.r., numbered “28/72” in pencil within the image l.l., inscribed with artist’s name and title to verso, printer’s stamp on verso. Lithograph in blue on wove paper, image/sheet size 22 7/8 x 15 1/4 in. (58.0 x 38.5 cm), unmatted, unframed.

Condition: Deckled edges. $800-1,200

98 Pierre Soulages (French, b. 1919)

97

Lithographie no 1, 1957, proof outside of the edition of 60, published by Berggruen, Paris (Duby et al., 1). Signed “Soulages” in pencil l.r., inscribed “épreuve d’artiste” in pencil l.l., dedicated “Au Dr. A Epstein avec mes sentiments amicaux et reconnaissant” in pencil l.c. Lithograph printed in gray, brown, and black on paper, image size 22 1/4 x 17 1/8 in. (56.4 x 43.3 cm), framed.

Condition: Deckled upper and lower edges, staining to upper margin, gentle and even toning, not examined out of frame.

Provenance: The estate of Alvin Epstein, New York City.

N.B. The lot is accompanied by a framed exhibition poster Soulages Peintures et Gravures, 1975.

Alvin Epstein (1925-2018) was a celebrated classical stage actor and director who appeared in the Broadway premiere of Waiting for Godot and went on to become widely known for his mastery of works by Samuel Beckett. He was a founding member of the American Repertory Company as well as the Yale Repertory Theater, and was long affiliated with nonprofit and regional theater. Epstein met and befriended Pierre Soulages and Pierrette Bloch (see Lot 395) while studying mime in Paris with Marcel Marceau, and the friendships continued whenever they visited New York. $5,000-7,000 99 Julian Stanczak (Polish/American, 19282017) Untitled, edition of 165. Signed “J Stanczak” in pencil l.r., numbered “71/165” in pencil l.l.

Color screenprint on paper, image size 24 1/4 x 24 1/2 in. (61.5 x 62.0 cm), framed.

Condition: Pale mat burn, not examined out of frame. $350-550

98

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100

101

100 Antoni Tàpies (Spanish, 1923-2012)

101 Joe Tilson (British, b. 1928)

102 Joe Tilson (British, b. 1928)

Untitled, from the suite Als mestres de Catalunya, 1974, edition of 100 plus proofs (Galfetti, 490). Signed “tàpies” in pencil l.l., inscribed “PA” in pencil l.l. Color lithograph on Sala Gaspar paper with watermark, image size 25 x 23 3/4 in. (63.4 x 60.2 cm), unmatted, unframed.

Condition: Toning, several minute nicks at edges, handling creases. $300-500

Proscinemi, Tyrins, 1978, edition of 71, published by Waddington Graphics, London.

Signed and dated “Tilson 1978” in pencil l.r., numbered “49/71” in pencil l.l., publisher’s dry stamp l.r. Color etching with aquatint, mezzotint, lithograph, collage, and string on wove paper, plate size 32 3/8 x 23 1/4 in.

(82.3 x 59.0 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, crease along lower edge and to corner l.r. $500-700

Proscinemi, Dodona, Oracle of Zeus, 1978, edition of 71, published by Waddington Graphics, London. Signed and dated “Tilson 1978” in pencil l.r., numbered “51/71” in pencil l.l., publisher’s dry stamp l.r. Color etching with aquatint and collage on wove paper, plate size 30 5/8 x 20 5/8 in. (77.7 x 52.3 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, crease to corner u.l., soiling to corner l.l., crimps to some deckles. $500-700

103 Various Artists:

103 partial

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The Art Connection Portfolio/A Suite of Nine Works by Artists Including: Ken Beck (American, b. 1943), Fay Chandler (American, 1923-2015), Ralph Hamilton (American, 1946-2006), Sarah Hutt (American, 20th/21st Century), Michael Mazur (American, 1935-2009), Maud Cabot Morgan (American, 1903-1999), Cynthia Nartonis (American, 20th Century), Nancy Simonds (American, 20th/21st Century), and Mark Steele (American, 20th/21st Century); 1997-98, edition of 50 plus proofs, printed by Muskat Studios, Boston. All signed or initialed in pencil and with dry stamp, most dated and numbered “...20/50...” in pencil.

Lithographs (mostly in color) on various papers, sheet sizes 16 x 12 in. (40.6 x 30.4 cm), in the original clamshell box.

Condition: Good. $1,200-1,800

104

104 Andy Warhol (American, 1928-1987) Liz, 1964, edition of approximately 300, published by Leo Castelli Gallery, New York (Feldman & Schellmann, II.7). Signature and date missing. Offset color lithograph on paper, image/sheet size 22 x 22 in. (56.0 x 55.8 cm), framed.

Condition: Trimmed to image, unevenly faded, laid down.

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $1,500-2,500

105 Andy Warhol (American, 1928-1987) Paris Review, 1967, edition of 150, published

by Paris Review, New York (Feldman & Schellmann, II.18). Stamped signature and numbered “107/150� in pencil l.r., identified within the matrix. Color screenprint with diecut holes on paper, sheet size 37 1/4 x 27 1/8 in. (94.5 x 68.8 cm), framed.

Condition: Toning, subtle staining, mounted to foamcore.

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $800-1,200 105

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106

107

106 Andy Warhol (American, 1928-1987)

107 After Andy Warhol (American, 1928-1987)

Lincoln Center Ticket, 1967, from the edition of 200, published by Leo Castelli Gallery, New York (Feldman & Schellmann, II.19). Incised signature and number “Andy Warhol 2/200” on verso. Color screenprint on die-cut opaque acrylic, image/sheet size 45 1/8 x 24 1/8 in. (114.5 x 61.0 cm), unmatted, unframed.

Condition: Several areas of subtle surface grime near edges, subtle rubs to surface, toning to verso.

Andy Warhol November 21-December 28, 1964/Leo Castelli... (Flowers), 1964. Signed “AndyWarhol” in marker l.l., identified within the matrix. Offset color lithographic poster, sheet size 27 1/2 x 24 1/2 in. (69.7 x 62.2 cm), unmatted, unframed.

Condition: Minor staining and soiling to margins (more so to verso), gentle cockling and handling creases. $800-1,200

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $700-900

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108

108 Neil Welliver (American, 1929-2005) Salmon, 1977, edition of 40, published by Brooke Alexander, Inc., New York. Signed “Welliver” in pencil l.r., numbered “52/40” in pencil l.l. Hand-colored etching on cream Arches paper with watermark, plate size 22 x 29 3/4 in. (55.7 x 75.5 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, unobtrusive toning, handling creases, wear/ crimps to some deckles. $500-700

109 Neil Welliver (American, 1929-2005) 109

Trout and Reflections, 1980, edition of 60, published by the artist, printed by the University of Pennsylvania Press, Philadelphia (Welliver, pp. 56-57). Signed “Welliver” in pencil l.r., numbered “54/60” in pencil l.l.

Hand-colored etching on cream wove paper, plate size 22 3/8 x 29 7/8 in. (56.7 x 75.8 cm), unmatted, unframed.

Condition: Full sheet with deckled edges, gentle toning and handling creases, toning and water staining to edges. $500-700

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Fine Photographs

110 Berenice Abbott (American, 1898-1991) West Street, 1929-30, printed later, from the portfolio Berenice Abbott’s New York II, published in 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.

Provenance: A private Connecticut collection. $1,500-2,500 110

111 Ansel Adams (American, 1902-1984) Valley View, Yosemite National Park, California, 1936, a later printing probably from the 1970s. Initialed “AA” in pencil on mount l.r., stamped “Special Edition PHOTOGRAPHS of YOSEMITE BY ANSEL ADAMS...” to back of mount. Gelatin silver print mounted to paperboard, image/sheet size 7 1/4 x 9 3/4 in.

(18.3 x 24.5 cm), framed.

Condition: Good. $1,500-2,000

112 Ansel Adams (American, 1902-1984) Alders, Prairie Creek Beach, Northern California, 1949, plate 8 from the Ansel Adams Portfolio VI, 1974, published by Parasol Press, Ltd., New York. Signed “Ansel Adams” in pencil on mount l.r., numbered “VI8 18/110” in pencil on mount l.l. Gelatin silver print mounted to board, image/sheet size 15 1/2 x 19 3/8 in. (39.2 x 49.0 cm), framed.

Condition: Facing mat glued to backing mat, and backing mat glued to foamcore. $3,000-5,000

111

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112

113 Lucien Clergue (French, 1934-2014) Untitled Nude, from the Venetian Portfolio, 1979, printed 1985. Signed in ink on the recto l.r., dated and inscribed in ink on the verso. Gelatin silver print, image size 14 1/4 x 9 1/2 in. (36.2 x 24.0 cm), matted, unframed.

Condition: Minor wear at corners, slight rippling to sheet.

Provenance: A Connecticut estate. $400-600

114 Alfred Eisenstaedt (American, 1898-1995) Two Portraits at Carnegie Hall: At the Piano, 1958, and Conducting. The former signed “Alfred Eisenstaedt” in ink l.r., stamped “LIFE PHOTO BY ALFRED EISENSTAEDT” and “MAY 22 1958” on verso, the latter unsigned. Gelatin silver prints (the latter possibly a photographic copy), sheet sizes to 11 x 13 7/8 in. (27.7 x 35.2 cm), the former unmatted, the latter framed.

Condition: Gentle toning, wear to edges, the former with many handling crimps and creases, the latter with silvering out at edges. $1,200-1,800

114 partial

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115 Nathan Lerner (American, 1913-1997) The Round House, Chicago. Titled, dated, and signed “...Nathan Lerner” in pencil on verso, dated in ink and with artist’s stamp on verso. Gelatin silver print, image size 15 x 12 in.

(38.1 x 30.4 cm), framed.

Condition: Very minor wear to corners, crease/ crimp to upper edge at right corner. $150-200

116 George Platt Lynes (American, 1907-1955) Four Portraits of Jack Fontan, c. 1954. Two stamped “GEORGE PLATT LYNES/145 EAST 52 STREET NEW YORK” on the verso in black ink, one stamped “CHARLES HOWARD/145 EAST 52 STREET NEW YORK” on the verso in black ink. Gelatin silver prints, image/sheet sizes to 9 1/4 x 7 1/2 in. (23.3 x 18.9 cm), unmatted, unframed.

Condition: Minor wear to edges and corners, crease in corner of square print of Fontan in a doorway, the other print of Fontan in a doorway has been cut down.

115

Provenance: A Connecticut estate. $1,500-2,500 117 George Platt Lynes (American, 1907-1955) Four Portraits of Dancer Homer (Randy) Randolph Jack, c. 1947. One stamped “GEORGE PLATT LYNES/VOGUE STUDIOS - LOS ANGELES” on the verso in black ink.

Gelatin silver prints, image/sheet sizes to 10 x 8 1/8 in. (25.3 x 20.5 cm), unmatted, unframed.

Condition: Minor wear to corners and edges, print of Jack in a library with scattered handling crimps and emulsion cracks, especially at left side.

Provenance: A Connecticut estate. $1,200-1,800 118 George Platt Lynes (American, 1907-1955) Eight Portraits of Authors and Critics, including Virgil Thomson, 1936, Christopher Isherwood, 1939, W. Somerset Maugham, 1941, Dorothy Parker, 1943, Thomas Mann, c. 1946-47, E.E. Cummings, c. 1947, E.M. Forster, 1949, and an unidentified sitter with taxidermized wildlife. Gelatin silver prints, sheet sizes to 10 x 8 in. (25.5 x 20.4 cm), unmatted, unframed.

Condition: Minor wear to edges and corners, curling to sheets.

116 partial

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

119 partial

119 Attributed to George Platt Lynes (American, 1907-1955) Fourteen Photographs of Men (Both Nude and Clothed), 1930s-50s. Without artist stamps, some with point hand stamp and/ or annotations to verso. Gelatin silver prints, image/sheet sizes to 10 x 8 in. (25.5 x 20.4 cm), unmatted, unframed.

Condition: Minor wear at corners and edges.

Provenance: A Connecticut estate. $1,000-1,500

120 Arnold Newman (American, 1918-2006) Violins, Philadelphia, 1941, printed later.

Titled, dated, dedicated, and signed “...For Betty - and possibly Stu as well, with our love Augusta & Arnold...© Arnold Newman” in pencil below the image. Gelatin silver print, 12 3/4 x 9 7/8 in. (32.2 x 22.3 cm), framed.

Condition: Small blemish in print surface u.l., not examined out of frame. $500-700

120

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121 W. Eugene Smith (American, 1918-1978) Untitled (Goats on a Roof), from the series A Man of Mercy, 1954. Three stamps from the artist on the mount verso. Gelatin silver print mounted onto board, image/sheet size 13 1/2 x 9 1/4 in. (34.2 x 23.4 cm), framed.

Condition: Minor wear to edges, subtle rub/indentations to surface l.c., wear/breaks to lower corners of mount, pencil annotations to verso. $200-300

122 Peter Beard (American, b. 1938) San Quentin Summer (T.C.+ Bobby Beausoleil), 1972, proof edition of 13 printed for A Portfolio of Thirteen Photographs to Commemorate...the New Home of the Anthology Film Archives..., 1982. Signed “Peter Beard” in ink within the image l.r., numbered and titled “A/p 8/13...” in ink within the image l.l., dated and with finger/thumbprint “...1972” in ink within the image u.l. Gelatin sliver print on paper, image size 9 1/8 x 13 3/8 in. (23.0 x 33.8 cm), framed.

Condition: Sheet curled and with cockling to edges, soling to lower margin and verso.

N.B. “T.C.” stands for Truman Capote. $400-600 123 André de Dienes (Hungarian/American, 1913-1985) Nude on Beach, c. 1960. Artist’s stamp to verso, stamps from “Eldorado” and the “International Foto Service” on verso.

Gelatin silver print on paper, image/sheet size 9 7/8 x 8 in. (25.0 x 20.0 cm), unmatted, unframed.

Condition: Minor wear to edges. $400-600

121

122

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124

124 Robert Doisneau (French, 1912-1994) Les pains de Picasso, 1952, later printing.

Signed “Robert Doisneau” in ink l.r., titled and dated in ink on the reverse. Gelatin silver print on paper, image size 16 3/8 x 13 3/8 in. (41.4 x 33.8 cm), framed.

Condition: Minute handling crimp to image u.l. $2,500-3,500

125 Nan Goldin (American, b. 1953) Lily & Isabel on Trampoline, 1996. Signed “Nan Golden A.P.” in ink on verso, inscribed and dated “The Twins on a Trampoline.

E. Hampton. Ma. 1996” in ink on verso, dedicated “For Johnny+Madelyn Happy New Year 97 Lots of love” in ink on verso.

Cibachrome print on paper, image size 19 5/8 x 19 5/8 in. (49.7 x 49.7 cm), framed.

Condition: Pinholes to corners, minor handling crimps.

Provenance: Gift of the artist to her brother Jonathan Goldin, Amherst, Massachusetts. $1,000-1,500

125

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126 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 one-time 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

127 Ernst Haas (Austrian/American, 1921-1986) 126

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. $3,000-5,000 128 Morris Lane (American, b. 1954) Adrianne Shepard, 1985, edition of 25. Signed, numbered, titled, and inscribed “Morris Lane 3/25 ...’85’ vintage print” in pencil and with artist’s stamp on verso. Gelatin silver print, image size 18 x 14 in.

(45.5 x 35.5 cm), unmatted, unframed.

Condition: Minute crimps to corners. $300-500 129 Roman Loranc (Polish, b. 1956) Black Hancza, 2007, edition of 40. Signed “Roman Loranc” in pencil on the mount l.r., identified on labels including one from Photography West Gallery, Carmel, California, affixed to the backing. Gelatin silver print on paper mounted to board, image/sheet size 14 7/8 x 18 3/4 in. (37.7 x 47.5 cm), framed.

Condition: Not examined out of frame.

127

N.B. The Czarna Hancza (or Black Hancza) is a picturesque river flowing through northern Poland and Belarus. $400-600

130 Roman Loranc (Polish, b. 1956) Dark Clouds over Dubrovnik, 2009, edition of 40.

Signed “Roman Loranc” in pencil on the mount l.r., identified on labels including one from Photography West Gallery, Carmel, California, affixed to the backing. Sepia-toned gelatin silver print on paper mounted to board, image/sheet size 14 x 18 1/2 in.

(35.5 x 47.0 cm), framed.

Condition: Not examined out of frame. $400-600 130

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131

131 Steve McCurry (American, b. 1950) Tailor Carrying his Sewing Machine, Porbandar, India, 1983, printed later. Signed “Steve McCurry” in black ink l.r. Chromogenic print on paper, image size 15 1/4 x 23 1/8 in.

(38.5 x 58.5 cm), framed.

Condition: Not examined out of frame.

N.B. One the earliest influences leading McCurry to photography was a 1961 Life magazine article about the monsoons that was photographed by Brian Brake.1 When McCurry went to shoot his monsoon subjects he was working for National Geographic and spent nearly six months in Southeast Asia and Australia to capture his images. Since this first series of images McCurry has captured monsoon subjects repeatedly in the course of more than 80 trips to Asia over three decades.

1. https://publicdelivery.org/steve-mccurry-monsoon/

$2,000-3,000 132

132 Joel Meyerowitz (American, b. 1938) Hartwig House, Truro, Cape Cod, 1976.

Titled, dated, and signed “...Joel Meyerowitz.” in ink on the verso. Chromogenic print on Kodak paper, image size 7 5/8 x 9 5/8 in.

(19.3 x 24.3 cm), framed.

Condition: Unmounted, gently faded, minor wear to corners, ink annotations to verso. $800-1,200

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133

134

133 Mick Rock (British, b. 1948) Freddie Mercury, 1974, proof printed in 1991. Signed and dated “Mick Rock 12/91” in ink l.r., titled in ink l.c., inscribed “A.P.” in ink l.l.

Cibachrome print, image size 14 1/2 x 14 7/8 in. (36.7 x 37.8 cm), framed.

Condition: Subtle discoloration, not examined out of frame. $1,000-1,500

134 Howard Schatz (American, b. 1940) Underwater Study #980. Signed “Howard Schatz” in ink l.r., titled and dated “...1995” in ink l.l., numbered “6/8” in ink l.c. Pigment print on Epson Professional paper, image size 22 x 14 1/2 in. (55.8 x 36.7 cm), unmatted, unframed.

Condition: Good.

Provenance: A gift from the artist to the current owner.

N.B. This image was also printed as a Cibachrome in an edition of 24. $800-1,200

135

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135 Stephen Shore (American, b. 1947) North Black Avenue, Bozeman, Montana, 1981, printed in 1982 for A Portfolio of Thirteen Photographs to Commemorate... the New Home of the Anthology Film Archives..., edition of 75. Signed “STEPHEN SHORE” in ink on verso, numbered “8/75” in ink on verso. Dye-transfer print on paper, image size 9 1/2 x 12 in. (24.0 x 30.4 cm), framed.

Condition: Sheet curled, yellows slightly faded. $400-600 136 Aaron Siskind (American, 1903-1991)

137

Chicago 56, 1960, printed in 1982 for A Portfolio of Thirteen Photographs to Commemorate...the New Home of the Anthology Film Archives..., edition of 75.

Titled and signed “...Aaron Siskind” in pencil on verso. Gelatin silver print on Agfa paper, image size 10 1/8 x 13 in. (25.7 x 32.8 cm), framed.

Condition: Sheet gently curled, minor wear to corners, tiny crimp to upper edge of sheet. $400-600

137 Aaron Siskind (American, 1903-1991) New York 71, 1976. Signed “Aaron Siskind” in ink l.r., titled and dated “...1976” in ink l.l., annotated “NY 71 8/76 5” in pencil on the verso. Gelatin silver print, image size 10 x 9 7/8 in. (25.4 x 25.0 cm), matted, unframed.

Condition: Very minor handling crimps. $1,000-1,500

138 Aaron Siskind (American, 1903-1991) Peru 81, 1977. Signed “Aaron Siskind” in ink l.r., titled and dated “...1977” in ink l.l., annotated “P81 3/77 6 x” in pencil on the verso. Gelatin silver print, image size 10 1/8 x 10 in. (25.7 x 25.4 cm), matted, unframed.

Condition: Very minor handling crimps, minor wear to corners. $1,000-1,500 138

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139 Various Artists:

139 partial

Eight Plates from A Portfolio of Thirteen Photographs to Commemorate...the New Home of the Anthology Film Archives..., 1981-82, edition of 75 plus proofs: Rudy Burckhardt (American, 1914–1999), New York, 1940 (Eagle Barber Shop), numbered, titled, and signed “...Rudy Burckhardt” in pencil on verso, gelatin silver print; Willard van Dyke (American, 1906-1986), Ireland 1979 #8, signed “Willard VanDyke” in ink l.r., titled in ink l.l., dye-transfer print; Hollis Frampton (American, c. 1936-after 1984), Untitled (Nude and Chocolate Busts), signed, dated, and numbered “Hollis Frampton 1982 8/75” in red ink on verso, dye-transfer print on 3M paper; Lois Greenfield (American, b. 1949), Andrew de Groat’s “Rope Dance Translations” #4, 1974, printed in 1979, signed, dated, and titled “Lois Greenfield 1979...” in pencil on verso, gelatin silver print; Elaine Mayes (American, b. 1938) NYC 1978 4th July, signed, titled, and annotated “Elaine Mayes...1-8” in pencil on verso, gelatin silver print; Joel Meyerowitz (American, b.

1938), France, 1968, titled, signed, dated, and numbered “...Joel Meyerowitz 1982...” in pencil on verso, dye-transfer print; Michael James Aleck Snow (Canadian/American, 19292011), Still Living, 4 Acts, Scene 1, 1982, signed, dated, and numbered “SNOW ‘82...” in ink l.r., dye-transfer print from Polaroids; and Ralph Steiner (American, 1899-1986), Untitled (Park Avenue Garage), 1965, signed and dated “Ralph Steiner 1965/1981” in ink on verso, gelatin silver print. Most numbered “8/75” in pencil on the mat or on the sheet.

Sheet sizes to 20 x 15 5/8 in. (50.6 x 39.5 cm), framed (Snow unglazed).

Condition: Many corners with minor wear, all dye-transfer prints with colors gently faded, sheets gently curled, mold/water damage to Meyerowitz, minute surface losses to edges of Snow. $800-1,200 140 William Wegman (American, b. 1943) October 1981, Rangeley, Maine, 1981, edition of 75. Signed, dated, titled, and numbered “William Wegman October 1981 Rangeley, Maine 59/75” in whiting within the image l.r.

Dye-transfer print on paper, image size 19 1/2 x 19 in. (49.5 x 48.0 cm), matted, unframed.

Condition: Sheet mounted to backing mat, facing mat periodically adhered to margins of sheet. $200-300

140

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Fine Paintings & Sculpture Lots 200–416 to be sold Friday, May 10, 2PM

200

200 Circle of Frans Francken II (Flemish, 15811642) Adoration of the Magi Unsigned.

Oil on copper, 15 1/8 x 11 7/8 in. (38.4 x 30.0 cm), unframed.

Condition: Abrasion to c.r., minor modern retouch, uneven paint surfaces, fine craquelure, surface grime.

N.B. This painting was reviewed via digital photographs by the RKD - Netherlands Institute for Art History, who provided the attribution to the Circle of Frans Francken II. $4,000-6,000

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201

201 School of Ambrosius Benson (Flemish, c.

1495-1550) Virgin and Child with Angel and Bowl of Cherries Unsigned, inscribed “Isenbrandt” on a label affixed to the back of the frame.

Tempera on panel, sight size 30 x 25 in. (76.2 x 63.5 cm), framed.

Condition: Three or four major periods of restoration from the 19th century or earlier, major figures are fairly intact, not examined out of frame.

N.B. High resolution images of this painting were reviewed by Suzanne Laemers, PhD, Curator, Early Netherlandish Painting, RKD – Nederlands Instituut voor Kunstgeschiedenis, who made the association with the school of Ambrosius Benson based on similar compositions, including a Madonna and Child with Angel which was sold at Christie’s London in 2002 (Christie’s London, Important Old Master Pictures, Wednesday, July 10, 2002, Lot 15). RKD records also revealed a second work, attributed to Meester van het Heilig Bloed (Master of the Holy Blood), active c. 1500-1520, of a Madonna and Child with Angel with very similar poses and gestures.

The whereabouts of that painting is unknown, but it had been referenced by Max Friedländer in Early Netherlandish Paintings. Although the attribution to Adriaen Isenbrandt (Flemish, 1490-1551), as suggested on the handwritten label on the painting at hand, is not supported by current scholarhip, it does place the painting in Flanders at the appropriate period. $20,000-30,000

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202

202 Continental School, 17th Century Style Two Panels Depicting Standing Saints with Putti Above, Possibly Wings of an Altarpiece Unsigned.

Each oil on canvas mounted to panel, 58 x 21 in. (147.3 x 53.3 cm), framed (in liners).

Condition: Scattered paint losses, craquelure, varnish discoloration, surface grime. $1,500-2,000 203 Continental School, 17th Century Roman Soldier with Herder and Pair of Oxen, Possibly Cincinnatus Called from the Plow Unsigned.

Ink and wash with white heightening on laid, toned, watermarked paper, 7 1/8 x 9 1/4 in.

(18.0 x 23.5 cm), unmatted, unframed.

Condition: Toning, tack holes, nicks and wear to edges of the sheet, pale pencil sketch on the reverse. $400-600

203

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204

205

204 Italian School, 17th Century Seven Soldiers with Lances Unsigned.

Pen and ink, ink wash, and white heightening on paper, 3 7/8 x 7 7/8 in. (10.0 x 20.0 cm), framed.

Condition: Toning, rippling, affixed to secondary paper support. $300-500

205 School of Luca Giordano (Italian, 16341705) Two Framed Drawings of Putti with a Goat One unsigned, one inscribed “originale di Luca� l.r., both identified on typed labels affixed to the frame backing paper.

Black chalk on laid paper (one with fragmentary watermark), 5 1/2 x 7 3/4 in.

(14.0 x 19.5 cm), framed.

Condition: Both with trimmed sheets, handling creases, hinged to back mats in two places on the top edge of the reverse.

Provenance: Purchased in 1965 from Walter Schatzki, New York; Estate of Francis M. Bator, Massachusetts.

N.B. The labels on the reverse suggest a possible attribution to Luca Giordano (Italian, 1634-1705). $300-500

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206

206 Attributed to Salvatore Castiglione (Italian, 1620-1676) Allegory of Poetry and Music Unsigned.

Oil on canvas, 19 1/4 x 31 1/2 in. (49.0 x 80.0 cm), framed.

Condition: Lined, retouch, fine craquelure, fading, possible skinning, flattened impasto.

Provenance: Hazlett Galleries, London, 1968; M. Knoedler & Co., New York; Anonymous sale, New York, Phillips, November 19, 1980, Lot 14 (as by Giovanni Benedetto Castiglione); to Donald Purdy, Westport, Connecticut; to the current owner.

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Literature: A. Percy, Giovanni Benedetto Castiglione, Master Draughtsman of the Italian Baroque, exhibition catalogue, Philadelphia 1971, p. 59, under note 147 (as an unusual variant of an Allegory of Poetry and Music

by Giovanni Benedetto Castiglione); M.N. Schleier, in Kunst in der Republik Genua, exhibition catalogue, Frankfurt am Main 1992, p. 133, reproduced fig. 61.2 (as attributed to Salvatore Castiglione).

N.B. Salvatore Castiglione was a painter, printmaker, and writer, and the younger brother of Giovanni Benedetto Castiglione.

The central figures in this painting appear to be based on a painting and drawing by the older brother Giovanni Benedetto (see A. Percy, pp. 42 and 113). $3,000-5,000

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207

207 French School, 18th Century St. Luke Drawing the Virgin Unsigned, attributed to Charles Le Brun (French, 1619-1690) on a label from Castano Galleries, Boston, affixed to the frame backing.

Black chalk on antique laid paper with fragmentary watermark, 9 1/4 x 6 5/8 in. (23.6 x 16.8 cm), framed.

Condition: Small loss to l.l. corner, acid burn, toning, scattered fox marks. $300-500

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208 School of Meindert Hobbema (Dutch, 1638-1709) Landscape with Stream and Hunters with Dogs Unsigned, identified on a label from the Philadelphia Museum of Art affixed to the back of the frame.

Oil on cradled panel, 27 x 22 1/2 in. (68.5 x 57.0 cm), framed.

Condition: Old retouch, paint loss with small area of lifting to l.r. quadrant, fine craquelure overall with vertical lines of craquelure suggesting hairline cracks to the panel, varnish discoloration, minor surface grime.

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Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine. $4,000-6,000 209 School of Rosa Bonheur (French, 18221899) Studies of Sheep Unsigned.

Oil on canvas, 16 x 23 3/8 in. (40.5 x 58.7 cm), framed.

Condition: Lined, scattered retouch, fine craquelure, surface grime. $600-800

209

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210 Attributed to Eugène Delacroix (French, 1798-1863) Lion Studies/A Double-sided Sketch Stamped “E.D” in red l.r., inscribed with text in French along the bottom edge, identified on an invoice from Chamberlin Gallery, New York, dated November 11, 1988.

Graphite on laid paper, 9 3/8 x 10 1/2 in. (24.0 x 26.3 cm), in a double-sided frame.

Condition: Abrasions with punctures, toning, foxing, hinged at the corners to window mat (hinges broken on u.l. and l.l. corners with resulting small losses to sheet at these points).

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N.B. The lot is accompanied by a copy of the invoice from Chamberlin Gallery including a short text, referenced above. It states that the text was compiled with the assistance of the Delacroix scholar Professor Lee Johnson.

It explains that the drawing relates back to a c. 1830 painting by Delacroix, Study of Lions.

The text of the pencil inscription on the bottom of the drawing corresponds to Delacroix’s journal entry of June 14, 1851, and reappears in an entry on April 27, 1854, in which the artist contemplated using images of lions in two paintings, one an allegory of genius attaining glory. However, the inscription on the drawing is probably not in the artist’s hand. $2,000-3,000 211 Rosa Bonheur (French, 1822-1899)

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Studies of the Artist’s Lion Cub, Fathma Estate stamped with facsimile signature l.r., identified and dated “...Circa 1880” on a label from Moly Klobe Chamberlin Gallery, Inc., New York, affixed to the frame backing mat.

Black chalk on laid paper, 5 3/8 x 8 5/8 in.

(13.7 x 20.8 cm), framed.

Condition: Toning to edges and along left margin, minor foxing, small hole to u.l. corner, subtle handing creases, paper tape around the perimeter of the reverse, hinged to back mat in two places on the top edge of the reverse. $1,000-1,500 212 Circle of Eugène Delacroix (French, 17981863) Studies of Cats and Lions/Two Goats: A Double-sided Sketch Unsigned, identified on a label from Molly Klobe Chamberlin Gallery, Inc., New York, affixed to the frame backing paper.

Ink on laid paper, sheet size 9 1/4 x 12 in.

(23.5 x 30.5 cm), framed.

Condition: Creasing particularly to the l.r. corner, handling creases, soiling, toning, nicks and wear to the edges of the sheet. $1,500-2,000

212

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213

214

213 Continental School, 17th Century Portrait of a Gentleman Unsigned.

Oil on canvas, 42 x 34 in. (107.0 x 86.7 cm), framed.

Condition: Lined, craquelure with areas of lifting, scattered paint losses, surface grime.

Provenance: The estate of Henry D. Childs, Massachusetts and Florida.

N.B. The sitter for this portrait bears a resemblance to Louis XIV. $1,000-1,500 214 Continental School, 17th Century Style Lady with an Ermine-trimmed Cloak Unsigned.

Oil on canvas, 16 x 12 3/4 in. (41.0 x 32.0 cm), framed.

Condition: Lined, retouch, craquelure, varnish discoloration, surface grime. $1,000-1,500 215 Northern European School, 17th Century Style Portrait of a Red-haired Girl in Blue Unsigned.

Oil on canvas, 22 1/4 x 17 1/2 in. (56.0 x 44.5 cm), framed.

Condition: Lined, retouch, scattered small paint losses, craquelure, surface imperfections, varnish discoloration, surface grime. $1,800-2,200

215

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216 Hendrik Albertus Kleijn (Dutch, 1860-1929) Elizabeth Jacobs Bas/A Copy After Rembrandt or Bol Titled and inscribed “Elizabeth Jacobs Bas./ naar hit original/van Rembrandt/door Hendr Klyn” on the reverse.

Oil on canvas, 46 1/8 x 32 in. (117.0 x 80.7 cm), framed.

Condition: Lined onto a wood panel, retouch, craquelure, varnish inconsistencies.

Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine.

N.B. The portrait on which this copy is based is in the collection of the Rijksmuseum in Amsterdam. The portrait has an interesting history. Although originally attributed to Rembrandt van Rijn (Dutch, 1606-1669), the portrait is now attributed to his talented pupil, Ferdinand Bol (Dutch, 1616-1680), c.

1640-45. By 1642, Bol had moved on from Rembrandt’s atelier and set up his own studio in Amsterdam. During the next few years, his style resembled Rembrandt’s so closely that many of Bol’s portraits were later confused with those of Rembrandt.

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There was also a popular engraving after the portrait, created by Charles Waltner (French, 1846-1925) and published by Boussod, Valadon & Cie in 1877. The text beneath the image on the engraving spells the sitter’s name Elizabeth with a “z,” while the more traditional spelling used by the Rijksmuseum is Elisabeth. The Rijksmusuem also leaves the true identity of the sitter somewhat in doubt.

The inscription that appears on the back of the panel was probably transcribed by the restorer who did the lining. Some of the Dutch words were likely copied incorrectly, such as “hit” instead of “het” and “original” in place of “origineel.” This, and the general variations of Dutch spellings when transcribed to English, would account for the artist’s name being recorded as “Klyn” rather than “Kleijn.” $10,000-20,000

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217 Georg Hom (German, 1838-1911) Portrait Head of a Young Woman Faint signature or inscription c.l., signed or inscribed and dated “Professor Georg Hom/1850/...” on the reverse.

Oil on canvas mounted to board, sight size 12 1/8 x 9 in. (30.7 x 22.5 cm), framed.

Condition: Fine craquelure, possible old retouch. $300-500 218 János Pentelei-Molnár (Hungarian, 18781924) Still Life with Copper Pot and Gamebirds Signed “Pentelei Molnár J.” l.l.

Oil on canvas, 23 5/8 x 29 3/8 in. (59.3 x 74.0 cm), framed.

Condition: Fine, stable craquelure. $700-900

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218

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220

219 Jan Walraven (Dutch, 1827-1863) Mischief Makers Signed “J. Walraven f.” l.r.

Oil on canvas, 24 1/4 x 20 1/4 in. (61.5 x 51.0 cm), framed.

Condition: Minor canvas rippling.

Provenance: Skinner, Inc., American & European Works of Art, September 20, 2002, Sale 2154, Lot 438. $800-1,200 220 French/American School, 19th Century Still Life with Fruit and Oyster Signed and dated “Denon.1844.” l.l.

Oil on canvas, 19 1/2 x 16 in. (49.5 x 40.6 cm), framed.

Condition: Lined, scattered retouch, craquelure, surface imperfections, surface grime. $600-800 220A Northern European School, 17th Century Style Portrait Head of Woman in a White Cap and Ruff Unsigned, inscribed indistinctly on the reverse.

Oil on panel, 15 x 10 1/2 in. (38.1 x 26.5 cm), framed.

Condition: Stabilized vertical cracks and curvature to panel, flaking/losses along cracks, surface grime, old retouch, craquelure. $400-600 220A

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221

221 Continental School, 19th Century Portrait of a Boy Playing a Mandolin Signed, inscribed, and dated “Francis H. Th...r/Paris 1888” u.r.

Oil on canvas, 35 x 25 1/4 in. (88.5 x 64.0 cm), framed (in a liner).

Condition: Lined, retouch, craquelure, surface grime. $2,000-3,000 221A Attributed to John Beaufain Irving (American, 1825-1877) Gentlemen’s Study Unsigned, attributed and titled on a presentation plaque.

Oil on academy board, 12 3/8 x 9 1/4 in. (31.5 x 23.5 cm), in a period frame.

Condition: Abrasion with small paint losses at c.r. edge, fine craquelure, surface grime. $300-500

221A

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222

222 John Gifford (British, d. 1900) Hunting Dogs and Game in a Landscape Signed “John Gifford� l.l.

Oil on canvas, 24 x 36 in. (61.5 x 91.0 cm), framed (in a liner).

Condition: Lined, retouch, small surface loss to u.l. quadrant, fine craquelure, minor surface grime. $1,500-2,500 222A Manner of David Teniers (Dutch, 16101690) Man Smoking in a Tavern Possible faint incised signature l.c.

Oil on canvas, 10 3/4 x 7 1/2 in. (27.0 x 19.3 cm), framed.

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

222A

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223 Attributed to Thomas Gainsborough (British, 1727-1788)

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Figures on a Bridge Unsigned, attributed on a presentation plaque.

Oil on paper mounted to board, 9 x 12 1/4 in. (23.0 x 31.3 cm), framed.

Condition: Retouch primarily to the sky, varnish discoloration, minor surface grime.

Provenance: The estate of Elizabeth M. Ames, Boston. $3,000-5,000 224 British School, 19th Century The Old Cramond Bridge on the Almond Near Barnton, Edinburgshire...

Unsigned, location identified on handwritten labels on the reverse.

Oil on panel, 17 x 25 1/8 in. (43.3 x 64.2 cm), framed.

Condition: Surface crack to panel at l.r. edge, scattered retouch, craquelure, accretions, surface grime.

Provenance: A private Worcester, Massachusetts, collection through to the current owner.

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N.B. A handwritten label on the reverse indicates that the bridge depicted was Cramond Brig near Edinburgh; the site of a near robbery of King James V and his rescue by Jock Howieson. $1,000-1,500 225 Attributed to Thomas Gainsborough (British, 1727-1788) Travelers Along a River Unsigned, attributed on a presentation plaque.

Oil on paper mounted to board, 9 x 12 1/4 in. (22.8 x 31.1 cm), framed.

Condition: Minor retouch to the edges of the composition.

Provenance: The estate of Elizabeth M. Ames, Boston. $3,000-5,000

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226

226 Jean-Baptiste Camille Corot (French, 17961875) and Achille François Oudinot (French, 1820-1891) Le Matin Sous Les Arbres Signed “COROT” l.l., stamped “VENTE/ COROT” in red l.r., with fragmentary labels and the remnants of a red wax seal on the stretcher.

Oil on canvas, 29 7/8 x 39 1/2 in. (75.9 x 100.3 cm), unframed.

Condition: Lined.

Provenance: From the artist to Grédelue, Paris; to Eugène Le Roy, Paris (c. 1893), to Benhneim-Jeune, Paris; to Émile Favrot, Paris (1895), to Durand-Ruel, Paris; to a private collection; to Sotheby’s New York, 19th Century European Paintings and Sculpture, May 23, 1997, Lot 13; to the current owner.

N.B. The lot is accompanied by a copy of a letter from Martin Dieterle, and the work will be included in the next supplement to the Corot catalogue raisonné. $40,000-60,000

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228

227 August Friedrich Albrecht Schenck (Danish, 1828-1901)

228 Thomas Spinks (British, active 1872-c.

1907)

Shepherdess and Flock in a Misty Meadow Signed “Schenck” l.l.

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

Condition: Lined, retouch primarily around the edges and to fill craquelure l.c., stable craquelure.

River Landscape Monogram signature and dated “TSpinks/1875.” l.r., identified on a label from Cooling Galleries, London, affixed to the stretcher and frame.

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

Condition: Lined, retouch primarily to sky, fine craquelure, minor surface grime.

N.B. A noted animal painter, Schenck lived and worked primarily in France. $1,500-2,500

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Provenance: The estate of Paul J. Tracey, New York State. $500-700

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229 Anna Elizabeth Klumpke (American, 18561942)

229

In the Pyrenees, Southern France Signed “ANNA KLUMPKE” l.r., identified on a label from Gump Galleries, San Francisco, affixed to the frame, dated c. 1880 in family correspondence (see below).

Oil on canvas, 28 x 41 1/2 in. (71.0 x 105.0 cm), framed.

Condition: Canvas deformation, varnish discoloration, area of paint loss with flaking at l.l. edge.

Provenance: Brian Loomis (Oakland, California, d. 1942); to Estelle G. Livingston (Berkeley, California); to Charles Livingston; by family descent to the current owner.

N.B. A letter from Charles W. Livingston describes that Anna Klumpke was a student and friend of Rosa Bonheur in Paris and that this painting hung in the Louvre for a short time and was later exhibited at the St. Louis Exposition in the 1890s. The letter goes on to describe that, in a telephone conversation with the artist, Estelle Livingston learned that the artist painted this landscape as a gift for her father. The work is listed in the Smithsonian Institution “SIRIS” database.

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Anna Klumpke was Rosa Bonheur’s last companion and wrote the biography, Rosa Bonheur: The artist’s (auto)biography, published in 1909 and republished by the University of Michigan Press in 1997 and 2001. $3,000-5,000 230 Jacobus Nicolaas (Baron Tjarda van) Starckenborgh (Dutch, 1822-1895) Sheep in a Rugged Landscape Unsigned, attributed on a label affixed to the stretcher.

Oil on canvas, 12 3/4 x 18 1/4 in. (32.3 x 46.0 cm), framed.

Condition: Lined, scattered retouch, craquelure. $400-600

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231

231 American School, 19th Century Marblehead Unsigned, inscribed “Marblehead” u.l.

Oil on canvas, 12 3/4 x 19 1/2 in. (32.0 x 49.5 cm), in a period frame.

Condition: Lined, retouch, fine craquelure, minor surface grime. $800-1,200 232 Warren Sheppard (American, 1858-1937) Moonlight Sailing Signed and dated “WW Sheppard 75” l.l.

Oil on canvas, 8 x 12 in. (20.5 x 30.5 cm), framed.

Condition: Lined, fine, stable craquelure.

Provenance: Christie’s New York, 19th and 20th Century American Paintings, Watercolours and Sculpture, March 16, 1990, Sale 702, Lot 46. $1,000-1,500

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233 Samuel S. Carr (American, 1837-1908) Serene Coast with Shoreline Rocks and Distant Sailboats Signed “S.S. CARR.” l.r.

Oil on canvas, 20 x 36 in. (50.5 x 91.3 cm), framed.

Condition: Paint losses, flaking, craquelure, old retouch, varnish inconsistencies, surface grime.

Provenance: Sold to benefit the Clark Art Institute, Williamstown, Massachusetts. $800-1,200

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234 William Trost Richards (American, 18331905) The Shores of Bude, Cornwall, alternatively titled Coast of Cornwall Signed and dated “Wm. T. Richards/1885” l.l., identified on two labels (see below) affixed to the stretcher.

Oil on canvas, 28 x 44 in. (71.0 x 112.0 cm), in a Newcomb-Macklin frame.

Condition: Lined onto a wood panel, fine craquelure, pale areas along the edges of the composition suggestive of old frame abrasions/minor paint losses.

Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine.

N.B. The handwritten label providing the primary title appears period. Its format suggests it to be an exhibition label, and it may be in the hand of the artist. The name “William T. Richards” is recorded on the “Artist” line, and “816 Chestnut St.” appears beneath Richards’s name on the line ascribed for “Owner.” Pennsylvania Academy of Fine Arts exhibition records list that specific Philadelphia address for the artist, starting with the 1884 exhibition and continuing through 1890. No works by this particular title are listed in the compilations of exhibition records for PAFA, National Academy of Design, Art Institute of Chicago, or Boston Art Club during those years, although Richards did exhibit other Cornwall related works.

Many ships have been wrecked on the jagged reefs which fringe the base of the formidable sandstone cliffs of Bude in north Cornwall. $20,000-40,000

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235 Samuel P. Dyke (American, 1835-1881) Fisherfolk Beside a Beached Ketch Signed and dated “S.P. Dyke PA/1869” l.l.

Oil on canvas, 18 x 30 in. (45.0 x 76.0 cm), in a period frame.

Condition: Old retouch, craquelure, small abrasion c.l., varnish discoloration, surface grime. $1,000-1,500 236

236 John Ross Key (American, 1837-1920) Moonlit Coast Signed “John R. Key” l.r.

Oil on canvas, 12 x 17 in. (30.5 x 43.0 cm), framed.

Condition: Small puncture to u.r. quadrant, scattered minor paint losses, fine craquelure. $800-1,200 237 Attributed to Victor De Grailly (French/ American, 1804-1889) European Harbor Scene Unsigned.

Oil on canvas, 12 3/4 x 18 in. (32.5 x 46.0 cm), framed.

Condition: Lined onto a rigid surface, old retouch, craquelure. $500-700

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238

238 James Craig Nicoll (American, 1846-1918) Stormy Coast Monogrammed and dated “18 JN 76” l.r., identified on an unattributed label affixed to the reverse.

Oil on paper laid on canvas, 13 x 16 3/8 in.

(32.7 x 41.5 cm), framed.

Condition: Scattered retouch, craquelure, surface grime, canvas mounted to heavy particle board. $1,200-1,500 239 John Wilson Carmichael (British, 18001868)

239

Vessels Along the Coast Signed “JW Carmichael” l.l.

Oil on canvas, 14 1/2 x 20 1/2 in. (36.5 x 52.0 cm), framed.

Condition: Lined, retouch, craquelure, varnish discoloration, surface grime. $1,000-1,500 240 George Herbert McCord (American, 18491909) Hudson River Scene Signed “G.M. McCord” l.l., identified in a chalk inscription on the stretcher and on a label from Kennedy Galleries, Inc., New York, affixed to the stretcher.

Oil on canvas, 12 x 20 in. (30.5 x 50.5 cm), framed.

Condition: Lined, minor retouch, craquelure, slight bowing to the canvas, minor surface grime. $300-500

240

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241

242

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243

241 School of Severin Roesen (German/ American, 1815-1872)

242 Charles Alfred Meurer (American, 18651955)

Fruit Still Life on a Marble Tabletop Unsigned.

Oil on canvas (oval stretcher), 17 1/2 x 23 1/2 in. (44.7 x 59.5 cm), framed.

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

Trompe l’Oeil Still Life with Currency, Newspaper Clipping, and Lit Cigar Signed and dated “C.A. Meurer/CiN.O. July 91.” l.r.

Oil on canvas, 11 x 14 in. (28.0 x 35.5 cm), framed.

Condition: Craquelure.

243 Albert Francis King (American, 1854-1945) Still Life with Cherries and Melon Signed “A.F. King” l.r.

Oil on canvas, 12 x 18 in. (30.5 x 46.0 cm), framed.

Condition: Patch reinforcements, retouch, fine craquelure. $800-1,200

N.B. The still life may be an homage to Rutherford B. Hayes, the 19th President of the United States, who hailed from Meurer’s home state of Ohio. His name appears on the envelope, the newspaper clipping relates a story about him, and he was known to enjoy a cigar. Hayes also was in favor of goldbacked currency, which may have inspired the inclusion of the ten dollar bill. $3,000-5,000

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244 Bryant Chapin (American, 1859-1927) Strawberries Spilling from a Box Signed and dated “BRYANT CHAPIN/1920.” l.r.

Oil on canvas, 13 x 17 in. (33.0 x 43.0 cm), framed.

Condition: Good. $1,000-1,500 245 John B. Neagle (American, 1796-1865) Portrait of a Young Child with an Alphabet Book Unsigned, identified in a letter from G.C. Neagle, the artist’s son.

Oil on canvas, 24 x 20 in. (61.0 x 50.5 cm), framed.

Condition: Lined, retouch primarily to the edges of the composition, scattered minor paint losses, fine craquelure, varnish discoloration.

Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine.

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N.B. A copy of a letter from John Neagle’s son accompanies the lot. The letter indicates that the subject of this portrait, described simply as “Portrait of a Seated Girl,” is the daughter of Mr. Holmes and was shown at the Pennsylvania Academy of Fine Arts in April, 1862. It is listed in The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts as “Portrait of a Child,” and the lender is Mr. George W. Holmes. $1,500-2,500 246 Martin Johnson Heade (American, 1819-1904) Pink Roses in a Fragile Vase Signed “M.J. Heade” l.l.

Oil on canvas, 15 1/4 x 12 1/2 in. (39.0 x 32.0 cm), framed.

Condition: Two small areas of retouch corresponding to small patch reinforcements on the reverse, other very minor retouch to fill craquelure, stable craquelure.

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N.B. The painting has been examined in person

by Dr. Theodore E. Stebbins Jr. Dr. Stebbins will include the painting in the next edition of the Heade catalogue raisonné, and his letter confirming its authenticity accompanies the lot.

Dr. Stebbins dates this work to between 1860 and 1862, during Heade’s first years in New York.

It is among Heade’s earliest floral compositions, highly original works which are characterized by large blossoms displayed in fragile vases. In this case the artist set the vase on an unusual marble tabletop, rather than the more typical wood table. $30,000-50,000

246

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247

248

247 Alice Barber Stephens (American, 18581932) Three Elegant Seated Ladies with Parasols Signed and dated “Alice Barber Stephens/’96” in pencil l.l.

Watercolor and gouache on paper, sight size 19 x 24 3/4 in. (48.5 x 62.8 cm), framed.

Condition: Toning, fading, small stain to l.l. corner, not examined out of frame.

Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine. $1,500-2,500

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248 Charles Noel Flagg (American, 1848-1916)

249 American School, 19th Century

Portrait of a Peddler Boy with a Basket Signed and dated “C. Noel Flagg/1874” on the handle of the basket.

Oil on canvas, 27 x 22 in. (68.5 x 55.7 cm), framed.

Condition: Patch reinforcement, minor retouch, craquelure.

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.

N.B. Charles Noel Flagg descended in a prestigious family of artists. He was the son of New York portrait painter Jared B. Flagg and grandnephew of Washington Allston.

He studied in Paris under Jacquesson de la Chevreuse, a pupil of Ingres. Settling first in New York, he taught at the National Academy of Design and shorty thereafter, in 1888, relocated his studio to Hartford, Connecticut.

His portrait of Mark Twain, created in 1890, is in the collection of the Metropolitan Museum of Art in New York. $300-500

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Provenance: The collection of Frederic and Jean Scharf, Massachusetts and Florida. $500-700

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250 John William Hill (American, 1812-1879) Berry Pickers Signed and dated “J.W. Hill./1868” l.r.

Watercolor on paper, sight size 10 1/2 x 19 in. (26.7 x 48.2 cm), framed.

Condition: Not examined out of frame. $1,200-1,800 250A Attributed to Winslow Homer (American, 1836-1910)

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Home for Friendless Children, St. Marks Place Unsigned, titled, attributed, and dated “.../May 6/78” in a pencil inscription on the reverse.

Pencil on cream wove paper, 5 x 7 in. (12.6 x 17.5 cm), unmatted, unframed.

Condition: Toning, fox marks, small abrasion with breaks to paper fibers u.c., subtle handling creases.

N.B. This sketch relates to a tile measuring 8 x 8 inches painted by Winslow Homer which is included in the Record of Works

by Winslow Homer, Volume III, catalog number 866+. The catalog description for the tile suggests that, due to the rough and sketch-like character of the scene, it was likely made by Homer at one of the Tile Club’s Wednesday evening meetings. The entry also compares the subject matter with Homer’s wash drawing, The Music Lesson, of 1880. The Tile Club was founded in 1877 as an informal group for comradery and conversation, and, in the first years, to informally paint tiles, an activity aligned with the popular aesthetic movement of the period. Membership was fluid but at various times included such artists as Edwin Austin Abbey, William Merritt Chase, Augustus Saint-Gaudens, John Twachtman, Elihu Vedder, and architect Stanford White. The group had largely disbanded by the late 1880s. $1,000-1,500

250A

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251

251 Paul Gottlieb Weber (German/American, 1823-1916) Autumn Landscape Signed and dated “Paul Weber./1855.” l.r.

Oil on canvas, 26 1/2 x 33 1/4 in. (67.3 x 84.5 cm), in a period frame.

Condition: Lined, scattered retouch, craquelure.

Provenance: Hollis Taggart Galleries, New York; to a private collection; American Paintings, Drawings, and Sculpture, Sotheby’s, New York, May 18, 2005, Lot 106; to a private collection, New York; Fine American Paintings, Drawings and Sculpture, Sale 2467, Christie’s, New York, September 27, 2011, Lot 87; to a private collection, Massachusetts. $5,000-7,000

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252 Russell Smith (American, 1812-1896) Castle Rocks Initialed “RS” l.r., attributed and titled in later inscriptions on the stretcher.

Oil on canvas, 8 x 12 in. (20.3 x 30.5 cm), framed.

Condition: Lined, retouch, craquelure.

N.B. Russell Smith was a noted landscape painter who portrayed not only dramatic vistas but also smaller, more intimate landscapes. The artist also worked as a scientific draftsman for geological surveys in Pennsylvania and Virginia. In this small landscape we find his interest in the towering cliffs combined with a more intimate scene of boaters gathered on the shore of a river. $1,000-1,500 253 Asher Brown Durand (American, 17961886) Forest Brook Signed “AB Durand” l.l.

Oil on canvas, 17 x 22 3/4 in. (56.0 x 45.0 cm), framed.

Condition: Lined, retouch, stable craquelure, signature possibly reinforced.

Provenance: Christie’s East, New York, American Paintings, Drawings and Watercolors, May 23, 1994, Sale 7559, Lot 3. $7,000-9,000

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254 Henry Walcott Boss (American, 1820/271916) Landscape with Cows Signed and dated “Boss/89” l.r.

Oil on canvas, 18 x 30 in. (45.7 x 76.2 cm), framed.

Condition: Craquelure, four patch repairs to the reverse, retouch in the areas of repair. $800-1,200

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255 Carleton Wiggins (American, 1848-1932) Lyme Street, alternatively titled After the Day’s Work Signed “Carleton Wiggins” l.l., titled, signed, and inscribed “.../Carleton Wiggins/1151 B’way/N.Y. City” on the reverse, inscribed “After the Day’s Work” and “Oxen Drinking” in pencil on the stretcher.

Oil on canvas, 24 x 32 in. (61.0 x 81.0 cm), framed.

Condition: Scattered minor retouch, stable craquelure.

Provenance: By descent in the extended family of the artist. $800-1,200 256 Carleton Wiggins (American, 1848-1932) Cows Resting under a Cloudy Sky Signed “Carleton Wiggins” l.l.

Oil on canvas, 12 5/8 x 16 in. (32.0 x 40.5 cm), framed.

Condition: Minor surface grime.

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Provenance: By descent in the extended family of the artist. $400-600 257 Albert Fitch Bellows (American, 1829-1883) River Landscape with Cows Signed “A.F. Bellows” l.l.

Watercolor and gouache on paper, 13 3/4 x 9 3/8 in. (34.7 x 23.6 cm), framed.

Condition: Mounted to backing, gentle rippling. $1,500-2,000

256

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258

258 Thomas Harris Robinson (American, 1835-1888) 257

At Watering Trough Signed “T. Robinson” l.r., titled on an exhibition label from the Essex Institute, Salem, Massachusetts, affixed to the stretcher.

Oil on canvas, 14 x 18 in. (35.5 x 45.5 cm), framed.

Condition: Lined, minor retouch.

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

Exhibitions: William Morris Hunt and the Summer Art Colony at Magnolia, Massachusetts, 18761879, Essex Institute, Salem, Massachusetts, November 18, 1981–February 28, 1982. $400-600 259 Henry Boese (American, 1824-1863) Two Hudson River Landscapes: Scene near the Juniata and River View with Foreground House and Figure Both signed “HB.” in red l.l., identified on gummed labels on the reverse, Juniata titled on a printed label affixed to the reverse.

Each oil on academy board, 9 7/8 x 8 in. (25.1 x 20.1 cm), framed.

Condition: Scattered minor paint losses, fine craquelure, surface grime, Juniata with possible old retouch to the sky at u.l. corner. $1,500-2,000 260 No lot.

259 partial

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261

262

261 American School, 19th Century Twilight View of Plymouth in Snow Unsigned.

Oil on canvas, 17 1/8 x 24 in. (43.2 x 60.5 cm), framed.

Condition: Lined, retouch to the edges of the canvas. $400-600

262 Attributed to John Joseph Enneking (American, 1841-1916) Village at the Foot of the Mountains 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 Scharf, Massachusetts and Florida. $1,500-2,000

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263

263 John Henry Hill (American, 1839-1922) Rustic Farm and Figures by a Stream Signed and dated “J.H. Hill 1874” l.r., identified on gallery labels from Washburn Gallery, New York, and Adams Davidson Galleries, Washington, DC, affixed to the frame backing cardboard.

Watercolor on paper, sight size 9 5/8 x 13 5/8 in. (24.5 x 34.5 cm), framed.

Condition: Tiny surface loss to l.l. quadrant, not examined out of frame.

Exhibitions: John Henry Hill Watercolors, Adams Davidson Galleries, Washington, DC, November 27, 1979–January 5, 1980. $700-900 264 William Jurian Kaula (American, 1871-1953)

264

Sunset in Normandy Signed “WILLIAM J. KAULA” l.l., identified on an unattributed exhibition label affixed to the reverse.

Oil on academy board, 10 x 12 7/8 in. (25.5 x 32.7 cm), framed.

Condition: Scattered small paint losses, surface grime. $600-800 265 Joseph Morviller (American, 1800-1870) Skaters, Sunset, Medfield Unsigned, identified and titled on a label from Adelson Galleries, Boston, affixed to the stretcher.

Oil on canvas, 9 x 13 in. (22.8 x 33.0 cm), framed.

Condition: Lined, fine craquelure, possible minor retouch, surface grime. $1,000-1,500

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266

266 Harry Jackson (American, 1924-2011) Indian Mother and Child Signed and dated “© Harry Jackson 1981” in ink along the bottom edge; signed, dated, and numbered “© Harry Jackson 1980” and “SBU 11P,” with the artist’s foundry stamp and thumbprint, all incised in the bronze at the lower edge.

Painted bronze, height 25 in. (63.5 cm), on a plinth with a presentation plaque.

Condition: Dust and dirt to interstices, scattered minor abrasions to the painted surface.

N.B. In this major study for the monument to Sacajawea, Lewis and Clark’s Native American guide, Harry Jackson continued to expand the exploration of color in sculpture, on his way to realize what he described as three-dimensional paintings. Jackson created a number of studies for Sacajawea which became works in their own right. The fullscale Sacajawea, dedicated on July 4, 1980, stands 10 feet tall and is in Cashman Greever Gardens of the Buffalo Bill Center of the West, Cody, Wyoming. $15,000-25,000

Provenance: The collection of Joseph Thomas Alvarez III, California.

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267 Harry Jackson (American, 1924-2011) Algonquin Chief and Warrior Signed, dated, and numbered “© Harry Jackson 1971” and “38” in the bronze along the rear edge of the base.

Bronze with black patina, height 30 in. (76.2 cm), on a marble plinth.

Condition: Dust and dirt to interstices.

Provenance: The collection of Joseph Thomas Alvarez III, California.

N.B. In 1964 Harry Jackson received a commission from the Fort Pitt Museum in Pittsburgh to create a series of murals, River, Road and Point, to highlight the history of the area and to celebrate William Pitt. Jackson first created a series of floor mosaics for the museum. However, the potential of flooding at the museum caused Jackson to reconsider the format of the mural commission. He embarked instead on eight panel paintings in lieu of a fresco or mural. Due to these logistical problems and resulting conflicts with the Mellon Foundation, the commissioned panels were never installed and remained in Jackson’s studio in Camaiore, Italy.

267

Since his earliest exploration into bronze in the late 1950s, Jackson created sculptures to better understand the figures in his paintings.

That is the case for this sculptural group and for Iroquois Guide (see Lot 272). The Fort Pitt mural subject centers upon the history of Fort Duquesne and the French and Indian War. In July 1755 British forces were ambushed while approaching Fort Duquesne. In this sculpture, the Algonquin warrior holds a spear displaying a British Grenadier’s mitre cap with the queue still attached. The Chief holds a trade musket, a rifle built specifically for trade with the Indians. The tide of the war would turn in 1757, under the direction of William Pitt, the new British leader, who vigorously pursued the war, seeing the colonial conflicts as the key to building a vast British empire. $12,000-18,000

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268 Harry Jackson (American, 1924-2011) Ropin’ a Star Signed and dated “© Harry Jackson 1991” in white paint on the base; signed, dated, and numbered “© Harry Jackson 1982/RSP 20P” and with the artist’s foundry stamp and thumbprint, all incised in the bronze.

Painted bronze, height 28 in. (71.0 cm) to the top of the lasso, on a wood plinth with a presentation plaque.

Condition: Minor dust and dirt.

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Provenance: The collection of Joseph Thomas Alvarez III, California. $15,000-25,000 269 Harry Jackson (American, 1924-2011) Pony Express (First Study) Signed, dated, and titled “© H. Jackson 63” and “PF [sic] 37” with faint thumbprint on opposite sides of the bronze base.

Bronze with green/brown patina, height 10 1/4 in. (25.8 cm) on a contoured marble plinth.

Condition: Dust and dirt to interstices.

Provenance: The collection of Joseph Thomas Alvarez III, California.

N.B. The first study for Pony Express was created by Harry Jackson “...in a few hours of white-hot inspiration one night in 1963...”

He describes it as “...absolutely spontaneous and unquestioning and flows directly from an inner consciousness, right out of my medicine bundle.”1 1. Larry Pointer and Donald Goddard, Harry Jackson (New York: Harry N. Abrams Inc., 1981), p. 240.

$2,000-3,000

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270 Pat Welliver (American, 20th/21st Century) Resting Bison Signed and dated “Pat Welliver/72,” numbered and inscribed “6/10 © K.C.” on the back of the bronze base.

Bronze with dark brown patina, height 4 1/2 in. (11.5 cm).

Condition: Dust and dirt to interstices. $400-600 271 Harry Jackson (American, 1924-2011)

270

Pony Express II Signed, dated, titled, and numbered “© Harry Jackson 1980” and “PE II 54” in the bronze base, with the artist’s foundry stamp and thumbprint also in the bronze base.

Bronze with dark brown patina, height 13 1/16 in. (33.2 cm), on a marble plinth.

Condition: Dust and dirt to the interstices.

Provenance: The collection of Joseph Thomas Alvarez III, California.

N.B. Pony Express is one of Harry Jackson’s most highly wrought pieces, carefully constructed and repeatedly refined. He wrote that “every millimeter has been thought over and passed a kind of artful inner board of censorship and approval.”1 Details such as the left front mail pouch shown without a lock, because it is for local mail between way stations, and the rawhide quirt trailing out from the saddle horn, all resulted from Jackson’s complete immersion in every aspect of the design. Of particular note is the open mouth of the horse. Jackson was well aware that “a horse never opens his mouth when he’s running until he’s ready to drop dead.”2 Jackson deliberately chose to sculpt the open mouth for dramatic and artistic reasons, and he did so with complete awareness of the natural law he was breaking.

1. Larry Pointer and Donald Goddard, Harry Jackson, (New York: Harry N. Abrams Inc., 1981), p. 240.

2. Ibid, p. 235.

$4,000-6,000

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272 Harry Jackson (American, 1924-2011) Iroquois Guide II Signed and dated “© Harry Jackson 1980” in paint on the base; signed, dated, titled and numbered “© Harry Jackson 1980” and “IG II P 28P” and with the artist’s foundry stamp and thumbprint incised in the bronze base.

Painted bronze, height 14 1/2 in. (36.7 cm), on a marble plinth with a presentation plaque.

Condition: Small surface loss to raccoon cap, scattered minor paint losses/abrasions, surface dust and dirt.

Provenance: The collection of Joseph Thomas Alvarez III, California.

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N.B. In the sculptures created in preparation for the mural River, Road and Point, Harry Jackson wanted each to specifically act out in detail what they would be within the illusionary three-dimensional space of the mural. Here the rugged Iroquois guide, vigilant from beneath the folds of his red blanket, cradles his rifle as he trudges through snow which clings to his fur boots. $3,000-5,000 273 Harry Jackson (American, 1924-2011) Marie, Study for Sacajawea Signed and dated “© Harry Jackson 80” “SUH20” and with the artist’s foundry stamp and thumbprint incised in the bronze at the back of the head.

Bronze with light brown patina, height 9 in. (23.5 cm), on a stone plinth with a presentation plaque.

Condition: Dust and dirt.

Provenance: The collection of Joseph Thomas Alvarez III, California.

N.B. The name “Marie” refers to Marie Henan Varilek, the model for the Sacajawea sculptures. $3,000-5,000

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274 Elliot Offner (American, 1931-2010) Great Blue Heron (Miniature), c. 1987 Signed “© offner” on the top of the base, inscribed “Smith College” on the side of the base, and stamped “JM” in a rectangle and inscribed “edition 150” on the back edge of the base.

Bronze with brown patina, height 7 3/4 in.

(19.5 cm).

Condition: Minor dust and grime.

N.B. Elliot Offner taught at Smith College from 1960 until his retirement in 2004. His large bronze Great Blue Heron is a familiar sculpture on the Smith campus. The bird’s twin was the first piece of public art commissioned for the city of Darien, Connecticut, in 1987, and is now in the Darien Public Library courtyard. $800-1,200 275 Joe Lintz (American, 20th Century) Family of Elk Signed “Joe Lintz” in the bronze base.

Bronze with dark brown patina, height 8 1/4 in. (21.0 cm).

Condition: Dust and dirt to the interstices. $600-800

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276

276 Franklin Brook Voss (American, 1880-1953) OUR FRIEND ridden by Noel Laing Signed and dated “F.B. Voss/1934” l.l., titled and with a list of the horse’s wins recorded on a presentation plaque.

Oil on canvas, 12 x 16 in. (30.5 x 41.0 cm), framed.

Condition: Retouch to sky, craquelure, minor surface grime. $2,000-3,000 277 American School, 20th Century A Father Forced to Enlist Unsigned, inscribed “To the Hon. Pierre Mali, Consul General of Belgium to the United States, with the Compliments of LIFE, April 19, 1917” on a card printed with LIFE’s New York address affixed to the frame backing board.

Oil on canvas mounted to heavy pressed paperboard, 27 1/2 x 20 3/4 in. (70.0 x 52.8 cm), framed.

Condition: Areas of thin pigment, minor surface grime.

N.B. In its early years, LIFE magazine took sides in politics and international affairs. Magazine co-founder John Ames Mitchell was said to be incensed when Germany invaded Belgium in 1914, and although many Americans still favored neutrality, Mitchell crusaded for the U.S. to enter World War I. The note to Belgium’s Consul General affixed to this illustration is dated April 19, 1917, about two weeks after the United States Congress officially voted to declare war with Germany. $600-800 277

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278 Harry Jackson (American, 1924-2011) Ground Roper Inscribed, monogrammed, and dated “For/Bill/HJ 58” in the bronze base.

Bronze with dark brown patina, height 9 1/4 in. (23.5 cm).

Condition: Dust and dirt to interstices.

Provenance: The collection of Joseph Thomas Alvarez III, California.

N.B. This small bronze was created by Harry Jackson in early 1958, only four days after he started learning to sculpt. Although ruminating about the dramatic subjects Stampede and Range Burial, readying for the Robert Coe commission, he turned to a subject with which he had firsthand experience, “a nameless hand, waiting alone in the pre-dawn cold to rope an unwilling horse to saddle and ride in the morning’s work.”1 Modeling in three dimensions helped Jackson bring the figure to life and to express its deeper humanity.

1. Larry Pointer and Donald Goddard, Harry Jackson (New York: Harry N. Abrams Inc., 1981), p. 155.

$2,500-3,500 279 Leslie Hamilton (Les) Peters (American, 1916-2010) Cowboys and Bears Signed and dated “LPETERS/’62” l.r.

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

Condition: Craquelure to center, surface grime. $800-1,200 278

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280 Ludwig Czerny (Austrian, 1821-1889) Arab Men on Horseback Signed “Czerny Ludwig� l.l.

Oil on canvas, 15 1/2 x 19 1/2 in. (39.5 x 49.5 cm), framed.

Condition: Canvas rippling, surface grime. $600-800

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281

281 Adolph Schreyer (French/German, 18281899) Arab Horsemen at a Watering Hole Signed “A. Schreyer� l.r., artist identified on an old label affixed to the back of the frame.

Oil on canvas, 28 x 51 3/4 in. (71.1 x 131.4 cm), in a period frame.

Condition: Lined, scattered areas of varnish discoloration, fine craquelure.

N.B. We would like to thank Dr. Christoph Andreas for his assistance in cataloging this lot, and for confirming this work as an original painting by Adolph Schreyer, based on examination of digital photographs. $20,000-30,000

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283

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282 Walter Koeniger (American, 1881-1943) Sunlit Trees and Brook in Snow Signed and dated “W. Koeniger 17” l.l.

Oil on canvas, 24 x 20 in. (60.8 x 50.5 cm), framed.

Condition: Lined, retouch primarily to l.l. quadrant, fine craquelure.

Provenance: The estate of Paul J. Tracey, New York State. $800-1,200

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283 William Lester Stevens (American, 18881969)

284 Felicie Waldo Howell (American, 18971968)

The Bridge Signed “W. LESTER STEVENS/N.A.” l.r., titled on the reverse.

Oil on canvas, 24 x 30 in. (60.0 x 76.0 cm), framed.

Condition: Good. $3,000-5,000

Winter Landscape Unsigned, inscribed “FELISIE [sic] WALDO HOWELL A.N.A.” on the reverse.

Oil on pressed paperboard, 7 1/2 x 10 5/8 in.

(19.0 x 27.2 cm), framed.

Condition: Bowing to paperboard, surface grime.

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Provenance: This work was part of a group of paintings by Howell, some of which were signed, purchased from an Ohio estate. $1,000-1,500

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285 George Ames Aldrich (American, 18721941) River in Winter Signed “G. Ames Aldrich� l.l.

Oil on Upson board, 30 x 36 in. (75.8 x 90.8 cm), framed.

Condition: Good. $6,000-8,000

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286

286 John Joseph Enneking (American, 18411916) Apple Blossoms Signed “Enneking” l.r.

Oil on canvas, 22 1/4 x 30 1/4 in. (56.5 x 76.8 cm), framed.

Condition: Wax lined, scattered retouch, fine craquelure.

Provenance: Fine Art, Sale 169, Leslie Hindman Auctioneers, Chicago, September 11, 2011, Lot 156; to a private Massachusetts collection. $2,000-3,000 287 Joseph Eliot Enneking (American, 18811942)

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Rocks by the Brook Unsigned on recto, titled and signed/inscribed “.../J. E. Enneking/17 Webster St./Hyde Park, Mass.” on the reverse.

Oil on academy board, 12 x 14 in. (30.0 x 35.3 cm), framed.

Condition: Surface grime.

Provenance: The estate of Paul J. Tracey, New York State. $400-600 288 Margaret Jordan Patterson (American, 1867-1950) Hillside Landscape Signed “M.J. Patterson” l.l., signed “Margaret J. Patterson” in pencil on the reverse.

Oil on canvasboard, 8 x 10 in. (20.2 x 25.5 cm), framed.

Condition: Minor craquelure in areas of heaviest impasto, minor surface grime. $600-800

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289

289 George Inness Jr. (American, 1854-1926) Shadow Signed and dated “Inness Jr/1925” l.l., titled in pencil on the tacking edge of the canvas and on a presentation plaque.

Oil on canvas, 20 x 30 in. (50.5 x 76.5 cm), in a period frame.

Condition: Minor craquelure.

Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine. $1,500-2,500

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290 George Inness Jr. (American, 1854-1926) Sunlight Signed and dated “Inness Jr/1925” l.l., titled in pencil on the stretcher and on a presentation plaque.

Oil on canvas, 20 x 30 in. (51.0 x 76.0 cm), in a period frame.

Condition: Minor craquelure.

Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine. $1,500-2,500

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291 Harry D. Wishard (American, b. 1952) Na Pali Signed and dated “H.D. Wishard/’02” l.r., titled and numbered “...43-02” on the stretcher.

Oil on canvas, 30 x 40 in. (76.0 x 101.5 cm), framed.

Condition: Good.

N.B. Napali Coast State Wilderness Park occupies 17 miles of coastline in northwest Kauai Island, Hawaii. Noted for its towering pali, or sea cliffs, narrow valleys, streams, and cascading waterfalls, the area is nearly inaccessible except by boat or helicopter. $1,000-1,500 292 Wolf Kahn (German/American, b. 1927)

292

Moody American Landscape Signed “W Kahn” l.c., titled and dated “.../1995” on an unattributed label affixed to the frame backing.

Pastel on paper, sight size 11 3/4 x 17 1/2 in.

(29.8 x 44.4 cm), framed.

Condition: Gentle rippling, not examined out of frame. $2,000-3,000 293 Gary Ernest Smith (American, b. 1942) Onion Workers Initialed, inscribed, and dated “GES/S.V./00” l.r., signed, titled, inscribed, and dated “.../Sacramento Valley/May 2000” on the stretcher, identified on a label from Maxwell Galleries, Ltd., San Francisco, affixed to the frame.

Oil on linen, 11 x 14 in. (27.5 x 35.3 cm), framed.

Condition: Small paint loss to u.l. corner.

Provenance: The estate of Paul J. Tracey, New York State. $800-1,200

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294 Tomás Sánchez (Cuban, b. 1948) Vuelo de Abril Signed and dated “Tomás Sánchez 82” l.r., signed, titled, dated, and inscribed “Tomás Sánchez/.../PLAKA 1982/no 386” on the reverse.

Tempera on paper, 20 x 28 3/4 in. (51.0 x 73.0 cm), matted, unframed.

Condition: Affixed to window mat with brown tape to edges on the reverse, gentle rippling, scattered creases, scattered areas of pale staining/toning, flaking with very small paint losses at center, adhesive residue and tape remnants near edges on the reverse. $15,000-20,000 295 Josef Zenk (American, 1904-2000)

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Spring Willows Monogram signature l.l., titled, signed, and dated “../Josef Zenk/2.37” on the reverse.

Oil on canvas, 22 x 29 in. (55.9 x 73.7 cm), framed.

Condition: Drying cracks near the monogram, surface grime. $700-900

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296 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. $2,500-3,500 297 Emile Albert Gruppé (American, 1896-1978)

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Birches & Lamoille River Signed “Emile A. Gruppé” l.r., titled and signed “...by Emile A Gruppé” in pencil on the stretcher.

Oil on canvas, 20 x 24 in. (50.5 x 60.6 cm), framed.

Condition: Minor surface grime. $2,500-3,500

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298 Arthur Clifton Goodwin (American, 18661929) October Signed and dated “A.C. Goodwin/08” l.l., titled and signed “...A C Goodwin” in pencil on the stretcher, numbered “31891-M” and “G8” in black ink on the stretcher.

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

Condition: Scattered abrasions, surface grime.

Provenance: Estate of the artist; to a private collection; to the current owner. $1,000-1,500 299 Robert Melvin Decker (American, 18471921) Autumn Forest Signed “RM Decker” l.l.

Oil on canvas, 30 x 27 in. (76.5 x 68.5 cm), framed.

Condition: Lined, retouch, small paint loss l.l. quadrant, canvas deformation to l.r. corner, craquelure, varnish discoloration.

Provenance: The estate of Paul J. Tracey, New York State. $800-1,200 299

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300

300 Emile Albert Gruppé (American, 1896-1978) Blue Hills Signed “Emile A. Gruppé” l.r., titled on the stretcher, inscribed “...The Blue Hill/...” on masking tape affixed to the stretcher.

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

Condition: Good.

Provenance: The estate of Paul J. Tracey, New York State. $1,000-1,500 301 Gertrude Fiske (American, 1879-1961)

301

Tree Study Estate stamp on the reverse, identified on a label from Vose Galleries of Boston affixed to the reverse, also inscribed by Robert C. Vose III on the reverse.

Oil on academy board, 8 1/4 x 10 1/4 in. (21.0 x 26.2 cm), framed.

Condition: Good. $600-800 302 Arthur Clifton Goodwin (American, 18661929) Spring Landscape with House and Mill Signed “A.C. Goodwin” l.l., numbered “G-10-” and “31891-0” on the stretcher.

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

Condition: Small punctures to l.r. corner, scattered minor paint losses, pentimento of a tower at center of horizon, minor canvas deformation, weakened tacking edges, surface grime.

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

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303

303 Charles Morris Young (American, 18691964) A Radnor Farm Signed “Chas. Morris Young� l.l.

Oil on canvas, 20 1/4 x 24 in. (50.8 x 60.5 cm), framed.

Condition: Lined, retouch primarily to sky, area of craquelure.

Provenance: From the artist to a neighboring family in Radnor, Pennsylvania; then by descent to the current owner. $15,000-20,000

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304 Harriet Randall Lumis (American, 18701953) 304

Harbor View Signed “Harriet R. Lumis” l.l.

Oil on canvas, 24 x 28 in. (60.5 x 71.5 cm), framed.

Condition: Lined, some natural pigment fluorescence to sky. $1,000-1,500 305 Arthur Clifton Goodwin (American, 18661929)

305

Clearing After Storm Signed and dated “A.C. Goodwin 18” u.r., titled and signed “...AC Goodwin” in pencil and numbered “31891-L” and “G.4.” in black ink on the stretcher.

Oil on canvas, 29 1/4 x 39 in. (74.0 x 98.5 cm), unframed.

Condition: Tears along the tacking edge, with canvas loss to u.l. corner and puncture to l.l. edge, canvas detached from the stretcher along left and top edges, tacking edges weakened and torn, canvas deformation, surface grime.

Provenance: Estate of the artist; to a private collection; to the current owner. $1,000-1,500 306 George W.K. Newbold (American, 18791948) Friendship Schooners, Camden, Maine Signed “GNEWBOLD” l.r., titled and signed “.../G NEWBOLD/CLINTON/CONN.” on the reverse, identified on a label from Vose Galleries of Boston affixed to the frame backing board.

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

Condition: Patch reinforcement, retouch. $700-900

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307 Emile Albert Gruppé (American, 1896-1978) Gloucester Dock Scene Signed “Emile A. Gruppé” l.r.

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

Condition: Craquelure to areas of impasto, scattered small losses to impasto, surface grime. $3,500-5,500 308 Charles Bridgeman Vickery (American, 1913-1998) 308

Windy Day Signed “VICKERY” l.r., titled and numbered “...

NO. 3735A” in pencil on the stretcher.

Oil on canvas, 30 1/8 x 41 7/8 in. (76.0 x 106.0 cm), framed.

Condition: Craquelure, surface grime. $1,200-1,500 309 American School, 20th Century The Boarding House Inscribed “KUHN/PROVINCETOWN” on the reverse.

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

Condition: Craquelure, scattered areas of flaking with small paint losses, surface grime. $1,500-2,500

309

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310

310 Stanley Wingate Woodward (American, 1890-1970) Mid-Ocean Moonlight Signed “Stanley Woodward” l.l., titled and dated “...1953” on the stretcher, identified on a label from Grand Central Art Galleries, Inc., New York, affixed to the stretcher.

Oil on canvas, 25 x 30 in. (63.5 x 75.5 cm), framed.

Condition: Areas of craquelure, minor surface grime.

Provenance: The estate of Paul J. Tracey, New York State. $600-800 311 Stanley Wingate Woodward (American, 1890-1970) Waves Breaking on Rocks Signed “Stanley Woodward” l.r.

Oil on canvasboard, 22 x 27 3/4 in. (55.3 x 70.5 cm), framed.

Condition: Minor surface grime.

311

Provenance: The estate of Paul J. Tracey, New York State. $600-800

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312 Wayne Morrell (American, 1923-2013) The Ipswich River Signed “Wayne Morrell” l.r., titled and dated “.../July 1987” and signed and dated “© WAYNE MORRELL 1988” on the reverse.

Oil on canvas, 24 x 36 in. (60.8 x 91.0 cm), framed.

Condition: Good.

Provenance: The estate of Paul J. Tracey, New York State. $500-700 312

313 Anthony Thieme (American, 1888-1954) North Easter Signed “AThieme” l.r., titled and numbered “...774” on the reverse.

Oil on canvas, 20 x 24 in. (50.5 x 60.7 cm), framed.

Condition: Craquelure, minor surface grime. $2,500-3,500 314 Pierre-Eugène Montézin (French, 18741946) Landscape with Pond Signed “Montézin” l.r.

Oil on canvas, 17 1/4 x 21 1/8 in. (43.8 x 53.7 cm), framed.

Condition: Lined, stretcher replaced, small paint losses u.l., canvas rippling. $2,000-3,000

313

314

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315

315 Edmond James Fitzgerald (American, 1912-1989) Surf Beach, Hawaii Signed “E.J. Fitzgerald” l.r., titled and signed “.../E.J. Fitz” in pencil on the reverse.

Watercolor on paper, 15 x 27 3/4 in. (38.0 x 71.0 cm), framed.

Condition: Pale fox marks, not examined out of frame. $1,000-1,500 316 Philip Little (American, 1857-1942) 316

Galleons at Sea Signed and dated “PHILIP LITTLE/1928” and stenciled “PHILIP LITTLE/SALEM MA” on the reverse.

Oil on canvas, 29 x 36 in. (73.5 x 91.5 cm), framed.

Condition: Canvas deformation to l.l. corner, varnish discoloration, surface grime. $700-900 317 Andrianus Cornelius Van Noort (Dutch, 1914-2003) A Day at the Beach Signed “Van Noort” l.r.

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

Condition: Fine horizontal craquelure, small abrasion with paint loss u.l. $400-600

317

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318

318 Patrick Hennessy (Irish, 1915-1980) The Evening Tide Signed “Hennessy” l.l., titled on a label from Guildhall Galleries, Chicago, affixed to the back of the frame.

Oil on canvas, 25 x 34 7/8 in. (63.5 x 88.5 cm), framed.

Condition: Craquelure, varnish inconsistencies, minor surface grime. $2,000-3,000 319 Felicie Waldo Howell (American, 18971968)

319

Shore Scene Unsigned, inscribed and dated “FELISIE [sic] WALDO HOWELL A.N.A./MASS. 1929” on the reverse.

Oil on pressed paperboard, 8 3/8 x 10 1/4 in.

(21.2 x 27.2 cm), framed.

Condition: Retouch, fine craquelure l.l., surface grime.

Provenance: This work was part of a group of paintings by Howell, some of which were signed, purchased from an Ohio estate. $1,000-1,500

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320

320 John Singer Sargent (American, 1856-1925) Olive Grove Signed and inscribed “John S. Sargent-San Vigilio” l.l., titled and dated to 1913 in the catalogue raisonné (see below).

Watercolor and pencil on paper, 15 7/8 x 20 7/8 in. (53.0 x 40.4 cm), framed.

Condition: Sheet hinged to backing with linen tape near upper corners on the reverse, very gentle toning (also to the reverse), scattered small loose threads of paper along edges.

Provenance: John S. Ames, Boston; his heirs, 1959; through to the estate of Elizabeth M. Ames, Boston.

Literature: Richard Ormond and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1908–1913, Complete Paintings, Volume VIII (New Haven and London: Yale University Press, 2014), cat. no. 1734, illus. p. 326.

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Exhibitions: The Memorial Exhibition of the Works of the Late John Singer Sargent, Museum of Fine Arts, Boston, November 3– December 27, 1925, cat. no. 98 (watercolors); Memorial Exhibition of the Work of John Singer Sargent, The Metropolitan Museum of Art, New York, January 4–February 14, 1926, cat. no. 1 (watercolors); Loan Exhibition of Sargent Water Colors, Fogg Art Museum, Harvard University Art Museums, Cambridge, Massachusetts, May–June, 1933, cat. no. 17.

N.B. An abundant feature of the Mediterranean landscape, olive trees were the subject of several watercolors Sargent painted while visiting Italy and Greece. The grove depicted here lay on the shores of Lake Garda near the Italian fishing village of San Vigilio. $35,000-55,000

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321

321 John Singer Sargent (American, 1856-1925) Bologna Fountain No visible signature, titled and dated to c. 1909 in the catalogue raisonné (see below), titled on an unattributed hand-written label affixed to the frame backing, with two labels from the Museum of the Brooklyn Institute of Arts and Sciences and a label from M. Knoedler & Co. affixed to the frame backing.

Watercolor, gouache, and pencil on paper mounted to pressed paperboard, 12 1/4 x 18 in. (31.1 x 45.7 cm), framed.

Condition: Sheet fully mounted to pressed paperboard and affixed to the window mat with tape to the perimeter of the pressed paperboard (on the reverse), small unobtrusive accretion u.r., very gentle toning, acid burn to the reverse.

Provenance: Purchased from the artist by the Museum of the Brooklyn Institute of Arts and Sciences, New York, (through M. Knoedler & Co.) by special subscription, April 16, 1909; deaccessioned through M. Knoedler & Co., New York, January 28, 1926 (stock no. WC 2090); John S. Ames, Boston, March 1927; his heirs, 1959; through to the estate of Elizabeth M. Ames, Boston.

Literature: Richard Ormond and Elaine Kilmurray, John Singer Sargent: Figures and Landscapes, 1900–1907, Complete Paintings, Volume VII (New Haven and London: Yale University Press, 2012), cat. no. 1347, illus. p. 214.

Exhibitions: Probably Royal Society of Painters in Water Colours, London, 1907, no. 233, as In a Florentine Villa; Water Colours by John S. Sargent, R.A., Carfax & Co., London, June 1908, no. 43 (or no. 1348), as Bologna Fountain; Water Color Drawings by John Singer Sargent and Edward Darley Boit, M. Knoedler & Co., New York, February 15–27, 1909, no. 49, as Bologna Fountains [sic]; possibly Paintings and Sculpture by Leading Living American Artists, Dallas Art Association, Texas, February 5–25, 1927, no. 123.

N.B. Internationally renowned for his luscious portraits of society ladies, John Singer Sargent had become disenchanted with those commissions that had earned him fame and fortune by the turn of the 20th century.

Around 1900 he turned his attentions to plein-air paintings, often in watercolor—a medium he masterfully transformed to accommodate his bold, painterly brushwork and a formal style more akin to the truncated scenes and unorthodox viewpoints of Impressionism than to the precisely drawn and thinly painted watercolors of contemporary convention. He took his materials with him as he traveled throughout Europe and the Middle East, capturing architectural elements, bucolic landscapes, and scenes of friends and family at leisure. Italy was a regular stop on Sargent’s annual tour, and he worked on several views of the Fontana del Nettuno (Neptune Fountain) in Bologna. The Sargent catalogue raisonné deems this work, “…one of the most subtle and beautiful of Sargent’s architectural studies.”

With these watercolors, Sargent could fully express his aesthetic ideas and beliefs without the constraints of a portrait or mural commission, and he initially intended to keep these for himself or give them as gifts to friends. He did not paint them with a view toward the commercial market. However, his friend and fellow American abroad, Edward Darley Boit, convinced him to participate in a joint exhibition of their watercolors in 1909 at Knoedler Gallery in New York. Relenting a bit, Sargent agreed that if some collector or institution might wish to purchase his contribution to the exhibition as a whole, he would consider an offer. Indeed, the Brooklyn Museum did just that, and included in the exhibition and the 83 works that Brooklyn acquired was Bologna Fountain. Because Sargent painted the works in the 1909 Knoedler exhibition without the intention of selling them, most were unsigned.

Based on the success of that show, Boit and Sargent planned another joint exhibition in 1912. The Museum of Fine Arts, Boston, made an early request to purchase works from that show, and Sargent pointedly painted larger, more finished works, and signed them, knowing they would join the MFA’s collection. $50,000-70,000

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322

322 Joseph Lindon Smith (American, 18631950) Relief from the Temple of Luxor Signed “JOSEPH LINDON SMITH” l.l., identified on a fragmentary label affixed to the frame.

Oil on canvas, 25 1/2 x 21 1/4 in. (64.5 x 53.7 cm), framed.

Condition: Lined onto a rigid surface, retouch to l.r. quadrant. $3,500-5,000

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323 William Lee Hankey (British, 1869-1950) Outdoor Market, Northern France Signed “W. Lee Hankey� l.l.

Watercolor and gouache on paper, sight size 19 5/8 x 15 1/2 in. (50.0 x 39.5 cm), framed.

Condition: Not examined out of frame. $700-900 324 School of Walter Franklin Lansil (American, 1846-1933) Venice View Unsigned.

Oil on canvas, 12 x 17 1/8 in. (30.2 x 43.3 cm), framed.

Condition: Lined, retouch primarily to the edges of the composition, varnish discoloration, surface grime. $600-800

323

324

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325

325 Paul Emile Lecomte (French, 1877-1950) Bustling Harbor Scene Signed “Paul Emile Lecomte” l.l.

Oil on canvas, 24 3/4 x 31 5/8 in. (62.5 x 80.0 cm), framed.

Condition: Wax lined, fine dots of retouch throughout the upper portion of the sky, stable craquelure. $5,000-7,000 326 Émile René Menard (French, 1861/62-1930)

326

Passing Shower, Varengeville-sur-Mer Signed “E.R. Menard” l.r.

Oil on canvasboard, sight size 9 3/8 x 13 3/8 in. (24.0 x 34.0 cm), framed.

Condition: Bowing to the support, minor surface grime. $800-1,200 327 Roy Henry Brown (American, 1879-1956) Three Scenes of Paris: Along the Seine (Pont Neuf), Pont Neuf-Paris, and Rooftops in Snow Along the Seine signed “Roy Brown” l.r., titled and inscribed on the reverse, Pont NeufParis titled on the reverse, all stamped “THE PARIS AMERICAN ART CO./.../PARIS” on the reverse.

All oil on panel, 11 5/8 x 15 7/8 in. (29.5 x 40.3 cm), unframed.

Condition: Panels with slight bowing. $1,200-1,800

327 partial

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328

328 Edward Brian Seago (English, 19101974) The Jetty Signed “Edward Seago” l.l., titled in an inscription on the reverse, with a label from Coe Kerr Gallery, New York, bearing the Edward Seago estate stamp affixed to the reverse.

Oil on Masonite, 16 x 24 in. (40.5 x 61.0 cm), framed.

Condition: Retouch, minor surface grime. $8,000-12,000 329 Harry Aiken Vincent (American, 18641931)

329

Concarneau Signed “H.A Vincent...” l.l., titled, signed, and inscribed “...H.A.Vincent /A.N.A/$75.00” on a section of old frame backing affixed to the current frame backing.

Oil on canvas, 8 x 10 in. (20.5 x 25.5 cm), framed.

Condition: Lined, minor surface grime. $600-800

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330

330 Maximilien Luce (French, 1858-1941) La Roulotte, Auvers sur Oise Signed “Luce” l.l., titled on the reverse, with a Parisian customs stamp on the reverse.

Oil on board, 22 x 29 3/4 in. (55.8 x 75.3 cm), framed.

Condition: Possible retouch.

Literature: Denise Bazetoux, Maximilien Luce: catalogue raisonné de l’oeuvre peint, Tome III (Paris: Avril graphique éd., 2005), cat. no.

1503, with the title Rolleboise, le repos des faneurs.

N.B. The catalogue raisonné entry dates the painting to 1920-25, and provides provenance from the atelier of the artist to the “Ancienne Collection Frédéric Luce.” $4,000-6,000 331 George Herbert Macrum (American, 18781970) Hillside Village, Provence Signed “G. MACRUM” l.l.

Oil on canvas, 14 3/4 x 18 in. (37.2 x 45.5 cm), framed.

Condition: Lined, pinpoint-sized paint losses to u.l. corner. $800-1,200

331

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332

332 Maurice de Vlaminck (French, 1876-1958) Village Street Signed “Vlaminck� l.r., titled on a label from Arthur Ackermann & Son, Inc., Chicago, affixed to the frame backing.

Watercolor and gouache on paper, 17 1/2 x 21 in. (44.5 x 53.2 cm), framed.

Condition: Gentle toning, gentle rippling, fine craquelure to some areas of white gouache, flaking with small losses to white gouache c.l. and c.r., small area of adhesive residue u.r., adhesive residue (possibly from previous hinges) to upper and lower edges on the reverse.

Provenance: Arthur Ackermann & Son, Chicago; Harry D. Oppenheimer, Chicago; Dr. Edward Weiss, Philadelphia; Karen W. Reynolds, Fort Lauderdale; Modern Paintings, Drawings, Sculpture, Parke-Bernet Galleries, New York, February 15, 1968, Sale no. 2653, Lot 13; private collection, Massachusetts. $12,000-18,000

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333

334

333 Antonio Pietro Martino (American, 19021988)

334 Arthur Clifton Goodwin (American, 18661929)

Manayunk in Snow Signed “Antonio P. Martino” l.r., inscribed “Fleming St.” in pencil on the reverse.

Oil on academy board, 13 x 19 3/4 in. (33.0 x 50.0 cm), framed.

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

Spuyten Duyvil, Upper New York, Early Morn Signed “AC Goodwin.” l.r., signed “AC Goodwin” on the stretcher, titled on the reverse, identified on a label from Arvest Galleries, Boston, affixed to the frame backing.

Oil on canvas, 26 x 34 in. (66.0 x 60.0 cm), framed.

Condition: Subtle stretcher bar marks, minor canvas rippling to l.r. corner. $4,000-6,000

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335

335 Charles Ephraim Burchfield (American, 1893-1967) The Southeast Snowstorm Signed and dated “C BURCHFIELD 1917” l.r., inscribed and titled “M M/15 [within a circle]/.../Not for sale/B-66a” in pencil on the reverse.

Watercolor and gouache on paper with Strathmore watermark, 17 3/4 x 19 1/2 in. (45.0 x 49.5 cm), framed.

Condition: Hinged to backing in three places near upper edge on the reverse, tack holes near upper edge, edges trimmed slightly unevenly, tears to u.r. corner and in two places near upper edge repaired, minor creases u.l., gently light-struck, hinge remnants l.l. and l.r. on the reverse, toning and scattered fox marks to the reverse.

Provenance: Purchased by Edna Chappell, 1942; gift to her son, Pierre Chappell; by descent to the current private collection.

Exhibitions: Charles S. Burchfield: Four Seasons in Salem, Burchfield Penney Art Center at SUNY Buffalo State, October 28, 2011– February 26, 2012.

N.B. Charles Burchfield painted this wintry view of his neighbor’s house early in his career. Looking down from an upstairs window in his family home in Salem, Ohio, he captured the low-slung cottage home of his childhood friends, the Weaver family, in the midst of a blustery snowstorm. Though the weather seems bleak, the open window curtains and burgeoning plant on the windowsill suggest a pleasant and welcoming interior. Burchfield used his bold, modernist handling of watercolor and gouache to depict his hometown in each season, and made the Weavers’ home the subject of numerous paintings. He explored the natural environment and seasonal change throughout his career, an interest that culminated in his late work, The Four Seasons (1949-60, Krannert Art Museum), which unites all of the seasons into one composition. $20,000-30,000

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336 John Fulton Folinsbee (American, 18921972)

336

River Landscape Signed “John Folinsbee” l.r., titled on an unattributed exhibition label affixed to the back of the frame, inscribed “Delaware R. & Lambertville NJ/from Follensbee’s [sic] home in New Hope Pa./Painted about 1930” on a handwritten label affixed to the stretcher.

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

Condition: Fine craquelure, varnish discoloration, minor surface grime.

Provenance: Mr. and Mrs. Henry Morris Burrows; bequest to the Clark Art Institute, Williamstown, Massachusetts; sold to benefit the Clark Art Institute.

N.B. This work will be included in the John F. Folinsbee Catalogue Raisonné. $4,000-6,000 337 Arthur Clifton Goodwin (American, 18661929)

337

View of Boylston Street and the Arlington Street Church Signed “AC Goodwin” l.l., numbered “G212” and “31893-E” in ink on the stretcher.

Oil on canvas, 23 1/2 x 29 1/8 in. (59.5 x 73.5 cm), unframed.

Condition: Puncture to u.c. edge, scattered abrasions and paint losses, weakened tacking edges, stretcher bar marks, varnish inconsistencies, surface grime.

Provenance: Estate of the artist; to a private collection; to the current owner. $1,000-1,500 338 Henry Martin Gasser (American, 19091981) City in Snow Signed “H. GASSER” l.l.

Oil on canvasboard, 16 x 20 in. (40.3 x 50.5 cm), framed.

Condition: Abrasions l.c. and u.c., possible old retouch to sky, surface grime. $2,000-3,000

338

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339

339 Henry Martin Gasser (American, 19091981) Carolina Spring Signed “H. GASSER� l.r.

Oil on Masonite, 20 5/8 x 26 3/4 in. (52.5 x 67.7 cm), framed.

Condition: Some areas of natural pigment fluorescence, minor surface imperfections and varnish inconsistencies. $15,000-25,000

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340

340 Aaron Bohrod (American, 1907-1992) Factory Scene Unsigned.

Oil on Masonite, 23 7/8 x 31 7/8 in. (60.6 x 81.0 cm), framed.

Condition: Craquelure, drying cracks, repair l.r. reinforced with plywood affixed to the reverse, retouch to area of repair, abrasions to edges, scattered small paint losses, scattered accretions to edges (possibly from previous frame). $2,000-3,000 341 Aaron Birnbaum (American, 1895-1998) You Listen to Me Signed “A. BIRNBAUM� l.r.

Oil on plywood, 12 7/8 x 14 in. (32.5 x 35.5 cm), framed.

Condition: Minor losses to the edges of the plywood, surface grime. $400-600

341

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342

342 Alan Lowndes (British, 1921-1978) Charles Laughton Dressed for “The Party” at the New Theatre, London Signed and dated “Alan Lowndes/1958” l.l., titled and dated on the reverse.

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

Condition: Craquelure, canvas dent l.r.

Provenance: The estate of Donald A. Hall Jr., New Hampshire. $5,000-7,000 343 American School, 20th Century Brooklyn Bridge and Manhattan View Signed and dated “C. Kuhnert ‘38” l.r.

Oil on heavy pressed paperboard, 20 x 23 3/4 in. (50.8 x 60.3 cm), framed.

Condition: Areas of fine craquelure. $400-600

343

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344 Käthe Kollwitz (German, 1867-1945) Die Klage/A Posthumous Casting Signed “KOLLWITZ” within the cast along left side, foundry stamped “ROMAN BRONZE WORKS INC N.Y.” and incised “No3-61” on the base.

Bronze with dark brown patina, 10 5/8 x 10 3/8 x 4 in. (27.0 x 26.4 x 10.0 cm).

Condition: Scattered small spots of oxidation, uneven patina, two small nicks to u.l. side, dust and dirt to the interstices.

Provenance: Purchased at an estate sale in Brookline, Massachusetts, c. 2000, by the current private collector.

N.B. Jeanne L. Wasserman, Honorary Curator of 19th- and 20th-Century Sculpture at the Fogg Art Museum, Harvard University, from 1969–c.1987, commissioned the American foundry Roman Bronze Works to cast Die Klage in 1961 in a bronze edition of three, after one of two original plaster casts purchased from Hyman Swetzoff of Swetzoff Gallery, Boston, in December 1958.1 The work will be included as a posthumous casting in the online catalogue raisonné of Kollwitz’s sculpture prepared by Annette Seeler, Käthe Kollwitz: Die Plastik, Werkverzeichnis Onlinekatalog (https:// www.kollwitz.de/werkverzeichnis-plastik), and we wish to thank Dr. Seeler for her kind assistance.

344

1. Roman Bronze Works Archive, Client Cards, Mrs. Max Wasserman Client Card, Amon Carter Museum of American Art Archives, Fort Worth, Texas.

$12,000-18,000 345 Adham Wanly (Egyptian, 1908-1959) Portrait of a Dancer Signed and dated “E. WANLY./53” u.l., inscribed “Art Wins the Heart” on a presentation plaque.

Oil on Masonite, 21 3/4 x 18 1/2 in. (55.5 x 47.5 cm), framed.

Condition: Retouch, scattered surface abrasions, surface grime.

Provenance: Purchased in Alexandria, Egypt, in early 1959 at the studio of Seif and Adham Wanly; private collection, Kentucky. $6,000-8,000

345

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346

346 Francisco Zúñiga (Mexican, 1912-1998) Amantes Signed and dated “Zúñiga 1975” on the man’s shin.

Black marble, 10 1/8 x 20 1/4 x 10 in. (25.9 x 51.4 x 25.4 cm), marble base.

Condition: Dust to interstices on the exterior.

Provenance: A private Massachusetts collection.

N.B. Costa-Rican born, Mexican artist Francisco Zúñiga was the most important sculptor, printmaker, and draughtsman of the Mexican modern style. He trained first with his father, Manuel María Zúñiga, and then with Guillermo Ruíz (1895-1964) and Oliverio Martínez at the Escuela de Talla Directa in Mexico City. Important influences for the development of Zúñiga’s monumental forms came both from Aztec sculpture and the European avant-garde tradition, especially the work of Auguste Rodin and Aristide Maillol. In all his work, Zúñiga glorified the humble nature of Latin American figures, exalting peasant mothers with their children and resolute workers.

While exploring boldly simplified forms, Zúñiga always preferred figurative representation because he found the human figure to be the most important element in the world around him. In this compact composition two lovers are indistinctly intertwined. The fusion of the two bodies, cut from the same elegant black stone, conspicuously characterizes the act of love-making.

Today, his works can be found in the permanent collections of the Metropolitan Museum of Art in New York, the Museo de Arte Moderno in Mexico City, and the Hirshhorn Museum and Sculpture Garden in Washington, DC. $25,000-35,000

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347

348

347 William Samuel Horton (American, 18651936) Colorful Dahlias in a Staffordshire Spill Vase Signed and dated “W.S. Horton.1923.” l.l., stamped “W.S. Horton./Estate” and numbered “P245” in the reverse.

Oil on canvas, 32 x 28 in. (81.3 x 71.1 cm), framed.

Condition: Lined, minor retouch, tiny paint losses along the edges, faint stretcher bar marks. $3,000-5,000

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348 Moses Soyer (American, 1899-1974) Figure of a Young Woman Standing Signed and dated “M SOYER/51” l.l.

Oil on canvas, 20 x 10 in. (50.3 x 25.5 cm), in a hand-toned frame.

Condition: Surface grime.

Provenance: The estate of Nathan Krueger (1935-1974), owner of the Cooperative Gallery, Newark, New Jersey, which he founded with Bernard Rabin in 1936.

N.B. The lot is accompanied by a black and white period photograph of the painting stamped by Oliver Baker, New York, on the reverse. The photograph shows the date “51” very clearly, before it was partially obscured by dark pigment or stain. The frame on this painting, which has been toned to complement the palette of the work, may have been made by the artist or by the dealer, Nathan Krueger, who was a friend of the artist. $1,200-1,800

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349 Luis Alfredo López Méndez (Venezuelan, 1901-1996) Still Life with Roses Signed and dated “lopez-Méndez/1960” l.l.

Oil on canvas, 27 1/2 x 34 3/4 in. (69.5 x 88.5 cm), framed.

Condition: Tear and small paint loss u.c., small puncture l.c., surface grime.

Provenance: Miguel Otero Silva to Jerome Sonnenborn c. 1960; by descent to the current private collection, New York.

N.B. Miguel Otero Silva (Venezuelan, 19081985) was a prominent writer, journalist, humorist, and politician. He owned the daily newspaper El Nacional for which Jerome Sonnenborn’s paper company supplied the newsprint. $3,000-5,000 350 William Zorach (American, 1887-1966)

349

Sleeping Coon Cat Incised signature and date “Zorach 62” on the back, stamped foundry mark “BEDIRASSY/N.Y.C.” on the left side.

Bronze with a golden yellow patina, 4 1/2 x 7 1/2 x 8 1/4 in. (11.4 x 19.0 x 21.0 cm), on a black laminate-covered wood plinth.

Condition: Scattered spots of oxidation, uneven patina, dust and dirt.

Provenance: Ex-collection David W. Scott, curator and director of the National Collection of Fine Arts and founding director of the National Museum of American Art; by descent to the current private collection, Massachusetts. $6,000-8,000

350

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351 Francisco Narváez (Venezuelan, 1905-1982) Still Life with Flowers, Bottles, and Fruit Signed “NARVAEZ” l.l.

Oil on canvas, 24 x 19 in. (60.8 x 50.0 cm), framed.

Condition: Fine craquelure and flaking to some areas of impasto, canvas bulge to center, surface grime.

Provenance: Miguel Otero Silva to Jerome Sonnenborn c.

1960; by descent to the current private collection, New York.

N.B. Miguel Otero Silva (Venezuelan, 1908-1985) was a prominent writer, journalist, humorist, and politician. He owned the daily newspaper El aNacional for which Jerome Sonnenborn’s paper company supplied the newsprint.

A certificate of authenticity from the Fundación Francisco Narváez accompanies the lot. $5,000-7,000 352 Augustus Saint-Gaudens (American, 1848-1907) Cornish Masque Plaquette Inscribed “[Names of Participants] AMOR VINCIT [on altar]...

IN·AFFECTIONATE·REMEMBRANCE·OF·THE·CELEBRAT ION·OF·JUNE XXIII MCMV/·AUGUSTA·AND·AUGUSTUS SAINT-GAUDENS·” within the cast, stamped “BRONZE” and with the foundry mark of Janvier et Duval along the bottom edge.

Silver-plated bronze, 3 1/8 x 1 3/4 in. (7.9 x 4.5 cm).

Condition: Minor wear.

351

Provenance: From the collection of Maxfield Parrish, by direct descent within the Parrish family to the current owner.

Literature: John H. Dryfhout, The Work of Augustus SaintGaudens (Hanover & London: University Press of New England, 1982), pp. 276-77.

N.B. This medal, which belonged to Maxfield Parrish, commemorates the “Masque of the Golden Bowl” held at Cornish, New Hampshire, to celebrate the twentieth anniversary of Augustus Saint-Gaudens’s founding of the Cornish Art Colony. At the time, Saint-Gaudens was seriously ill with cancer, and the fête was planned to honor and celebrate him. Held on the summer solstice of 1905 at Saint-Gaudens’s estate, Aspet, the Masque was a classically themed, outdoor pageant, written by playwright Louis Evans Shipman. There were over seventy participants, all members of the Cornish Colony, including Maxfield Parrish, Kenyon Cox, and Percy MacKaye. Musicians from the Boston Symphony Orchestra, hidden in the surrounding trees, provided the musical accompaniment. As part of the festivities, Saint-Gaudens was honored with a golden cup, and at the end of the evening he and his family were carried back to the house in a chariot. Saint-Gaudens was so moved by the celebration that he created the plaquette to be presented to the participants and to a handful of honored guests.

352

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The design presents the stage of the Masque, with Maxfield Parrish’s masks adorning the columns, and the gold cup crowning the arching panel at the top. The top and bottom panels are filled with the names of all of the colony members who participated in the Masque, and at the lower center Saint-Gaudens included a view of the chariot that transported him home. $6,000-8,000

353

353 Laura Coombs Hills (American, 1859-1952) Azaleas Signed “Laura Hills” u.l., photocopies of images taken of the back of the pastel, including the title Azalias [sic], affixed to the frame backing paper.

Pastel on paper/board, sight size 21 1/4 x 17 1/2 in. (54.0 x 44.3 cm), framed.

Condition: Not examined out of frame.

Provenance: Skinner, Inc., American & European Works of Art, September 22, 1995, Sale 1668, Lot 418. $1,000-1,500 354 Jessie Willcox Smith (American, 18631935) Portrait of a Seated Girl Signed “JESSIE WILLCOX SMITH” l.r.

Charcoal on paper, sight size 17 3/4 x 12 1/4 in. (45.0 x 31.0 cm), framed.

Condition: Toning, very minor foxing l.r., stray paper fragment to l.l. corner which does not appear to be a loss, not examined out of frame. $500-700

354

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137

355

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355 Edmund Charles Tarbell (American, 1862-1938) Peonies and Iris Inscribed, signed, and dated “To David Blaney/Tarbell-26” l.r., identified on exhibition labels (see below) from the Museum of Fine Arts, Boston, and The Currier Gallery of Art, Manchester, New Hampshire, affixed to the frame backing board.

Oil on canvas, 28 7/8 x 24 in. (73.2 x 61.2 cm), in a signed and dated Thulin frame.

Condition: Minor canvas rippling, minor retouch to the background, dedication to David Blaney probably added at the time the work was presented in 1929.

Provenance: From the artist to fellow artist Dwight Blaney’s son, David, as a wedding gift in 1929; then by descent within the Blaney family.

Literature: Trevor Fairbrother et al., The Bostonians: Painters of an Elegant Age, 1870-1930 (Boston: Museum of Fine Arts, 1985), cat. no. 80, color illustration, p. 167; Susan Strickler et al., Impressionism Transformed: The Paintings of Edmund C. Tarbell (Manchester, New Hampshire: Currier Art Gallery, c. 2001), Plate 53 (color ill.) p. 145.

Exhibitions: The Bostonians: Painters of an Elegant Age, 1870-1930, Museum of Fine Arts, Boston, June 11–September 14, 1986, The Denver Art Museum, October 25, 1986–January 19, 1987, Terra Museum of American Art, Chicago, March 13–May 10, 1987; Impressionism Transformed, The Paintings of Edmund C. Tarbell, Currier Art Gallery, Manchester, New Hampshire, October 13, 2001– January 13, 2002, Delaware Art Museum, Wilmington, February 15–April 28, 2002, Terra Museum of American Art, Chicago, May 11–July 21, 2002.

N.B. Edmund Tarbell is considered the dean of Boston’s painters at the turn of the 20th century. Tarbell taught at the influential School of the Museum of Fine Arts from 1889 until 1912, inspiring generations of young artists, dubbed “Tarbellites” by art critic Sadakichi Hartmann in 1897. Tarbell was one of the founding members of The Ten, and he co-founded the Guild of Boston Artists in 1914, serving as its first president. Later in his career he was Principal of the Corcoran School of Art in Washington, DC. Boston School painters in the late 19th century were a congenial group, many teaching at the Museum School and visiting one another in the summer season at their family homes on the coasts of Maine and New Hampshire. The artists captured the season in paintings of family members enjoying the outdoors in brilliant sunshine (for Tarbell this included scenes of his children on horseback on the island of New Castle, New Hampshire). Dwight Blaney often entertained fellow artists at his summer home on Ironbound Island in Maine. Given this convivial atmosphere, it is not surprising that Tarbell would have been included in the wedding festivities for Dwight Blaney’s son and would offer one of his paintings as a gift.

Tarbell was a celebrated portraitist and painter of landscapes and interior scenes. While still life paintings, as a specific genre, are somewhat more rare, Tarbell often created beautiful still lifes within his interior scenes, depicting flowers and fine objets d’art with the same elegance as the genteel figures that inhabited his sunlit rooms. Peonies were a perennial favorite, starring in his still lifes and arranged in vases in his interiors. The blue and white porcelain ginger jar, a nod to the love of Japanese art and culture, was an object that appeared in many works of this period.

Swedish-born framemaker and wood carver Walfred Thulin (1878-1949) came to America at the age of 22. He worked with Hermann Dudley Murphy until 1912, when he opened his own shop on Boylston Street in Boston, making frames for leading artists of the day until 1949. $20,000-30,000

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357

356

358

356 José Hernández (Spanish, 1944-2013)

357 Rafael Coronel (Mexican, b. 1932)

358 Julia Codesido (Peruvian, 1883-1979)

Retrato Incompleto Signed “j. hernandez” l.r., titled and dated “...1980” in an inscription on the stretcher.

Oil on canvas, 16 1/4 x 13 in. (41.0 x 33.0 cm), framed.

Condition: Craquelure, gentle canvas rippling, scattered small paint losses, surface grime. $1,000-1,500

La Ilusa II Incised signature “RCORONEL” l.l., inscribed and titled “#17./...” on the reverse, titled on a label from Forsythe Gallery, Ann Arbor, Michigan, affixed to the frame backing paper.

Oil on Masonite, 15 3/4 x 19 3/4 in. (40.0 x 50.0 cm), framed.

Condition: Minor abrasions to edges, minor surface grime.

Fisherman Signed “JULIA-/CODESIDO” l.r.

Oil on canvas, 18 1/2 x 26 in. (47.5 x 66.5 cm), framed.

Condition: Craquelure, flaking with scattered small paint losses, abrasion to center, small puncture u.l., surface grime. $1,000-1,500

N.B. Juan Rafael Coronel Rivera has confirmed the authenticity of this work. $2,000-3,000

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359

359 Rafael Coronel (Mexican, b. 1932) El Susto Incised signature “R CORONEL” l.r., inscribed and titled “#5/...” on the reverse, with a label from Forsythe Gallery, Ann Arbor, Michigan, affixed to the frame backing paper.

Oil on Masonite, 17 3/4 x 21 3/4 in. (45.0 x 55.5 cm), framed.

Condition: Small abrasion c.l., surface grime.

N.B. Juan Rafael Coronel Rivera has confirmed the authenticity of this work. $5,000-7,000 360 Rodolphe-Théophile Bosshard (Swiss, 18891960) Nude Woman Incised inscription (indistinct) and signature “au C.../R.TH. Bosshard...” l.l., inscribed “Rodolphe Theophile BOSSHARD/Artiste Vivant/habite la Suisse” on the reverse.

Oil on pressed paperboard, 18 1/8 x 14 7/8 in.

(46.0 x 37.8 cm), framed.

Condition: Scattered small paint losses, minor surface grime.

360

N.B. The painting at hand was reviewed via photographs by Bosshard expert Pierre-Yves Gabus, who confirmed its authenticity and dated the work to c. 1928–29. $2,500-3,000

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361 Rafael Coronel (Mexican, b. 1932) La Madrina de Bodas Signed “R. CORONEL, A.” l.l., titled on a label from Forsythe Gallery, Ann Arbor, Michigan, affixed to the frame backing paper.

Oil on illustration board, 40 x 32 1/8 in. (101.5 x 81.5 cm), framed.

Condition: Mounted to foamcore, scattered abrasions and accretions, surface grime.

N.B. Juan Rafael Coronel Rivera has confirmed the authenticity of this work. $5,000-7,000 362 Rafael Coronel (Mexican, b. 1932) El Mago Incised signature “R CORONEL” l.l., titled on a label from Forsythe Gallery, Ann Arbor, Michigan, affixed to the frame backing paper, inscribed “6085...# 2” on the reverse.

Oil on Masonite, 23 5/8 x 30 1/8 in. (60.0 x 76.5 cm), framed.

Condition: Minor surface grime.

N.B. Juan Rafael Coronel Rivera has confirmed the authenticity of this work. $2,000-3,000

361

362

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363

363 Guillermo Muñoz Vera (Chilean, b. 1956) EZLN Signed with the artist’s monogram and dated “...04” l.l., titled on an unattributed label affixed to the reverse and on a label from Gary Nader Fine Art, Miami, affixed to the back of the frame.

Oil and white alkyd on canvas mounted to board, 33 x 48 in. (83.8 x 121.9 cm), framed.

Condition: Scattered areas of flaking with paint loss, most prominent at u.l. and l.c. $10,000-15,000

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364

364 Olga Sinclair (Panamanian, b. 1957) El Viejo Pescador Signed and dated “Olga Sinclair 95” l.l., titled, signed, inscribed, and dated “...Olga Sinclair/ Panamá...” on the reverse.

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

Condition: Minor abrasions to corners.

Provenance: Elite Fine Art, Coral Gables, Florida; a private Florida collection. $2,000-3,000 365 Allan Capron Houser (American, 19141994) Lead Singer Signed and numbered “Allan Houser 13/20” and marked “SF” in the bronze l.c. near the figure’s cuff, titled on a label affixed to the plinth.

Bronze with dark brown patina, height 24 in.

(60.6 cm), on a wood plinth.

Condition: Minor dust and dirt.

Provenance: Sold to benefit the Clark Art Institute, Williamstown, Massachusetts. $250-350 365

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366

368

367

366 Arup Das (Indian, 1927-2004)

367 Philip Leslie Hale (American, 1865-1931)

368 Julia Codesido (Peruvian, 1883-1979)

They Belong to Village Signed and dated “Arup Das. 1963” u.l., identified on a label from Artists’ Gallery, New Delhi, India.

Oil on canvas, 30 x 36 1/4 in. (76.5 x 91.5 cm), framed.

Condition: Scattered areas with drying cracks, stray horizontal line of paint c.r. which does not appear to be an abrasion, minor paint losses along left edge. $2,000-3,000

Study for Riders on the Beach Unsigned, identified in an inscription on the reverse.

Oil on pressed paperboard, 17 3/4 x 23 7/8 in.

(45.5 x 60.8 cm), framed.

Condition: Surface imperfections and grime.

El Camino Signed “Julia Codesido” l.r., titled and inscribed “.../../28” on the reverse, with exhibition labels (see below) affixed to the reverse and to the stretcher.

Oil on canvas, 25 1/2 x 21 3/4 in. (65.0 x 55.5 cm), framed.

Condition: Scattered retouch, craquelure, flaking with scattered paint losses, canvas rippling, surface grime.

N.B. The finished work Riders on the Beach is dated 1890 and measures 48 x 77 inches. $1,000-1,500

Exhibitions: V Bienal del Museu de Arte Moderna de São Paulo, Brazil, September– December 1959, cat. no. 2 (Peruvian section). $1,000-1,500

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369 Fritz Wotruba (Austrian, 1907-1975) Stehender Initialed “FW” in the edge of the bronze base.

Bronze with dark brown patina, height 14 in.

(35.0 cm), on a black wood plinth.

Condition: Dust and dirt.

Provenance: Purchased from the artist by Meyer Jacobs, New York, while traveling in Austria; by descent within the Jacobs family.

Literature: Otto Breicha, Wotruba, Figur als Widerstand, Bilder und Schriften zu Leben und Werk (Salzburg: Verlag der Galerie Welz, 1995), Plates 43/44.

N.B. Otto Breicha’s book provides the date of 1950 for this sculpture. $12,000-18,000

369

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370

370 Gen Paul (French, 1895-1975) La Galette des Rois Signed “GenPaul” l.r., titled and signed “.../Gen-Paul” on the reverse.

Oil on canvas, 28 3/4 x 36 1/4 in. (73.0 x 92.0 cm), framed.

Condition: Scattered areas of craquelure, surface grime.

Provenance: Purchased from Galerie Hervé Odermatt, Paris, in 1972; by descent to the current private collection, Vermont. $15,000-20,000

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147

371

371 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. $3,000-5,000 372 Lester Frederick Johnson (American, 19192010) Street Scene Signed “Lester Johnson” l.r., identified and dated “...1979” on a label from Gimpel Fils Gallery, London (see below), affixed to the frame backing.

Conté crayon on paper, sheet size 41 x 29 in.

(103.5 x 74.3 cm), framed.

Condition: Subtle rippling, tack holes to corners, not examined out of frame.

Exhibitions: Lester Johnson, Paintings, Gimpel Fils Gallery, London, April 24-May 25, 1979. $250-350 372

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373

373 Lester Frederick Johnson (American, 19192010) Three Graces, Summer ‘93, II Signed and dated “Lester Johnson 93” l.c., titled on a gummed label affixed to the stretcher.

Oil on linen, 60 x 48 in. (152.4 x 122.0 cm), framed.

Condition: Fine diagonal craquelure, minor surface grime. $4,000-6,000 374 Edith Vonnegut (American, b. 1949) Making the Bed Signed and dated “Edith Vonnegut 1993” l.r., titled on a label from Pepper Gallery, Boston, affixed to the stretcher.

Oil on linen, 28 x 26 in. (71.0 x 66.0 cm), framed.

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

374

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375 Steven Assael (American, b. 1957) Christina Signed and dated “Assael ‘89” l.r., title provided by the artist.

Oil on canvas, 49 x 33 1/4 in. (124.5 x 84.5 cm), framed.

Condition: Surface grime. $4,000-6,000 376 Sandy Skoglund (American, b. 1946) Typewriter Incised signature and date “© Sandy Skoglund 1988” on the right side.

Cold-painted bronze, 16 x 26 1/2 x 17 1/2 in.

(40.6 x 67.3 x 44.4 cm).

Condition: Scattered small nicks, dust and dirt to the interstices. $800-1,200

375

376

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377

377 Nicola Simbari (Italian, 1927-2012) Pale Interior Signed and dated “Simbari ‘66” l.r., numbered and titled “14. PALE INTERIOR #23639” on the stretcher, identified on a presentation plaque.

Oil on canvas, 31 1/2 x 39 1/4 in. (80.0 x 100.0 cm), framed.

Condition: Small paint losses to l.l. corner, small lines of craquelure at center, minor surface grime.

N.B. The lot is accompanied by the original invoice from Wally F. Galleries, New York, dated February 2, 1968, and two catalogs about the artist. $1,000-1,500 378 Vernon B. Smith (American, 1894-1969) Japanese Figure with Flowers Signed and dated “Vernon Smith/1930” c.r.

Batik on linen, 49 1/4 x 36 1/4 in. (125.0 x 92.0 cm), unframed.

Condition: Pinholes to edges (with discoloration), fading near corners, fraying to edges, small tear near l.r. corner.

N.B. Vernon Smith spent much of his career on Cape Cod and worked for the WPA’s Federal Art Project as supervisor for the Cape and southeastern Massachusetts during the Depression. In addition to batik designs, Smith also produced paintings, sculpture, bas-relief woodcarvings, and aluminum constructions. $600-800 378

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379

379 Art Nouveau School, 19th/20th Century Lady with Waterlilies Monogram signature u.r.

Oil on canvasboard, 14 x 14 in. (35.5 x 35.5 cm), framed.

Condition: Retouch c.l., abrasion l.r., surface grime. $1,500-2,500 380 Pavel Tchelitchew (Russian/American, 1898-1957) Autumn Leaves Signed and dated “P. Tchelitchew/1939� u.l.

Watercolor and gouache on paper/board, sight size 21 5/8 x 13 3/8 in. (55.0 x 34.0 cm), framed.

Condition: Wear and creases to edges of the sheet, tack holes to the corners, not examined out of frame. $700-900

380

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381

381 Franz Sedlacek (Austrian, 1891-1945) Blumenstück Signed with the artist’s monogram and dated “f S/1939” l.l., signed, dated, and titled “FRANZ SEDLACEK/WIEN 1939/...” on the reverse.

Oil on plywood panel, 24 7/8 x 20 in. (63.0 x 51.0 cm), framed.

Condition: Craquelure, flaking with scattered small paint losses, scattered retouch primarily to fill areas of craquelure, scattered abrasions, small losses to corners, three small tack holes u.c.

Provenance: From the artist to his niece as a wedding gift, 1947.

Literature: Gabriele Spindler, Andreas Strohhammer, and Elisabeth Hintner, Franz Sedlacek, 1891-1945: Monografie mit Verzeichnis der Gemälde (Vienna: Christian Brandstätter Verlag, 2011), cat. no. WV 131, illus. pp. 41, 212.

N.B. Schooled as a chemist, Sedlacek painted in his leisure time away from his career as a curator at the Technical Museum in Vienna. As an artist, he became associated with the Neue Sachlichkeit (New Objectivity) and magic realism movements in Europe, and his work gained renown between the two World Wars. In this fantastical still life, Sedlacek borrowed subject and painting style from Dutch and Flemish Old Master panel paintings, and transformed those into a strange and beguiling composition of precisely rendered tendrils and arabesques, fantastical flowers, and insects. $60,000-80,000

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382

382 George L.K. Morris (American, 1905-1975) Composition Signed or inscribed and dated “G.L.K.MORRIS/1938” on the reverse, titled on a label from Salander-O’Reilly Galleries, New York, affixed to the reverse.

Oil on Masonite, 18 x 20 in. (45.5 x 51.0 cm), framed.

Condition: Some areas of natural pigment fluorescence, surface grime.

Provenance: From the artist to his friend in Paris, Russell Veit; to his son, Henri Veit; to the current owner. $10,000-15,000 383 Joaquín Peinado (Spanish, 1898-1975) Cubist Still Life with Fruit Signed and dated “Peinado/29.” l.r., inscribed and signed “Para William/R. Kingery,/recuerdo de/nuestra buena/amistad/Peinado/-/Paris 1929” on the reverse.

Oil on canvas, 10 3/4 x 8 3/4 in. (27.0 x 22.0 cm), framed.

Condition: Scattered minor retouch, minor canvas dent l.l., scattered minor abrasions. $1,500-2,500

383

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384 Stuart Davis (American, 1892-1964) Marine Scene/Docks, Gloucester, Massachusetts, alternatively titled Gloucester Docks Motif #1 Signed “STUART DAVIS” within the composition l.l. and “Stuart Davis” in script l.r., dated c. 1933 in the Stuart Davis catalogue raisonné (see below).

Gouache and ink on paper mounted to paperboard, 8 7/8 x 7 in. (22.2 x 17.8 cm), framed.

Condition: Stains to l.r. corner and c.r. edge, pale stains/fox marks to l.c., subtle rippling more prominent at c.l. edge, soiling to the margins, pinholes to corners, gently light-struck, margins defined with pencil grid lines at edges of the sheet.

Provenance: The artist; probably to Elliot and Flora Paul, New Milford, Connecticut, 1938 (?); Dr. Weiss, Riverdale, New York; estate of Dr. Weiss; Martin Dolin, New City, New York, by 1991; Skinner, Inc., American & European Paintings, November 22, 1996, Sale 1746, Lot 271; to the current private collection.

384

Literature: Ani Boyajian, Mark Rutkoski, William C. Agee, and Karen Wilkin, Stuart Davis: A Catalogue Raisonné, Volume Two (New Haven: Yale University Art Gallery, 2007), as No. 1179, pp.

601-2 (ill.).

N.B. This work is assumed to be one noted by Davis in his record of works sold between 1936 and 1940 as Gloucester Docks Motif #1, sold to Flora and Elliot Paul in 1938. The catalogue raisonné entry notes two related works also from 1933: a sketchbook drawing Study for “Waterfront” and an oil Waterfront.

A photocopy of a letter from Earl Davis, the artist’s son, dated June 7, 1996, accompanies the lot. In the letter, Mr. Davis confirms the authenticity of the work and states that both signatures are original. The letter predates the publication of the catalogue raisonné. $20,000-30,000

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385

385 Guillermo Núñez (Chilean, b. 1930) Iquique, Corola Ardiente Titled, signed, and dated “.../guillermo nuñez/63” on the reverse.

Oil on canvas, 24 x 56 in. (61.0 x 142.2 cm), framed.

Condition: Craquelure, scattered areas of flaking with small paint losses, surface grime.

Provenance: The collection of Dr. James S. McKenzie-Pollock (1916-1995), Chief of the Office of National Health Planning of the Pan American Sanitary Bureau/World Health Organization; by descent to the current private collection, Massachusetts. $3,000-5,000 386 Harley Manlius Perkins (American, 18831964) Zenith Signed “Perkins” l.r., titled on three labels, including two from the De Cordova Museum, Lincoln, Massachusetts, affixed to the stretcher.

Oil on canvas, 36 x 24 in. (91.5 x 60.5 cm), framed.

Condition: Minor craquelure.

Provenance: Ex-collection of the deCordova Museum and Sculpture Park, Lincoln, Massachusetts. $1,000-1,500

386

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387

387 Jimmy Ernst (American, 1920-1984) Sun Chronology Signed and dated “Jimmy Ernst/58” l.r., identified on labels from Grace Borgenicht Gallery, Inc., New York, and the Rental Gallery Baltimore Museum of Art, both affixed to the frame backing cardboard.

Gouache on paper, 14 5/8 x 21 1/2 in.

(37.2 x 54.5 cm), framed.

Condition: Floated within the frame, very minor surface losses, staining to fabric covered back mat, not examined out of frame. $1,500-2,500 388 Thanos Tsingos (Greek, 1914-1965) Abstract Signed “Tsingos” l.r., with a label from Galeri Ar-Is, Istanbul, affixed to the frame backing.

Encaustic on Masonite, 8 3/4 x 10 3/4 in.

(22.2 x 27.3 cm), framed.

Condition: Surface grime. $1,000-1,500

388

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389

389 Norman Bluhm (American, 1921-1999) Abstract No visible signature, inscribed “NORMAN BLUHM PARIS CIRCA 1954” on the frame backing.

Ink and watercolor on paper, 11 x 15 in. (28.0 x 38.0 cm), framed.

Condition: Mounted to foamcore, deckled edges, possible toning, tack holes to corners, adhesive residue to edges. $3,000-5,000 390 Max Spoerri (American, 20th/21st Century) Northwest Landscape Signed and dated “Max Spoerri ‘63” l.r., inscribed and titled “MAX Spoerri/645 Broadway/N.Y.C. 12 sp 7.2852/...” on the frame backing.

Oil on canvas, 32 x 42 in. (81.3 x 106.7 cm), framed.

Condition: Craquelure, drying cracks, scattered areas of flaking with paint losses, puncture l.r., surface grime. $1,000-1,500

390

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391

391 Katherine Porter (American, b. 1941) Untitled Signed “KPorter” l.r., dated “1981” on a label from Obelisk Gallery, Boston, affixed to the frame backing.

Mixed media including pastel and gouache on paper, sight size 18 1/2 x 25 1/2 in. (47.0 x 63.5 cm), framed.

Condition: Rippling, not examined out of frame. $800-1,200 392 Katherine Porter (American, b. 1941)

392

Untitled Signed “KPorter” l.r., dated “1981” on a label from Obelisk Gallery, Boston, affixed to the frame backing.

Mixed media including pastel and gouache on paper, sight size 18 1/2 x 25 1/2 in. (47.0 x 63.5 cm), framed.

Condition: Gentle rippling, not examined out of frame. $800-1,200

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393

393 Ricardo Machado [aka Ricardo Lavié] (Argentine, 1922-2010) Algo Mira Signed “RiCARDO MACHADO” l.r., signed and inscribed “OBRA ORIGINAL DE RICARDO MACHADO/1 [within a circle]” on the stretcher, inscribed, titled, and dated “O.E.A./WASHINGTON - .../1965” on the reverse.

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

Condition: Small paint loss l.l., surface grime.

Provenance: The collection of Dr. James S. McKenzie-Pollock (1916-1995), Chief of the Office of National Health Planning of the Pan American Sanitary Bureau/World Health Organization; by descent to the current private collection, Massachusetts. $800-1,200

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394

394 Paul Jenkins (American, 1923-2012) Phenomena Sun Cusp Signed “Paul Jenkins” c.l., titled and dated “.../1982” on a label from Gimpel Fils Gallery, London, affixed to the frame backing.

Watercolor and gouache on paper, 40 x 60 in.

(101.6 x 152.3 cm), framed.

Condition: Deckled upper and lower edges, toning, foxing, gentle rippling, craquelure and flaking (with scattered paint losses) to some areas of gouache, floated in frame, not examined out of frame. $5,000-7,000

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161

395 Pierrette Bloch (French, 1928-2015) Abstract Composition Initialed and dated “PBl. 50” l.r.

Oil on canvas, 24 x 15 in. (61.0 x 38.0 cm), framed.

Condition: Minor paint loss/scuff l.r., fine craquelure, surface grime.

Provenance: The estate of Alvin Epstein, New York City.

395

N.B. Shortly after World War II, French abstract artist Pierrette Bloch began studying in Paris with André Lhote and later with Henri Bernard Goetz, who introduced her to Pierre Soulages. Bloch’s early abstract works were deeply influenced by other painters in her circle. Executed in 1950, this work is rendered in heavy broad black gestures and thick impasto showing the influence of her friend and mentor Soulages. It was created the same year she participated in the Salon des réalités nouvelles and before her first solo exhibitions in 1951. As her work evolved, Bloch began to turn to ink and to textiles, finding expanding success in these media.

She has been described as the forerunner to the French art movement Supports/Surfaces.

This work has been confirmed authentic by David Quéré, the artist’s heir and recognized expert, and relates to one still in her studio.

It was a gift from the artist to her good friend and actor, Alvin Epstein.

Alvin Epstein (1925-2018) was a celebrated classical stage actor and director who appeared in the Broadway premiere of Waiting for Godot and went on to become widely known for his mastery of works by Samuel Beckett. He was a founding member of the American Repertory Company as well as the Yale Repertory Theater and was long affiliated with nonprofit and regional theater. Epstein met and befriended Pierrette Bloch and Pierre Soulages while studying mime in Paris with Marcel Marceau, and the friendships continued whenever they visited New York. $3,000-5,000 396 Sigmund Joseph Menkes (American, 18961986) Abstract Composition Signed “Menkes” l.l.

Oil on canvas, 24 x 18 in. (60.5 x 45.3 cm), in a probable Newcomb-Macklin frame.

Condition: Craquelure with area of lifting in center, scattered small paint losses, staining to the reverse of the canvas. $2,500-3,500

396

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397 Selim Turan (Turkish, 1915-1994) Abstract Signed “Selim” l.r., inscribed “Turan Selim 400” on the frame backing.

Watercolor and gouache on paper, 8 1/4 x 6 1/8 in. (20.8 x 15.5 cm), framed.

Condition: Affixed to backing near lower edge on the reverse, rippling, scattered small tears and nicks to edges, craquelure to areas of thicker gouache, toning to the reverse. $1,000-1,500 398 Leonardo Nierman (Mexican, b. 1932) Abstract Composition Signed and dated “nierman 65” l.r.

Oil on Masonite, 23 1/4 x 31 1/4 in. (59.5 x 79.5 cm), framed.

Condition: Minor varnish inconsistencies and surface grime. $1,500-2,000

397

398

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399

399 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way ‘67” l.l.

Oil on paper, 19 x 24 in. (48.2 x 61.0 cm), unmatted, unframed.

Condition: Small crease to u.l. edge near the corner, minor varnish inconsistencies, tape reinforcement to the corners of the reverse.

Provenance: Through the family of the artist. $1,500-2,500 400 American School, 20th Century Gestural Abstract Signed indistinctly and dated “...86” l.r.

Mixed media including charcoal and tempera on paper, 39 1/2 x 27 1/2 in. (100.3 x 69.9 cm), framed.

Condition: Affixed to backing with tape to upper and l.r. corners on the reverse, rippling, staining u.l., scattered minor creases.

Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,000-1,500

400

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401

401 Harriet Korman (American, b. 1947) Untitled Signed and dated “Harriet Korman/1992” on the reverse, with a label from Lennon, Weinberg, Inc., New York, affixed to the stretcher.

Oil on canvas, 72 x 84 in. (182.9 x 213.4 cm), unframed.

Condition: Minor surface grime. $800-1,200 402 John Way [Wei Letang] (Chinese/American, 1921-2012)

402

Untitled Signed and dated “John Way ‘68” l.r.

Oil on paper, 19 x 24 in. (48.2 x 60.7 cm), unmatted, unframed.

Condition: Restored horizontal tear to u.c. edge with tape on the corresponding area of the reverse, brown paper tape remnants at intervals on three sides of the reverse, corners stabilized with clear tape on the reverse.

Provenance: Through the family of the artist. $1,500-2,500

Online bidding at www.skinnerinc.com

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404

403

403 Jim Shaw (American, b. 1952) Narcissus, from the series My Mirage Unsigned.

Plastic on mirror, 17 x 14 in. (43.2 x 35.5 cm), framed.

Condition: Surface grime.

Provenance: Acquired directly from the artist by the current owner in 1988.

Exhibitions: LA Hot and Cool: Pioneers, Bank of Boston Art Gallery/MIT List Visual Art Center, Cambridge, November 23, 1987– January 15, 1988.

166

N.B. Jim Shaw worked on the series My Mirage from 1986 through 1991, creating a group of 170 interconnected works of art in a variety of media, each of which tells part of the story of a character named Billy. My Mirage follows Billy, a white, middle-class male, from childhood onward as he navigates the 1960s and 1970s American counterculture. Shaw organized the works into chapters and unified the project by maintaining a standard size of 17 x 14 inches for each work. The result is a visual narrative, structured in the form of a coming-of-age novel; however, the pieces were exhibited about thirty at a time, before being sold individually. Though attempts have been made to reunite the series, all 170 works have never been included together in the same exhibition. $6,000-8,000

Additional information and photos at www.skinnerinc.com

404 Mirko Basaldella (Italian, 1910-1969) Canto Fermo Unsigned, identified on a label from the XXVII Esposizione Biennale Internazionale d’Arte di Venezia, 1954, affixed to the underside of the plinth.

Bronze with a green patina, height 19 1/2 in.

(49.5 cm), on a porphyry plinth.

Condition: Scattered inconsistencies to the patina, dust and dirt to the interstices.

Provenance: Purchased from the Biennale di Venezia, 1954, by Francis M. Bator; property from the estate of Francis M. Bator, Massachusetts. $2,000-3,000

405

405 Jesse Howard (American, 1885-1983) HAS ANY PERSON?...

Signed “BY· JESSE HOWARD” within the composition l.r.

Paint and graphite on found board, 9 5/8 x 25 7/8 in. (24.0 x 65.5 cm), unframed.

Condition: Horizontal crack to panel, distressed surfaces and paint losses in keeping with the artist’s aesthetic, surface grime. $1,500-2,000 406 Jim Shaw (American, b. 1952) Echo, from the series My Mirage Unsigned.

Asphalt on acoustical tile, 17 x 14 in. (43.2 x 35.5 cm), framed.

Condition: Surface grime.

Provenance: Acquired directly from the artist by the current owner in 1988.

Exhibitions: LA Hot and Cool: Pioneers, Bank of Boston Art Gallery/MIT List Visual Art Center, Cambridge, November 23, 1987–January 15, 1988.

N.B. In his series My Mirage, Jim Shaw referenced cultural and political events of the 1960s and 1970s, including the U.S. moon landings and the Kent State shootings. Here, Shaw appropriated the iconic image of Kent State student Mary Ann Vecchio from John Filo’s Pulitzer Prize–winning news photograph. $6,000-8,000 406

Online bidding at www.skinnerinc.com

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407

407 Michiel Gloeckner (American, 1915-1989) Pale Morning Initialed “M/G” l.r., signed “Michiel Gloeckner,” dated, and titled “AUG. 1966...” on the stretcher.

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

Condition: Minor wear to the corners of the canvas, minor abrasion c.l., areas of fine craquelure. $1,000-1,500 408 Bruno Romeda (Italian, 1933-2017) Untitled (Square) Incised signature, date, and number “ROMEDA 87 1/3” on the base.

Bronze with a green-black patina, 12 1/2 x 5 x 5 in. (31.7 x 12.7 x 12.7 cm).

Condition: Dust and dirt to the interstices.

Provenance: A Connecticut estate. $2,000-3,000

408

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409 Bruno Romeda (Italian, 1933-2017) Untitled (Triangle) Incised signature and date “ROMEDA 86” on the base.

Bronze with a red-brown patina, 6 x 14 1/2 x 2 1/4 in. (15.2 x 36.8 x 5.7 cm).

Condition: Dust and dirt to the interstices.

Provenance: A Connecticut estate. $1,000-1,500 410 Felrath Hines (American, 1913-1993)

409

Blue Painting Titled, dated, and signed or inscribed “...1970/.../FELRATH HINES/121 W 88 ST NYC” on the frame backing and with a label from the Museum of Fine Arts, Boston, affixed to the frame backing.

Oil on canvas, 48 x 48 in. (122.0 x 122.0 cm), framed.

Condition: Craquelure, flaking l.l., abrasions c.r. and l.c., canvas dents u.r. and l.r., scattered accretions, surface grime.

Exhibitions: Afro-American Artists: New York and Boston, Museum of the National Center of Afro-American Artists, Museum of Fine Arts, Boston, and School of the Museum of Fine Arts, Boston, May 19–June 23, 1970.

N.B. An artist and conservator, Felrath Hines was a founding member of Spiral, a group of African American visual artists organized

by Romare Bearden in New York in 1963 in response to the civil rights movement. His Blue Painting was included in the landmark exhibition Afro-American Artists: New York and Boston at Boston’s Museum of Fine Arts in 1970. While actively participating in the New York arts scene as a painter, Hines maintained a respected conservation studio whose clients included the Museum of Modern Art, the Whitney Museum, the Corcoran Gallery of Art, and artist Georgia O’Keeffe. He concluded his conservation career in Washington, DC, as Chief Conservator of the Smithsonian Institution’s National Portrait Gallery, and later, the Hirshhorn Museum and Sculpture Garden, after which he devoted his attentions entirely to painting. $5,000-7,000

410

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411 Robert Courtright (American, 1926-2012)

411

Untitled (Round Mask) Signed and dated “Courtright ‘85” on the reverse.

Colored paper and papier-mâché with pigment, 9 x 9 in. (22.8 x 22.8 cm), presented in a Plexiglas box.

Condition: Gentle toning near the edges, adhesive residue to the reverse, scattered scratches to the Plexiglas box.

Provenance: A Connecticut estate. $1,200-1,800 412 Robert Courtright (American, 1926-2012) Untitled (Blue Mask with Letters) Signed and dated “Courtright ‘76” in pencil l.r., signed and dated “Courtright ‘76” in pencil on the reverse l.r.

Printed paper and papier-mâché with pigment, approx. 7 x 6 1/2 x 4 in. (17.6 x 16.4 x 10.0 cm), presented in a Plexiglas box.

Condition: Two holes visible on the reverse, probably where hanging material was previously attached, small loss on the reverse u.r.

412

Provenance: A Connecticut estate.

N.B. A copy of a 1981 exhibition catalog from Andrew Crispo Gallery, New York, accompanies the lot. $1,200-1,800 413 Robert Courtright (American, 1926-2012) Untitled (Mask with Grid Pattern) Incised signature and number “Courtright/1/5” on the reverse.

Bronze with a green-black patina, 10 x 10 1/4 in. (25.4 x 26.0 cm), with a Lucite stand.

Condition: Dust and dirt; scattered scratches, small nicks, and adhesive residue to the stand.

Provenance: A Connecticut estate. $2,000-3,000

413

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414 Robert Courtright (American, 1926-2012)

414

Untitled (Mask with Circles) Incised signature and inscription “Courtright/ E.A.” on the reverse.

Bronze with a green patina, 10 1/2 x 10 in.

(26.7 x 25.4 cm), with a painted wood stand.

Condition: Dust and dirt; scattered abrasions and scuffs to the stand.

Provenance: A Connecticut estate. $2,000-3,000 415 Robert Courtright (American, 1926-2012) Untitled (Grid) Signed and numbered “Courtright AP” on the reverse.

Bronze with green patina, 9 3/4 x 7 3/8 x 1 3/8 in. (24.6 x 18.5 x 3.6 cm).

Condition: Dust and dirt to the interstices, possible scattered abrasions at back edges.

Provenance: A Connecticut estate. $800-1,200 416 Robert Courtright (American, 1926-2012)

415

Untitled (Mask with Green Circles) Signed and dated “Courtright ‘83” l.r., inscribed “84-RC-23” on the reverse.

Papier-mâché with pigment, 10 1/2 x 10 1/2 in. (26.7 x 26.7 cm), presented in a Plexiglas box.

Condition: Pale toning, staining to the reverse, hanging cord affixed to the reverse with adhesive; scattered scratches to Plexiglas box.

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

End of Sale 3248B

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Artist Index Abbott, Berenice...................................... 110 Adams, Ansel................................... 111, 112 Aldrich, George Ames.............................. 285 American School, 19th Century ................................................ 231, 249, 261 American School, 20th Century ........................................ 277, 309, 343, 400 Amero, Emilio............................................. 21 Anuszkiewicz, Richard................................ 53 Appel, Karel.......................................... 54, 55 Art Nouveau School, 19th/20th Century... 379 Assael, Steven.......................................... 375 Basaldella, Mirko...................................... 404 Baskin, Leonard....................................... 55A Beard, Peter............................................. 122 Beck, Ken............................................... 103 Bellows, Albert Fitch................................. 257 Benson, Ambrosius (School of)................ 201 Benson, Frank Weston.......................... 22-29 Benton, Thomas Hart............................ 30-32 Birnbaum, Aaron...................................... 341 Blake, William............................................... 1 Bloch, Pierrette......................................... 395 Bluhm, Norman........................................ 389 Boese, Henry........................................... 259 Bohro, Aaron............................................ 340 Bonheur, Rosa......................................... 211 Bonheur, Rosa (School of)........................ 209 Boss, Henry Walcott................................. 254 Bosshard, Rodolphe-Théophile................ 360 British School, 19th Century..................... 224 Brown, Roy Henry.................................... 327 Buhot, Félix Hilaire.................................. 9, 10 Burchfield, Charles Ephraim..................... 335 Burckhardt, Rudy..................................... 139 Calder, Alexander....................................... 56 Campigli, Massimo..................................... 57 Canaletto...................................................... 2 Carmichael, John Wilson.......................... 239 Carr, Samuel S......................................... 233 Cassatt, Mary............................................. 33 Castiglione, Salvatore (Attributed to)......... 206 Caulfield, Patrick......................................... 58 Chagall, Marc........................................ 59-61 Chandler, Fay........................................... 103 Chapin, Bryant......................................... 244 Clemente, Francesco................................. 62 Clergue, Lucien........................................ 113 Codesido, Julia................................. 358, 368 Continental School, 17th Century Style............................ 202, 214 Continental School, 17th Century..... 203, 213 Continental School, 19th Century............. 221 Coronel, Rafael................. 357, 359, 361, 362 Corot, Jean-Baptiste Camillle................... 226 Courtright, Robert............................. 411-416 Czerny, Ludwig........................................ 280 Dalí, Salvador....................................... 63, 64 Das, Arup................................................. 366 Davis, Stuart............................................. 384 De Dienes, André..................................... 123 De Grailly, Victor (Attributed to)................. 237 De Kooning, Willem.................................... 65 Decker, Robert Melvin.............................. 299 Delacroix, Eugène (Attributed to).............. 210 Delacroix, Eugène (Circle of)..................... 212 Doisneau, Robert..................................... 124 Duchamp, Marcel....................................... 66 Durand, Asher Brown............................... 253 Dwight, Mabel...................................... 34, 35 Dyke, Samuel P........................................ 235 Eisenstaedt, Alfred................................... 114 Enneking, John Joseph............................ 286 Enneking, John Joseph (Attributed to)...... 262 Enneking, Joseph Eliot............................. 287

Ernst, Jimmy............................................ 387 Fiske, Gertrude......................................... 301 Fitzgerald, Edmond James....................... 315 Flagg, Charles Noel.................................. 248 Folinsbee, John Fulton............................. 336 Frampton, Hollis....................................... 139 Francken II, Frans (Circle of)..................... 200 French School, 18th Century.................... 207 French/American School, 19th Century.... 220 Frink, Elisabeth..................................... 67, 68 Gag, Wanda............................................... 36 Gainsborough, Thomas (Attributed to)............ ........................................................ 223, 225 Gasser, Henry Martin........................ 338, 339 Giacometti, Alberto..................................... 69 Gifford, John............................................ 222 Giordano, Luca (School of)....................... 205 Gloeckner, Michiel.................................... 407 Goldin, Nan.............................................. 125 Goodwin, Arthur Clifton.... 302, 305, 334, 337 Graves, Nancy............................................ 70 Greenfield, Lois........................................ 139 Gruppé, Emile Albert........ 297, 298, 300, 307 Gwathmey, Robert..................................... 71 Haas, Ernst...................................... 126, 127 Hale, Philip Leslie..................................... 367 Hamilton, Ralph........................................ 103 Hankey, William Lee................................. 323 Hassam, Childe.......................................... 37 Heade, Martin Johnson............................ 246 Hennessy, Patrick.................................... 318 Hernández, José...................................... 356 Heron, Patrick....................................... 72-75 Hill, John Henry........................................ 263 Hill, John William...................................... 250 Hills, Laura Coombs................................. 353 Hines, Felrath........................................... 410 Hobbema, Meindert (School of)................ 208 Hodgkin, Howard....................................... 76 Hom, Georg............................................. 217 Homer, Winslow (Attributed to)............... 250A Horton, William Samuel............................ 347 Houser, Allan Capron............................... 365 Howard, Jesse......................................... 405 Howell, Felicie Waldo........................ 284, 319 Hoyland, John............................................ 77 Hutt, Sarah............................................... 103 Hutty, Alfred Heber..................................... 38 Inness, George Jr............................. 289, 290 Irving, John Beaufain (Attributed to)........ 221A Italian School, 17th Century..................... 204 Jackson, Harry.......... 266-269, 271-273, 278 Jacoulet, Paul........................................... 10A Jenkins, Paul............................................ 394 Johnson, Lester Frederick.......... 78, 372, 373 Kahn, Wolf............................................... 292 Kaula, William Jurian................................. 264 Kelly, Ellsworth..................................... 79, 80 Kent, Rockwell...................................... 39-43 Key, John Ross........................................ 236 King, Albert Francis.................................. 243 Kleijn, Hendrik Albertus............................ 216 Klumpke, Anna Elizabeth.......................... 229 Koeniger, Walter....................................... 282 Kollwitz, Käthe...............................11-13, 344 Korman, Harriet........................................ 401 Lane, Morris............................................. 128 Lansil, Walter Franklin (School of)............. 324 Laurencin, Marie......................................... 14 Lavié, Ricardo.......................................... 393 Lecomte, Paul Emile................................. 325 Legrand, Louis Auguste Mathieu................ 15

Lerner, Nathan......................................... 115 Lewis, Martin.............................................. 44 Lichtenstein, Roy (After).............................. 82 Lim, Kim..................................................... 81 Lintz, Joe................................................. 275 Little, Philip............................................... 316 Loranc, Roman................................ 129, 130 Lowndes, Alan......................................... 342 Luce, Maximilien....................................... 330 Lumis, Harriet Randall.............................. 304 Lynes, George Platt........................... 116-118 Lynes, George Platt (Attributed to)............ 119 López Méndez, Luis Alfredo..................... 349 Machado, Ricardo.................................... 393 Macrum, George He................................. 331 Martin, Agnes............................................. 83 Martino, Antonio Pietro............................. 333 Mayes, Elaine........................................... 139 Mazur, Michael Burton....................... 84, 103 McCord, George Herbert.......................... 240 McCrady, John........................................... 45 McCurry, Steve........................................ 131 Menard, Émile René................................. 326 Menkes, Sigmund Joseph........................ 396 Meryon, Charles........................................... 3 Meurer, Charles Alfred.............................. 242 Meyerowitz, Joel.............................. 132, 139 Miró, Joan.................................................. 85 Miró, Joan (After)........................................ 86 Montézin, Pierre-Eugène.......................... 314 Moore, Henry............................................. 87 Morgan, Maud Cabot............................... 103 Morrell, Wayne......................................... 312 Morris, George L.K................................... 382 Morviller, Joseph...................................... 265 Motherwell, Robert................................ 88-89 Murphy, John Francis............................... 296 Muñoz Vera, Guillermo............................. 363 Nartonis, Cynthia...................................... 103 Narváez, Francisco................................... 351 Neagle, John B........................................ 245 Neiman, LeRoy........................................... 90 Newbold, George W.K............................. 306 Newman, Arnold...................................... 120 Nickson, Graham..................................... 371 Nicoll, James Craig.................................. 238 Nierman, Leonardo................................... 398 Northern European School, 17th Century Style.......................... 215, 220A Núñez, Guillermo...................................... 385 Offner, Elliot.............................................. 274 Ostade, Adriaen Jansz van........................... 8 Oudinot, Achille François.......................... 226 Patterson, Margaret Jordan................ 46, 288 Paul, Gen................................................. 370 Peinado, Joaquín..................................... 383 Pentelei-Molnar, Janos............................. 218 Pepper, Beverly.......................................... 91 Perkins, Harley Manlius............................ 386 Peters, Leslie Hamilton (Les)..................... 279 Picasso, Pablo........................................... 92 Picasso, Pablo (After)........................... 93, 94 Porter, Katherine.............................. 391, 392 Redon, Odilon............................................ 16 Rembrandt van Rijn................................... 4-7 Richards, William Trost............................. 234 Robinson, Thomas Harris......................... 258 Rock, Mick............................................... 133 Roesen, Severin (School of)...................... 241 Romeda, Bruno................................ 408, 409 Saint-Gaudens, Augustus......................... 352 Saito, Kiyoshi.............................................. 95 Sargent, John Singer........................ 320, 321

Schatz, Howard....................................... 134 Schenck, August Friedrich Albrecht.......... 227 Schreyer, Adolph...................................... 281 Scott, William............................................. 97 Seago, Edward Brian............................... 328 Sedlacek, Franz........................................ 381 Shaw, Jim........................................ 403, 406 Sheppard, Warren.................................... 232 Shore, Stephen........................................ 135 Simbari, Nicola......................................... 377 Simonds, Nancy....................................... 103 Sinclair, Olga............................................ 364 Siskind, Aaron................................... 136-138 Skoglund, Sandy...................................... 376 Smith, Gary Ernest................................... 293 Smith, Jessie Willcox................................ 354 Smith, Joseph Lindon.............................. 322 Smith, Russell.......................................... 252 Smith, Vernon B....................................... 378 Smith, W. Eugene.................................... 121 Snow, Michael James Aleck..................... 139 Soulages, Pierre......................................... 98 Soyer, Moses........................................... 348 Spinks, Thomas....................................... 228 Spoerri, Max............................................. 390 Stanczak, Julian......................................... 99 Starckenborgh, Jacobus Nicolaas............ 230 Steele, Mark............................................. 103 Steiner, Ralph........................................... 139 Stephens, Alice Barber............................. 247 Stevens, William Lester............................. 283 Sánchez, Tomás................................ 96, 294 Tarbell, Edmund Charles.......................... 355 Tchelitchew, Pavel.................................... 380 Teniers, David (Manner of)...................... 222A Thieme, Anthony...................................... 313 Tilson, Joe........................................ 101, 102 Tissot, James Jacques Joseph.................. 17 Toulouse-Lautrec, Henri de........................ 18 Tsingos, Thanos....................................... 388 Turan, Selim............................................. 397 Tàpies, Antoni.......................................... 100 van Dyke, Willard...................................... 139 Van Noort, Andrianus Cornelius................ 317 Vickery, Charles Bridgeman...................... 308 Vincent, Harry Aiken................................. 329 Vlaminck, Maurice de............................... 332 Vonnegut, Edith........................................ 374 Voss, Franklin Brook................................ 276 Walraven, Jan........................................... 219 Wanly, Adham.......................................... 345 Warhol, Andy..................................... 104-106 Warhol, Andy (After).................................. 107 Way, John........................................ 399, 402 Weber, Paul Gottlieb................................ 251 Wegman, William...................................... 140 Wei Letang....................................... 399, 402 Welliver, Neil..................................... 108, 109 Welliver, Pat............................................. 270 Whistler, James Abbott McNeill............ 47, 48 Wiggins, Carleton............................. 255, 256 Wishard, Harry D...................................... 291 Wood, Grant......................................... 49-52 Woodward, Stanley Wingate............ 310, 311 Wotruba, Fritz........................................... 369 Yoshida, Hiroshi......................................... 19 Young, Charles Morris.............................. 303 Zenk, Josef.............................................. 295 Zorach, William......................................... 350 Zorn, Anders.............................................. 20 Zúñiga, Francisco..................................... 346

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.

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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

173

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Dan Ayer

Carly Babione

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508.970.3253

Stephen L. Fletcher

Karen M. Keane Andrew Payne

American & European Paintings & Prints Robin S.R. Starr Elizabeth C. Haff

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Joel Bohy militaria@skinnerinc.com 508.970.3215

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European Furniture & Decorative Arts

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508.970.3202

508.970.3200

Jewelry Gloria Lieberman John Colasacco

American Indian & Ethnographic Art

Kaitlin Shinnick

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Judaica

Marie Keep

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Asian Works of Art

Musical Instruments

Judith Dowling

Adam Tober

Helen Eagles

music@skinnerinc.com

Suhyung Kim

508.970.3216

Executive Vice President

Senior Vice Presidents Marie Keep Kerry Shrives Stuart G. Slavid

Vice Presidents Eric Jones Gloria Lieberman Jane D. Prentiss Robin S.R. Starr

asian@skinnerinc.com 508.970.3263

Oriental Rugs & Carpets Lawrence Kearney

Books & Manuscripts

rugs@skinnerinc.com

Devon Eastland

508.970.3247

books@skinnerinc.com 508.970.3293

Photographs 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

174

508.970.3296

Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services

Exhibitions & Property Boston:

LaGina Austin

Jeffrey R. Antkowiak

Christine E. Finn

Stanley P. Bystrowski

Rachel Kingsley

Kristina M. Harrison

Hannah Marks

Kathleen Jones

508.970.3299

Penina Seigel Valerie Worth

Julia M. Dry Drew Porter Katrina Wilson

Receptionist Florentina Gutierrez

Consignment Services

617.350.5400

Tara Lima

Skinner Online

Carol Zeigler 508.970.3204

Kerry Shrives Judie Ochsner

Accounting

Marlborough:

Nicole Nicas Rovner

Warehouse

Valerie Worth

Frederic Trottier 508.970.3209

Denise Cheney

online@skinnerinc.com

508.970.3269

508.970.3279

Samantha Heighton

Receptionist

Esteffany Esparza

William Debordes-Jackson

508.970.3283

Catalog Sales William Madden

508.970.3000

508.970.3266

508.970.3000

Transportation Eric Jones 508.970.3229

Absentee & Telephone Bidding Boston: 617.874.4318

Auctioneers

Marlborough: 508.970.3211 Discovery: 508.970.3208

Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr

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

175

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