American & European Works of Art

Sale 3338B | January 23 & 24, 2020 | Boston

Specialists

Robin S.R. Starr

Elizabeth C. Haff

Kathleen M. Leland

Brianna Lovensheimer

Department Director 508.970.3259

508.970.3258

508.970.3297

508.970.3264

Department Inquiries: 508.970.3206

Auction Information Auction 3338B

Preview

Absentee Bidding

Fine Prints, Multiples & Photographs

Wednesday, January 23 12 to 5PM

T: 617.874.4318 F: 617.350.5429

Thursday, January 23 6PM

Fine Paintings & Sculpture Friday, January 24 12PM 63 Park Plaza Boston, MA

Thursday, January 24 12 to 8PM

General Inquiries 617.350.5400

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View all lots online at www.skinnerinc.com cover : 230 ; interior front cover : 98; interior back cover : 85; back cover : 298

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Lot 270: Frank Weston Benson (American, 1862-1951), Hunter Collecting His Quarry. Oil on canvas, 20 x 30 in. Provenance: A private Massachusetts collection.

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Table of Contents 1

Auction & Specialist Information

Online Bidding

Provenance and Glossary of Terms

Prints, Multiples & Photographs: Lots 1–151

Paintings & Sculpture: Lots 201–437

196

Artist Index

197

Conditions of Sale

198

Company Directors & Specialty Departments

199

Administrative Staff & Client Services

200

Absentee Bid Form

Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 197 of this catalog for the full terms and conditions governing your purchase.

Provenance By Descent in the Family of Robert Fuoss, former editor of The Saturday Evening Post

Private Collections in Georgia, Kansas, Massachusetts, New Hampshire, Rhode Island, and Vermont

By Descent in the Family of Jakob Rosenberg, former Curator of Prints at the Fogg Art Museum and Professor of Art and Architecture at Harvard University

A Private New England Collection

By Descent in the Family of Arthur Dennis Veasey, Haverhill, Massachusetts

Property sold to benefit the Colonial Williamsburg Foundation

A Private Toronto, Canada, Collection

By Gift from Ruth Asawa The Collection of Joseph Thomas Alvarez III, California Massachusetts Estates The Estate of Arthur Clifton Goodwin The Estate of Paul J. Tracey, New York State The Family of Frank Weston Benson The Family of John Way

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 1–151 to be sold Thursday, January 23, 6PM

Join us! Thursday, January 23rd | 5PM Enjoy wine and hors d’oeuvres as you preview the auction The public is welcome to attend. RSVP events@skinnerinc.com or 617.350.5400

1 Albrecht Dürer (German, 1471-1528) Christ Among the Doctors, from The Life of the Virgin, 1511, later impression without text verso (Hollstein, 203c/c; Meder, 203f/g). Monogrammed within the block. Woodcut on paper, image size 11 3/4 x 8 1/4 in. (29.4 x 20.5 cm), framed. Condition: Margins of at least 1/8 inch outside of the borderline, gentle rippling, pale overall foxing, not examined out of frame. $800-1,200

2 Francisco José de Goya y Lucientes (Spanish, 1746-1828)

3 Francisco José de Goya y Lucientes (Spanish, 1746-1828)

Caridad de una Muger, plate 49 from Los Desastres de la Guerras (Harris, 169iii/iii). Unsigned, title and plate number within the plate. Etching with aquatint on laid paper, plate size 6 1/8 x 8 1/8 in. (15.4 x 20.4 cm), framed. Condition: Pale mat burn, not examined out of frame. $200-250

Disparate Claro, from Los Proverbios, 1816-24, probably from the fifth edition of nine (Harris, 262). Unsigned. Etching with aquatint on white wove paper, image size 8 3/8 x 12 5/8 in. (21.3 x 31.9 cm), framed. Condition: Mat obscures the plate mark, not examined out of frame. $250-350

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5, partial 4

4 Wenceslaus Hollar (Bohemian, 1607-1677), After Count Hendrik Goudt (Dutch, 15831684), After Adam Elsheimer (German, 1578-1610) Young Boy Mocking Ceres, 1646 (Parthey, 273). Identified in the plate, collector’s mark (see below) to verso. Etching on laid paper, plate size 11 7/8 x 9 1/16 in. (30.1 x 22.9 cm), matted, unframed. Condition: Margins approximately 1/4 inch, horizontal crease, repair just into image along left margin, old hinges to verso, soiling and pencil annotations to verso. Provenance: Ex-collection of Fritz Rumpf (German, 1856-1927) according to collector’s mark on verso (Lugt, 2161). $200-300

5 Adriaen Jansz van Ostade (Dutch, 16101685)

6 Giovanni Domenico Tiepolo (Italian, 17271804)

Three Works: Peasant in a Pointed Fur Cap, (Godefroy, 3iii/vii); Man and Woman Conversing (G., 12iii/v); and Peasant with his Hands Behind his Back (G., 21iii/vi). Each monogrammed within the plate. Etchings on paper, image sizes to 3 3/4 x 3 1/8 in. (9.4 x 7.7 cm), framed. Condition: Various levels of toning, not examined out of frames. $300-500

The Holy Family Disembarking, from the series Flight Into Egypt, 1753, final state of two (DeVesme, 18; Rizzi, 84ii/ii). Unsigned. Etching on heavy laid paper with partial watermark of three crescents and crowned “W,” plate size 7 1/2 x 9 5/8 in. (19.0 x 24.3 cm), matted, unframed. Condition: Deckled edges to three sides, gently light-struck, minor soiling to margins, cockling to upper edge, annotated “XVIII” in pencil l.l. $700-900

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7 Rembrandt Harmensz van Rijn (Dutch, 16061669) Jan Uytenbogaert, The Goldweigher, 1639, an impression on 18th century paper (Hollstein, 281ii/ ii). Signed and dated within the plate. Etching on fine laid paper, sheet size 9 11/16 x 7 7/8 in. (24.5 x 19.8 cm), framed. Condition: Trimmed to image, loss to corner l.l., 3/8 inch tear to right edge near upper corner, two small pin or worm holes to image, backed with Japan paper. $1,200-1,800 8 Rembrandt Harmensz van Rijn (Dutch, 16061669) The Circumcision in the Stable, 1654, first state of two (Hollstein, 47 I/II). Signed and dated within the plate. Etching on laid paper, plate/sheet size 3 7/8 x 5 11/6 in. (9.6 x 14.4 cm), matted, unframed. Condition: Trimmed to and/or within the plate mark, pencil annotations to verso. Provenance: The collection of Jakob Rosenberg, former Curator of Prints at the Fogg Art Museum and Professor of Art and Architecture at Harvard University, then by descent to the current owner. $1,000-1,500

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9 Sir Frank Brangwyn (British, 1867-1956) Cannon Street Station, Interior, 1913 (Gaunt, 219). Signed “Frank Brangwyn” in pencil l.r. Etching on paper, plate size 24 3/8 x 36 7/8 in. (61.8 x 93.5 cm), framed. Condition: Gentle rippling, not examined out of frame. $400-600 9A Kees van Dongen (Dutch/French, 18771968) 9A

Odalisque, 1957, from the book edition of 200 (Juffermans, JB19 and see also JL32). Signed within the matrix, bears number “30/40” in pencil l.l. Color lithograph on paper, image size 10 1/2 x 15 in. (26.5 x 38.0 cm), framed. Condition: Gentle rippling and toning, not examined out of frame. $1,000-1,500 10 M.C. (Maurits Cornelis) Escher (Dutch, 1898-1972) Self Portrait, 1929 (Bool et al., 128). Signed and numbered “MCEscher no 23/40” in pencil l.l., initialed and dated within the matrix. Lithograph on textured cream-colored paper, image size 10 3/8 x 8 in. (26.3 x 20.3 cm), unmatted, unframed. Condition: Margins over 3/4 inches with deckled left edge, gentle toning, pale fox marks to margin, subtle staining to edge of upper margin. Provenance: A private collection, Rhode Island. $600-800

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12, partial

11 Léonard Tsuguharu Foujita (French/Japanese, 1886-1968)

12 Léonard Tsuguharu Foujita (French/Japanese, 1886-1968)

Chat assis de face, 1925, edition of 30 plus proofs. Signed, dated, and inscribed (in Japanese characters) “Foujita...1925” in pencil l.r., monogrammed within the matrix, numbered “22/30” in pencil l.l. Lithograph on paper, image size 9 5/8 x 12 1/2 in. (24.4 x 31.5 cm), matted, unframed. Condition: Margins 2 1/4 inches or more, toning, light-staining, pale foxing, minor crimps to corners, pencil annotations to lower margin, hinges broken.

Five Plates from Book of Cats, 1929, edition of 500, published in 1930 by Covici-Friede, New York (Buisson, II.30.127). Each inscribed “Foujita” in pencil l.r., signed and dated within the matrix, and stamped “MADE IN FRANCE.” Collotypes on paper, sheet sizes 10 x 12 3/4 in. (32.4 x 25.5 cm), matted, unframed. Condition: Two are vertical, minor even toning, several with fox marks or small stains.

N.B. The composition is very closely related to a painting of the same year and titled Chat, although the markings on the cat are different (see Buisson, II.25.41). $300-500

N.B. Sold to benefit Blessed Sacrament Church, Rochester, New York. $3,000-5,000

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13 Charles Gesmar (French, 1900-1928) Mistinguett, 1925, printed by H. Chachoin, Paris. Signed and identified within the matrix. Color lithographic poster, sight size 63 x 47 1/2 in. (160.0 x 120.7 cm), framed. Condition: Even toning to sheet, unobtrusive folds and handling creases (some probably stabilized and/ or retouched), stray ink and marks, not examined out of frame. $700-900 14 Max Klinger (German, 1857-1920) Psyche mit der Lampe, plate 19 from Amor und Psyche (Opus V), 1880 (Singer, 82). Signed “Max Klinger” in pencil l.r., numbered “6” within the plate. Etching with aquatint on chine volant, sheet size 14 1/8 x 10 7/16 in. (35.8 x 26.4 cm), matted, unframed. Condition: Pinhole to right margin, minor handling creases, unpressed crease near corner of margin l.r. $600-800 15 Henri Matisse (French, 1869-1954) La Cité - Notre-Dame, 1937, edition of 500 (Duthuit, 248). Signed within the plate. Etching on paper, plate size 13 3/8 x 10 3/16 in. (33.8 x 25.8 cm), framed. Condition: Not examined out of frame. $500-700 15

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16 Jean-François Millet (French, 1814-1875) La cardeuse, c. 1855-56 (Delteil, 15). Unsigned, identified on a label from Associated American Artists, New York, affixed to the backing. Etching printed in brown/black ink on paper, plate size 10 1/8 x 7 in. (25.6 x 17.6 cm), framed. Condition: Not examined out of frame. $400-600 17 Orsi (French, 1889-1947) Mistinguett. Signed and identified within the matrix. Color lithographic poster, sight size 63 x 47 1/2 in. (160.0 x 120.7 cm), framed. Condition: Even toning to sheet, folds and creases (many with visible breaks to ink), not examined out of frame. $800-1,200 18 James Jacques Joseph Tissot (French, 1836-1902)

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La soeur aînée, 1881, the published state, edition of 100 (Wentworth, 53). Signed and dated within the plate. Etching and drypoint on laid paper, plate size 11 3/8 x 5 7/8 in. (28.8 x 15.0 cm), unmatted, unframed. Condition: Full sheet with deckled right edge, handling creases, subtle soiling to margins, pencil annotations to verso, two areas of glue residue to upper edge on verso. $800-1,200

19 Georges Rouault (French, 1871-1958) Ballerine, 1932, from Cirque, edition of 270, printed by Maurice Potin, Paris, published by Ambroise Vollard Éditeur, Paris (Chapon/ Rouault 205; Wofsy 205). Unsigned. Color aquatint and etching on textured cream paper, plate size 12 x 7 7/8 in. (30.5 x 19.8 cm), unmatted, unframed. Condition: Full sheet with deckled edges to all but the right side, subtle toning to margins, pencil annotations to lower margin, brown paper tape to right edge on verso. $800-1,200 19A Georges Rouault (French, 1871-1958) Le Petit Nain, 1934, from Cirque de l’Étoile Filante, 1938, total edition of 250, published by Ambroise Vollard, Paris, printed by Lacourière, Paris (Chapon/Rouault 243; Wofsy 322). Initialed and dated within the plate. Color etching and aquatint on paper, plate size 12 1/4 x 8 3/8 in. (31.0 x 21.2 cm), unmatted, unframed. Condition: Image gently light-stained, old hinges/residue to upper corners on verso, pencil annotations to verso. Provenance: The collection of Jakob Rosenberg, former Curator of Prints at the Fogg Art Museum and Professor of Art and Architecture at Harvard University, then by descent to the current owner. $500-700

19A

20 Georges Rouault (French, 1871-1958) Les disciples, 1936, from Passion, 1939, total edition of 270, published by Ambroise Vollard, Paris (Chapon/Rouault, 272b; Wofsy, 352). Initialed and dated within the plate. Color etching and aquatint on cream wove paper, plate size 12 x 8 5/8 in. (30.6 x 21.6 cm), unmatted, unframed. Condition: Full sheet with deckled edges to all but the left side, unobtrusive crimps to some deckles, brown paper tape/residue to upper edge on the verso. $800-1,200

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22, partial

21 Georges Rouault (French, 1871-1958)

22 William Strang (Scottish, 1859-1921)

23 Peggy Bacon (American, 1895-1987)

Paysage à la tour, 1938, from Les fleurs du mal 1936-38, edition of 250, published by Ambroise Vollard, Paris, printed by Lacourière, Paris (Chapon/Rouault, 281b; Wofsy, 279). Initialed and dated within the plate. Color etching and aquatint on paper, plate size 12 3/8 x 8 1/2 in. (31.4 x 21.5 cm), framed. Condition: Gentle rippling, not examined out of frame. $600-800

Illustrations for The Doings of Death/A Portfolio of Twelve Works, 1901, published by Essex House Press, London. Each print monogrammed within the block and titled in pencil, inscribed “No. 15” in ink on the colophon. Chiaroscuro woodcuts on laid paper with posy 1888-1898 watermark, image sizes approximately 11 1/2 x 11 1/4 in. (29.1 x 28.4 cm), presented in the original folio (staining and wear). Condition: Full sheets with registration pinholes to upper and lower margins, gentle cockling, staining. $150-200

The Untilled Fields, 1936, published by Associated American Artists, New York, 1937, edition of 250 (Flint 132; AAA/Czestochowski, 1937.002). Signed “Peggy Bacon.” in pencil l.r., titled in pencil l.l., identified on a fragmentary label from AAA affixed to the backing. Etching and drypoint on paper, plate size 6 x 7 3/8 in. (15.1 x 18.7 cm), framed. Condition: Not examined out of frame. $400-600

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24 Frank Weston Benson (American, 18621951) Rising Geese, 1924, trial proof D-4 (Paff, 238). Signed “FrankWBenson.” in pencil l.l., pencil annotations l.l. Drypoint on laid paper, plate size 6 7/8 x 8 3/4 in. (17.4 x 22.2 cm), unmatted, unframed. Condition: Full sheet with deckled edges, rich burr, soiling/fingerprints to margins, pencil annotations to lower margin. Provenance: Descended within the family of the artist.

N.B. Paff lists only three trial proof states prior to the published state, and the composition in this D proof is complete, so it may be more correct to consider it a proof of the published state. $300-500 25 Frank Weston Benson (American, 18621951) Two Proof Impressions of Canvasbacks, 1926, proofs A-7 and B-3 (Paff, 261). Both signed “FrankWBenson.” in pencil l.l. and with pencil annotations l.l. Etchings on laid paper (different watermarks), plate sizes 5 7/8 x 11 3/4 in. (14.8 x 29.8 cm), unmatted, unframed. Condition: Deckled upper edge to A, unobtrusive soiling and handling creases to margins of A. Provenance: Descended within the family of the artist.

25, partial

N.B. Paff describes only one trial state, so the impression marked B-3, which shows the completed composition, may in fact be a trial of the published state. $600-800 26 Frank Weston Benson (American, 18621951) The Passing Flock, 1927, published 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: Full sheet with deckled left and lower edges, pencil annotations to lower margin, minor creases to lower margin at edge. Provenance: Descended within the family of the artist. $300-500

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27 Frank Weston Benson (American, 1862-1951)

Yellowlegs in Sunlight, 1928, published state of 150 (Paff, 285). Signed “FrankWBenson.” in pencil l.l., initialed and dated within the plate. Drypoint on laid paper with “ENGLAND” watermark, plate size 9 7/8 x 7 3/4 in. (25.0 x 19.5 cm), unmatted, unframed. Condition: Full margins with deckled left and lower edges, pencil annotations l.l., brown paper hinges/residue to margins at upper corners. Provenance: Descended within the family of the artist. $600-800 28 Frank Weston Benson (American, 1862-1951) Casting for Salmon, 1929, published state of 150 (Paff, 288). Signed “FrankWBenson.” in pencil l.l. Etching on laid paper, plate size 7 3/4 x 9 7/8 in. (19.5 x 25.1 cm), unmatted, unframed. Condition: Full margins with deckled right and lower edges, pencil annotations l.l. Provenance: Descended within the family of the artist. $600-800 29 Frank Weston Benson (American, 1862-1951) Two Black Ducks, 1930, proof impression B-1 (Paff, 295). Signed “FrankWBenson.” in pencil l.l. Drypoint on laid paper, plate size 14 3/4 x 11 7/8 in. (37.5 x 30.0 cm), unmatted, unframed. Condition: Full sheet with deckled edges, soiling to margins, several small fox marks, creases (primarily to margins), pencil annotations to lower margin, glue/hinge residue to verso near upper edge.

Provenance: Descended within the family of the artist. N.B. Benson made four proof states of this composition prior to the published state, but all of the essentials are visible in this second state. The subsequent states add further tone and shadows to the horizon and sky. $500-700

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30 Frank Weston Benson (American, 18621951)

31 Frank Weston Benson (American, 18621951)

32 Thomas Hart Benton (American, 18891975)

Pair of Snipe, 1931, published state, edition of 150 (Paff, 323). Signed “FrankW.Benson.” in pencil l.l. Etching on wove paper, plate size 3 7/8 x 5 3/4 in. (9.7 x 14.4 cm), unmatted, unframed. Condition: Full sheet with deckled right and lower edges, pencil annotations to lower margin.

Tired Geese, 1933, impression of proof A-2 (Paff, 332). Signed “FrankWBenson.” in pencil l.l., inscribed “A-2” in pencil l.l., Boston Public Library, Merrill Bequest stamp (Lugt, 4745) l.r. Etching on laid paper with “ENGLAND” watermark, plate size 5 15/16 x 8 1/8 in. (15.0 x 20.5 cm), unmatted, unframed. Condition: Full sheet with deckled edges, pencil annotations to lower and left margins, minor soiling and creases to margins.

Swampland, from the series Swamp Water, 1941, published by Associated American Artists, New York, edition of 100 (Fath, 49; AAA/Czestochowski, 1941.006). Signed “Benton” in pencil l.r., identified on a label from AAA affixed to the backing. Lithograph on paper, image size 18 x 12 7/8 in. (45.7 x 32.4 cm), framed. Condition: Gentle rippling, not examined out of frame. $1,800-2,200

Provenance: Descended within the family of the artist. $250-350

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

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33 Mary Cassatt (American, 1844-1926) Sara Smiling, c. 1904 (Breeskin, 195). Unsigned, identified on labels from Associated American Artists, New York, affixed to the backing. Drypoint with hand-coloring on paper, plate size 9 1/8 x 6 3/8 in. (23.2 x 16.0 cm), framed. Condition: Pale toning, unobtrusive mat burn, not examined out of frame. $700-900 34 Mary Cassatt (American, 1844-1926) Looking into the Hand Mirror No. 2, c. 1905 (Breeskin, 202). Unsigned. Drypoint on blue/gray laid paper, plate size 8 1/4 x 5 3/4 in. (20.8 x 14.4 cm), framed. Condition: Full sheet with deckled edges, pale fox marks, hinged at upper corners, old hinges to left edge on verso. $400-600 35 John Steuart Curry (American, 1897-1946) Summer Afternoon, 1939, edition of 250, published by Associated American Artists (Czestochowski, C-36). Signed â&#x20AC;&#x153;John Steuart Curryâ&#x20AC;? in pencil l.r., initialed within the matrix, label from AAA affixed to the backing. Lithograph on paper, image size 9 15/16 x 14 in. (25.1 x 35.5 cm), framed. Condition: Unobtrusive toning, foxing, not examined out of frame. $250-350 34

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38 37

36 Ernest Fiene (American, 1894-1965)

37 Peter Hurd (American, 1904-1984)

38 Alfred Heber Hutty (American, 1877-1954)

Waterfront (Manhattan), 1931, edition of 100 (Coven, 64). Signed and dated “Ernest Fiene 31.” in pencil l.r., numbered “39/100” in pencil l.l. Lithograph on BFK Rives paper with watermarks, image size 11 1/8 x 17 3/4 in. (28.2 x 45.0 cm), matted, unframed. Condition: Full sheet with deckled edges, pencil annotations to lower margin, very subtle toning/soiling to left margin. $600-800

Sheepherder, 1937, edition of 250, published by Associated American Artists, New York (AAA/Czestochowski, 1937.055). Signed “Peter Hurd” in pencil l.r. and within the matrix, titled in pencil l.l. Lithograph on paper, image size 15 1/8 x 12 1/4 in. (38.3 x 31.1 cm), unmatted, unframed. Condition: Full sheet with deckled edges, old hinges to upper corners on recto. $300-500

Smyth Gate, Charleston, 1927, edition of 150 (Crafton Collection, 39). Signed “Alfred Hutty...” in pencil l.r. Etching on laid paper, plate size 7 3/4 x 8 3/4 in. (19.6 x 22.1 cm), matted, unframed. Condition: Full sheet with deckled upper and right edges, very subtle light-staining. $400-600

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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 Martin Lewis (American, 1881-1962) R.F.D., 1933, edition of 145 plus proofs (McCarron, 106). Signed “Martin Lewis-” in pencil l.r., signed within the plate, identified on a label from Kennedy & Co., New York, affixed to the backing. Drypoint and sand ground on paper, plate size 9 7/8 x 11 3/4 in. (25.0 x 29.6 cm), framed. Condition: Margins 1 3/8 inches or more, very subtly light-stained within mat opening. N.B. According to McCarron, Kennedy & Co. purchased 135 impressions of this print from Lewis. The scene is located in Sandy Hook, Connecticut, and the name on the mailbox is a reference to Lewis’s friend and fellow printmaker Armin Landeck. $800-1,200

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41 Reginald Marsh (American, 1898-1954) 10th Ave. at 27th St., 1931, final state, probably from the 1956 edition (Sasowsky, 128). Signed and dated within the plate. Engraving on paper, plate size 7 3/4 x 10 7/8 in. (19.5 x 27.5 cm), unmatted, unframed. Condition: Full margins with deckled lower edge, subtle soiling. $300-500 42 Reginald Marsh (American, 1898-1954) Union Square, 1933, edition of 300 (Sasowsky, 27). Signed â&#x20AC;&#x153;Reginald Marshâ&#x20AC;? in pencil l.r., initialed and dated within the matrix. Lithograph on wove paper, image size 13 1/2 x 8 1/2 in. (34.2 x 21.5 cm), matted, unframed. Condition: Full sheet with deckled edges, very pale light-staining, pencil annotations to verso. N.B. This composition is sometimes known as Washington Takes Union Square, after the painting by the same name and subject. $700-900

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43 James Abbott McNeill Whistler (American, 1834-1903) Annie, 1857-58, sixth state of seven (Glasgow, 7vi/vii; Kennedy, 10). Signed, titled, and inscribed within the plate. Etching on paper, plate size 4 5/8 x 3 1/8 in. (11.6 x 7.9 cm), framed. Condition: Not examined out of frame. N.B. Annie Harriet Haden was the daughter of Whistlerâ&#x20AC;&#x2122;s close friend and fellow artist Francis Seymour Haden. She appears in three of Whistlerâ&#x20AC;&#x2122;s etchings. $700-900 44 James Abbott McNeill Whistler (American, 1834-1903) Fumette, 1858, final state (Glasgow, 12v/v; Kennedy, 13). Signed and inscribed within the plate. Etching on paper, plate size 6 1/2 x 4 1/4 in. (16.4 x 10.7 cm), framed. Condition: Not examined out of frame. $700-900 45 James Abbott McNeill Whistler (American, 1834-1903)

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La vieille aux loques, 1858, final state (Glasgow, 27iv/iv; Kennedy, 21). Signed in the plate, identified on a label from Associated American Artists, New York, affixed to the backing. Etching on paper, plate size 8 1/4 x 5 3/4 in. (20.8 x 14.6 cm), framed. Condition: Not examined out of frame. $400-600

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

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

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

Rag Pickers, Quartier Mouffetard, Paris, 1858, final state of five (Glasgow, 29v/v; Kennedy, 23). Signed and dated within the plate. Etching on paper, plate size 6 1/16 x 3 1/2 in. (15.2 x 8.8 cm), framed. Condition: Gentle rippling, not examined out of frame. $500-700

Old Westminster Bridge, 1859, third state of four (Glasgow, 47iii/iv; Kennedy, 39). Signed and dated within the plate. Etching on laid paper with partial watermark, plate size 3 x 7 7/8 in. (7.5 x 20.1 cm), partially matted, unframed. Condition: Glue and old hinge residue to upper corners of verso, pencil annotations to verso. $300-500

Limehouse, 1859, final state, printed in 1871 or later (Glasgow, 48vi/vi; Kennedy, 40iii/iii). Signed and dated within the plate. Etching on fine paper, plate size 5 x 7 15/16 in. (12.6 x 20.3 cm), framed. Condition: Light-toned, pale foxing, gentle rippling, not examined out of frame. $500-700

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49 James Abbott McNeill Whistler (American, 1834-1903) Billingsgate, 1859, probably the final state (Glasgow, 51ix/ix; Kennedy, 47). Signed and dated within the plate. Etching on paper, plate size 5 7/8 x 8 7/8 in. (15.0 x 22.5 cm), framed. Condition: Gentle rippling, not examined out of frame. $700-900 50 James Abbott McNeill Whistler (American, 1834-1903) Soupe Ă trois sous, 1859, only state (Glasgow, 64; Kennedy, 49). Signed within the plate. Etching on fine laid paper, plate size 6 x 9 in. (15.3 x 22.7 cm), matted, unframed. Condition: Deckled edges, spots of glue residue/staining to edges, tear just into image u.l., nicks/losses to edges, light-stained. $400-600

51 James Abbott McNeill Whistler (American, 1834-1903) Millbank, 1861, final state (Glasgow, 78v/v; Kennedy, 71). Dated within the plate. Etching on wove paper, plate size 4 x 4 15/16 in. (10.1 x 12.4 cm), unmatted, unframed. Condition: Deckled right and lower edges, foxing, unobtrusive toning, old hinges to verso at upper corners, nick with minor loss to lower edge and to u.l. corner, pencil annotations to lower margin and verso. $300-500

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

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

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

The Punt, 1861, fourth state of six (Glasgow, 82iv/vi; Kennedy, 85). Signed and identified within the plate. Etching on chine collĂŠ, plate size 4 7/8 x 6 1/2 in. (12.3 x 16.4 cm), matted, unframed. Condition: Pale foxing and toning to supporting sheet (more so to verso), glue/ residue to lower edge of lower margin, loss and creasing to u.l. corner, hinges detached plus old hinges to verso at all corners, pencil annotations to lower margin and verso. $400-600

Little Putney Bridge, 1879, final state (Glasgow, 186v/v; Kennedy, 179). Butterfly monogram in the plate. Etching on wove paper, plate size 5 1/4 x 8 1/8 in. (13.3 x 20.5 cm), unmatted, unframed. Condition: Margins 2 inches or more, crease to upper margin parallel to upper edge plus minor additional creases to margins near corners, gentle toning, pencil annotations to verso. $400-600

Alderney Street, 1881, second state of three, published in the Gazette des BeauxArts, Paris (Glasgow, 246ii/iii; Kennedy, 238). Monogrammed and identified within the plate. Etching with plate tone on wove paper, plate size 7 x 4 1/2 in. (17.8 x 11.3 cm), unmatted, unframed. Condition: Margins over 1 1/4 inches, gentle toning plus unobtrusive staining, old glassine or similar hinges to right edge on verso. $300-500

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55 Grant Wood (American, 1891-1942) Tree-Planting Group, 1937, edition of 250, published by Associated American Artists (Czestochowski, W-3). Signed and dated “Grant Wood - 1937” in pencil l.r. Lithograph on paper, image size 8 1/2 x 11 in. (21.5 x 27.8 cm), framed. Condition: Pale mat burn, not examined out of frame. $1,500-2,000 56 Shusaku Arakawa (Japanese/American, 1936-2010) A Man Walking, 1968, edition of 100. Signed “ARAKAWA” in pencil within the image l.r., numbered “3/100” in pencil l.l., titled and dated within the matrix. Color screenprint on paper, sight size 30 x 22 1/4 in. (76.2 x 56.4 cm), framed. Condition: Not examined out of frame. $500-700

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57 Jean (Hans) Arp (French, 1886-1966) Figurationen (Drei Elemente), 1962, edition of 75 (Arntz, 348). Signed “Arp” in pencil l.l., numbered “63/75” in pencil l.r. Color lithograph on paper, image size 12 3/8 x 9 7/8 in. (31.3 x 24.9 cm), framed. Condition: Full sheet with deckled edges, laid down, subtle toning, glue residue to outer edges of margins, mat burn. $300-500 58 Gillian Ayres (British, 1930-2018) Cinnabar, 1999, edition of 12. Signed and dated “G. Ayres 99” in pencil within the image l.l., numbered “12/12” in pencil within the image l.r., identified on a label affixed to the backing. Hand-colored etching with carborundum on terra-cotta paper, image/ sheet size 14 3/4 x 21 in. (37.3 x 53.3 cm), framed. Condition: Rippling, deckled edges (with minor crimps/creases), floated within the frame, not examined out of frame. $700-900 57

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59 Leonard Baskin (American, 1922-2000) Little Bird Arapahoe, 1973, edition of 100 (Fern & O’Sullivan, 622). Signed “Baskin” in pencil l.r., numbered “22/100” in pencil l.l., signed, dated, and titled within the matrix. Color lithograph on paper, image size 33 3/8 x 24 1/8 in. (84.6 x 61.2 cm), unmatted, unframed. Condition: Full sheet with deckled edges, several nicks/tears to edges, subtle handling creases. $400-600 60 Leonard Baskin (American, 1922-2000) Pea-Tuy-Tuck - Sac and Fox, 1973, edition of 100 (Fern & O’Sullivan, 634). Signed “Baskin” in pencil l.r., signed, titled, and dated within the matrix, numbered “47/100” in pencil l.l. Color lithograph on cream wove paper, image size 34 1/4 x 23 3/4 in. (86.9 x 60.3 cm), unmatted, unframed. Condition: Full sheet with deckled edges, minor handling creases. $400-600 60

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61 Leonard Baskin (American, 1922-2000)

Crow Ikon, 1982, edition of 50 (Fern & O’Sullivan, 686). Signed “Baskin” in pencil l.r., numbered “20/50” in pencil l.l., printer’s dry stamp l.c. Lithograph in black and blues on heavy wove paper, image size 44 x 32 1/4 in. (111.5 x 81.8 cm), unmatted, unframed. Condition: Full sheet with deckled edges, handling creases. $400-600 62 Georges Braque (French, 1882-1963) Protective Interior Page from Si je mourais là-bas, 1962, from the edition of 70, aside from the book edition (Vallier, 181). Signed “G Braque” in pencil l.r., numbered “5/70” in pencil l.l., a label from the Vincent Price Collection affixed to the backing. Color wood engraving on paper, image size 10 x 9 1/2 in. (25.4 x 24.1 cm), framed. Condition: Not examined out of frame. $600-800 63 Georges Braque (French, 1882-1963) Page 15, from Lettera Amorosa, 1958-63, from the edition of 75, aside from the book edition (Vallier, 187). Signed “G Braque” in pencil l.r., numbered “49/75” in pencil l.l. Color lithograph on paper, image size 9 1/2 x 7 in. (24.0 x 17.7 cm), framed. Condition: Gentle toning, not examined out of frame. $700-900

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63A

63A Marc Chagall (Russian/French, 1887-1985) Le bouquet à la main, 1957, edition of 90 (outside of the large book edition), published by Maeght, Paris (Mourlot, 207). Signed “Marc Chagall” in pencil l.r., numbered “44/90” in pencil l.l. Lithograph on paper, image size 9 3/4 x 7 1/4 in. (24.6 x 18.3 cm), framed. Condition: Deckled right and lower edges, floated within the frame, not examined out of frame. $1,000-1,500 64 Marc Chagall (Russian/French, 1887-1985) Le ciel des amoureux, 1964, edition of 20 (Mourlot, 426). Signed “Marc Chagall” in pencil l.r., numbered “11/20” in pencil l.l. Lithograph on paper, image size 25 3/8 x 19 7/8 in. (64.4 x 50.4 cm), framed. Condition: Possible subtle toning, not examined out of frame. N.B. This composition was also printed in a color edition of 30. $2,000-3,000

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65 Marc Chagall (Russian/French, 1887-1985) Plate 2 from La féerie et le royaume, 1972, edition of 180 plus proofs, published by Mourlot Éditeur, Paris (Cramer Books, 88). Signed “Marc Chagall” in pencil within the image l.r., numbered “82/180” in pencil within the image l.l. Color lithograph on paper, image size 11 3/4 x 8 5/8 in. (28.7 x 21.8 cm), framed. Condition: Toning (both recto and verso), old glue/residue to verso. $1,000-1,500

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66 Lygia Clark (Brazilian, 1920-1988)

67 Lygia Clark (Brazilian, 1920-1988)

68 Jim Dine (American, b. 1935)

Untitled, 1972, edition of 100. Signed and dated “Clark ‘72” in pencil l.r., numbered “100/100” in pencil l.l. Screenprint in red, blue, yellow, and cream on paper, image size 36 x 36 in. (91.4 x 91.4 cm), framed. Condition: Minor toning to margins, minor fox marks, floated within the frame, not examined out of frame. $800-1,200

Untitled, 1972, edition of 100. Signed and dated “Clark 72” in pencil l.r., numbered “97/100” in pencil l.l. Screenprint in black and cream on paper, image size 36 x 36 in. (91.4 x 91.4 cm), framed. Condition: Toning to margins, minor soiling and fox marks, floated within the frame, not examined out of frame. $800-1,200

Untitled (Robe for the Korean Olympics), 1988, edition of 300 plus proofs printed by Angeles Press, Los Angeles. Inscribed, signed, and dated “Angeles press proof Dine 88” in pencil l.c., dry stamp l.l. Color lithograph on wove paper, sheet size 35 x 26 3/4 in. (88.8 x 65.0 cm), framed. Condition: Full sheet with deckled edges, minute crimps/creases to several deckles, floated within the mat, not examined out of frame. $1,000-1,500

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69 Shepard Fairey (American, b. 1970) Luxurious Sounds, from the series 50 Shades of Black, 2014, edition of 50, published by Obey Fine Art Editions, Los Angeles, printed by Modern Multiples Fine Art Editions, Los Angeles. Signed and dated “Shepard Fairey 13” in pencil l.r., numbered “28/50” in pencil l.r., printer’s dry stamp l.l. Screenprint on varnished cotton rag archival paper, sheet/image size 42 x 42 in. (106.7 x 106.7 cm), unmatted, unframed. Condition: Full sheet with deckled edges, very subtle areas of minor soiling and rubs, several minor crimps/unpressed creases to deckles.

N.B. A certificate of authenticity from Obey Giant Art and Obey Giant Fine Art Editions accompanies the lot. $500-700 70 Shepard Fairey (American, b. 1970) C’mon Everybody, from the series 50 Shades of Black, 2014, edition of 50, published by Obey Fine Art Editions, Los Angeles, printed by Modern Multiples Fine Art Editions, Los Angeles. Signed and dated “Shepard Fairey 13” in pencil l.r., numbered “28/50” in pencil l.r., printer’s dry stamp l.l. Screenprint on varnished cotton rag archival paper, sheet/image size 42 x 42 in. (106.7 x 106.7 cm), unmatted, unframed. Condition: Full sheet with deckled edges, very subtle areas of minor soiling and rubs, several minor crimps/unpressed creases to deckles. N.B. A certificate of authenticity from Obey Giant Art and Obey Giant Fine Art Editions accompanies the lot. $500-700

71 Shepard Fairey (American, b. 1970) Classic Discs, from the series 50 Shades of Black, 2014, edition of 50, published by Obey Fine Art Editions, Los Angeles, printed by Modern Multiples Fine Art Editions, Los Angeles. Signed and dated “Shepard Fairey 14” in pencil l.r., numbered “28/50” in pencil l.r., printer’s dry stamp l.l. Screenprint on varnished cotton rag archival paper, sheet/ image size 42 x 42 in. (106.7 x 106.7 cm), unmatted, unframed. Condition: Full sheet with deckled edges, very subtle areas of minor soiling and rubs, several minor crimps/unpressed creases to deckles. N.B. A certificate of authenticity from Obey Giant Art and Obey Giant Fine Art Editions accompanies the lot. $500-700

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73 72, partial

72 James Lee Hansen (American, 1952-1997) Eleven Plates from Saltimbanques, 1992, edition of 25. Each sheet titled, numbered, signed and dated “19/25...James Hansen 1992” in pencil along the lower edge and with publisher’s dry stamp l.l. Etchings with aquatint, sugarlift, and spitbite (several with hand-coloring) on Arches paper with watermark, sheet sizes 22 1/2 x 19 1/2 in. (57.0 x 49.4 cm), presented in the original folio folder. Condition: Full sheets with deckled edges, unobtrusive crimps to some deckles. N.B. The plates included are II Face of Beauty; IV Youth; VI Faces of Color; VII Somnambulist; VIII Face of Love; IX Child of Nature; XII Face with a Narrow Mind; XIII Face of Music; XIV Face of Home; XV Face of Faith; and XVII Face of Maturity. The complete set had seventeen plates. $300-500

73 Erich Heckel (German, 1883-1970)

74 Patrick Heron (British, 1920-1999)

Frau schlafend, 1953, second state of five (Dube, H406b1II). Signed and dated “Heckel 53” in pencil l.r., inscribed and titled “IIme...” in pencil l.l. Woodcut in olive/ochre and black on paper, image size 11 1/4 x 10 in. (28.4 x 25.5 cm), framed. Condition: Not examined out of frame.

Night Violet, 1980, edition of 50, published by Waddington Graphics, London. Signed and dated “Patrick Heron 80” in pencil l.r., numbered “2/50” in pencil l.l., identified on a label from the Clark Gallery, Lincoln, Massachusetts, affixed to the backing. Color etching and aquatint on paper, plate size 21 1/2 x 27 1/4 in. (54.5 x 69.0 cm), framed. Condition: Gentle rippling, not examined out of frame. $1,000-1,500

Provenance: Private collection, Rhode Island. $500-700

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75 David Hockney (British, b. 1937) Discord Merely Magnifies, plate 7 from the series The Blue Guitar, 1976-77, edition of 200 plus proofs, Petersburg Press, London (MCAT, 184). Signed “David Hockney” in pencil l.r., numbered “88/200” in pencil l.l., identified on a label from the Wagon Road Gallery, Roslyn Heights, New York, affixed to the backing. Color etching with aquatint on paper, plate size 13 5/8 x 16 3/4 in. (34.5 x 42.2 cm), framed. Condition: Full sheet with deckled edges, subtle rippling, pale foxing, soiling (almost exclusively to left margin), floated within the frame, not examined out of frame. $1,500-2,000 76 David Hockney (British, b. 1937)

I Say They Are, plate 16 from the series The Blue Guitar, 1976-77, edition of 200 plus proofs, Petersburg Press, London (MCAT, 184). Signed “David Hockney” in pencil l.r., numbered “88/200” in pencil l.l., identified on a label from the Wagon Road Gallery, Roslyn Heights, New York, affixed to the backing. Color etching with aquatint on paper, plate size 13 5/8 x 16 3/4 in. (34.5 x 42.2 cm), framed. Condition: Full sheet with deckled edges, subtle rippling, pale foxing (primarily to lower margin), floated within the frame, not examined out of frame. $1,500-2,000

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77 David Hockney (British, b. 1937) Joe with David Harte, 1979, edition of 39 plus proofs, published by Tyler Graphics, Ltd., Bedford Village, New York (Tyler Graphics, 262:DH49). Numbered, signed, and dated “17/39 David Hockney 79” in pencil u.l., publisher’s dry stamp l.l., identified on labels from Clark Gallery, Lincoln, Massachusetts, ArtCetera ‘86, Boston, and Mona Berman Gallery, New Haven, Connecticut, all affixed to the backing. Color lithograph on paper, image size 44 x 31 3/4 in. (111.5 x 80.5 cm), framed. Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame. $2,500-3,500

78 After Wassily Kandinsky (Russian, 18661944) Kleine Welten II, 1922. Signed, monogrammed, and dated within the weave. Carpet-woven wall hanging, 77 x 47 3/4 in. (195.6 x 121.3 cm), including hanging bar. Condition: Subtle soiling/staining, minor spots of wear/loss to pile. $1,500-2,000

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79 After Wassily Kandinsky (Russian, 18661944) Promenade, 1920, published by Maeght Éditeur, Paris, edition of 300. Monogrammed and dated within the matrix, numbered “30/300” in pencil l.r., publisher’s dry stamp l.l. Color lithograph on paper, image size 13 7/8 x 10 3/4 in. (35.2 x 27.3 cm), framed. Condition: Possible subtle toning, not examined out of frame. $300-500 80 After Wassily Kandinsky (Russian, 18661944) La tache noire, 1924, published by Maeght Éditeur, Paris, edition of 300. Monogrammed and dated within the matrix, numbered “7/300” in pencil l.r., publisher’s dry stamp l.l. Color lithograph on paper, image size 11 3/8 x 11 in. (28.9 x 27.7 cm), framed. Condition: Toning, not examined out of frame. $300-500

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81 Fernand Léger (French, 1881-1955) Le port de Trouville, 1951, edition of 75 printed by Mourlot, Paris, published by Galerie Louise Leiris, Paris (Sapphire, 117). Signed “F.Leger” in ink l.r., numbered “6/75” in pencil l.l., identified on labels from B.C. Holland, Inc. and Palmer House Galleries, both Chicago, on the backing. Color lithograph on paper, image size 14 x 18 in. (35.5 x 45.5 cm), framed. Condition: Gentle rippling, unobtrusive toning and mat burn, signature faded, not examined out of frame. $2,000-3,000 82 Joan Miró (Spanish, 1893-1983) La boîte alerte, 1959, edition of 200 plus proofs, printed by Galerie Cordier, Paris, published by Mourlot, Paris (Mourlot, 195). Signed “Miró.” in pencil l.r., numbered “88/200” in pencil l.l., identified on labels affixed to the backing. Color lithograph on paper, image size, 7 1/2 x 5 in. (18.9 x 12.5 cm), framed. Condition: Tear just into image c.l., not examined out of frame. $500-700 82

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83 Henry Moore (British, 1898-1986) Reclining Figure Architectural Background IV, 1977, edition of 100 plus proofs, published/printed by N. Helion Editions Productions, Paris, and Curwen Prints Ltd., London (Cramer et al., 457). Signed “Moore” in pencil l.r., numbered “77/100” in pencil l.l. Color lithograph on paper, image size 12 1/2 x 15 in. (31.6 x 38.0 cm), framed. Condition: Gentle rippling, not examined out of frame. $700-900 84 Pablo Picasso (Spanish, 1881-1973)

Portrait de Famille, Quatre personnages, 1962, edition of 50 (Bloch, 1032). Signed “Picasso” in blue pencil l.r., dated within the matrix, numbered “19/50” in pencil l.l. Lithograph on wove paper, image size 17 1/2 x 23 1/4 in. (44.4 x 58.9 cm), framed. Condition: Even toning, not examined out of frame. $3,500-5,500

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85 Robert Rauschenberg (American, 19252008) Hillary Rodham Clinton Campaign Print, 2000, edition of 100, published by Universal Limited Art Editions, West Islip, New York. Signed, numbered, and dated “RAUSCHENBERG 47/100 2K” in pencil within the image l.c. Pigmented inkjet print in colors on wove paper, image size 35 x 26 in. (88.8 x 66.0 cm), framed. Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame. $2,000-3,000 86 Pierre Soulages (French, b. 1919) Eau-forte No. 15, 1961, edition of 100, published by Lacourière, Paris (Rivière, XV). Signed “Soulages” in pencil l.r., inscribed “epreuve d’artiste” in pencil l.l. Color aquatint on paper, plate size 23 1/2 x 17 1/4 in. (59.5 x 43.6 cm), framed. Condition: Toning, gentle rippling, not examined out of frame. $800-1,200

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87 Victor Vasarely (Hungarian/French, 19061997) Untitled, edition of 150. Signed “Vasarely-” in pencil l.r., numbered “45/150” in white ink l.l. Color screenprint on black paper, image size 14 1/4 x 20 1/2 in. (36.2 x 52.0 cm), framed. Condition: Not examined out of frame. $400-600 88 Andy Warhol (American, 1928-1987) Edward Kennedy, 1980, edition of 300 plus proofs, published by the Kennedy for President Committee, Washington, DC (Feldman & Schellmann, II.240). Numbered and signed “155/300 Andy Warhol” in pencil (within the image) l.r. Screenprint with diamond dust on paperboard, sight size 39 5/8 x 31 3/4 in. (100.5 x 80.5 cm), framed. Condition: Staining to lower half, handling creases near right side, not examined out of frame. $4,000-6,000

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89 Tom Wesselmann (American, 1931-2004) Vivienne, 1986, edition of 200. Signed and numbered “Wesselmann 107/200” in pencil l.r. Color offset screenprint on paper, image diameter 10 1/4 in. (25.8 cm), framed. Condition: Gentle toning/fading, not examined out of frame. $1,800-2,200 90 Tom Wesselmann (American, 1931-2004) Judy on a Blue Blanket, 2000, edition of 75. Signed and numbered “Wesselmann 41/75” in pencil l.r. Color screenprint on paper, image size 23 1/2 x 33 7/8 in. (59.5 x 85.8 cm), framed. Condition: Possible subtle mat burn, not examined out of frame. $3,500-5,500

91 John Wilson (American, 1922-2015) Street Children, 1973, outside of the published edition of 75. Signed and dated “John Wilson 1973” in pencil l.r., inscribed “Bon a tirer” in pencil l.l., titled in pencil l.c. Etching with aquatint on paper, plate size 10 x 17 3/4 in. (25.4 x 45.0 cm), framed. Condition: Not examined out of frame. $1,200-1,800

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Fine Photographs 92 Edward Sheriff Curtis (American, 18681952) Nane-Qagyuhl, 1914, a later printing. Titled and copyrighted in the lower margin. Photogravure, image size 7 1/2 x 5 5/8 in. (19.1 x 14.3 cm), framed. Condition: Not examined out of frame.

N.B. Kwakwaka’wakw, also known as the Kwakiutl, are Indigenous peoples of the Pacific Northwest Coast in what is now British Columbia, specifically along the shores of the waterways between Vancouver Island and the mainland. Their social stratification was primarily based on the inheritance of names and privileges. These privileges included the right to sing certain songs, use certain crests, and wear particular ceremonial masks, all of which determined one’s rank within their society.1 The individual shown here is dressed in a full-body bear costume and served as a guard to the dance house during ceremonies.2 1. Kathleen Kuiper, “Kwakiutl,” Encyclopedia Britannica, May 4, 2015. 2. Edward Curtis, “Nane-Qagyuhl,” The North American Indian, accessed via The Library of Congress.

$300-500 93 Maxime Du Camp (French, 1822-1894) Eleven Plates from Egypte, Nubie, Palestine et Syrie, 1852, printed by Blanquard-Evrard, Lille. Identified on preprinted mounts. Salted paper prints, image sizes to 6 5/8 x 8 3/8 in. (16.8 x 21.2 cm), one matted, all unframed. Condition: The majority with scattered foxing. Provenance: A private Massachusetts collection. N.B. Plates 12, 33, 41, 46, 61, 67, 74, 75, 76, 95, and 112 are included. $1,200-1,800

93, partial

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94 Harold E. “Doc” Edgerton (American, 1903-1990) Moving Skip Rope, 1952, printed later. Signed and numbered “...7/125” in pencil on the verso. Gelatin silver print, image size 6 1/2 x 9 1/2 in. (16.5 x 24.1 cm), framed. Condition: Good. $1,000-1,500 95 Francis Frith (British, 1822-1898) The Mosque of the Emeer Akhoor, Cairo, 1858. Signed and dated “Frith...” in the negative l.r., titled on the preprinted mount. Albumen silver print mounted to heavyweight paper, image/sheet size 19 1/4 x 15 3/8 in. (48.8 x 39.0 cm), unmatted, unframed. Condition: Creases in l.r. and u.r. corners. Provenance: A private Massachusetts collection. N.B. Francis Frith turned to photography in the early 1850s, and in 1856 made his first trip to Egypt, traveling up the Nile from Cairo to Abu Simbel, and photographing ancient monuments and locations using a stereoscopic camera and two large format cameras with different negative sizes (8 x 10 and 16 x 20 inches). Despite the challenging environmental conditions, Frith succeeded in producing his arresting images using a portable darkroom with wet-plate collodion on glass negatives. His use of three negative formats demonstrates the commercial nature of his enterprise and the high demand in mid-19th century England for pictorial evidence of Middle Eastern subjects. The successful sale of Frith’s views financed his next trip to Palestine, Syria, and Egypt in late 1857, and in the summer of 1859, he returned to Egypt, traveling up the Nile to the Fifth Cataract, and venturing further south than any other photographer before him. Settling back in Britain, he opened his own firm in Reigate, Surrey, near London, to publish and sell his images, as well as the work of other photographers. $500-700

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96 Maurice Loewy (French, 1833-1907), Pierre-Henri Puiseux (French, 1855-1928) Fourteen Plates from Atlas Photographique de la Lune, 1896-1910, printed 1898, printed by Fillon & Heuse, Paris, published by Imprimerie nationale, Paris. Identified on pre-printed mounts, U.S. Naval Observatory Library, Washington, handstamp on the verso of plate 8. Heliogravures, image sizes 22 1/2 x 18 3/4 in. (57.2 x 47.6 cm), unmatted, unframed. Condition: Uneven toning, scattered foxing, significant wear to edges (not affecting images), some with tears, losses, and/or water damage to the edges, some with repair patches on the verso, plate 8 with repair to tear horizontally bisecting the center. N.B. The Atlas was an incredible 15-year project between astronomers Maurice Loewy, Director of the Paris Observatory, Pierre-Henri Puiseux, President of the Société Astronomique de France, and Charles Le Morvan, who assisted Loewy after Puiseux’s death three years before the project’s completion. Of the 365 nights, only fifty to sixty nights per year exhibited the ideal weather conditions required to photograph the moon successfully, with only four or five suitable negatives being produced each night. The astronomers documented the surface of the moon through approximately 10,000 photographs, with the full Atlas containing just over eighty heliogravures. With the earth and moon’s constant movement and the long exposure time necessary for night photography, a sophisticated preset clock system was employed to move the telescope and camera in conjunction with the moon’s path. Each heliographic print includes the specific day and hour the image was captured, along with the corresponding diameter of the moon and the degree of enlargement from the negative. Plates 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 17, 18, 19, and 20, as well as the colophon page, are included in the lot. $2,000-3,000 97 Eadweard Muybridge (British, 1830-1904)

96, partial

Plate 15 (Nude Woman Walking), from Animal Locomotion, 1887. Identified within the plate. Collotype on paper, image size 6 1/2 x 16 3/4 in. (16.5 x 42.5 cm), framed. Condition: Not examined out of frame. $1,000-1,500

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98 Ansel Adams (American, 1902-1984) Clearing Winter Storm, Yosemite National Park, California, 1937, printed c. 1973-77. Signed “Ansel Adams” in pencil on the mount l.r., identified on a hand stamp and titled and dated “1944” in ink within the stamp on the mount verso. Gelatin silver print, 15 3/4 x 19 1/4 in. (40.0 x 48.9 cm), framed. Condition: Good. Provenance: A private Massachusetts collection. N.B. Regarded as one the foremost photographers of the American West and a passionate preservationist, Ansel Adams dedicated his life to photographing nature and recording the majesty of the Yosemite Valley and the National Parks. Through his technical prowess behind the camera and steadfastness in capturing the most balanced shot, Adams created fine art photography that was accessible and revered by the American public.

This shot of Inspiration Point was originally captured around midday in early December of 1937 after Adams had patiently waited for the heavy-rain-turned-winter-storm to clear. The image evokes the sublime grandeur of nature and the temporal character of the storm as the clouds almost appear to carry onward as the storm dissipates and sunlight fills the valley. Adams’ objective and direct representation of Yosemite are hallmarks of the “straight” photographic style he championed, while the rich tonality of the landscape demonstrates his Zone System, which assisted in creating the desired tonal values through calculations of exposure and development. Through his photographs, the creation of the Zone System, and numerous photography manuals, Adams educated the public on photographic techniques and sought to cultivate the concept of photography as fine art. Clearing Winter Storm stands as a quintessential representation of Ansel Adams’ style and a testament to the enthralling majesty of nature. $30,000-50,000

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99 Eve Arnold (American, 1913-2012) Two Hands, Port Jefferson, New York, 1959, printed 1990s. Signed l.r. Gelatin silver print, image size 8 x 11 1/2 in. (20.3 x 29.2 cm), framed. Condition: Not examined out of frame. N.B. This work was purchased from the Mother Jones International Fund for Documentary Photography, Portfolio 6. $500-700 100 Bill Brandt (British, 1904-1983) Kismet with Mirror, Belgravia, London, 1953, a later printing. Signed l.r. on recto, identified on an unattributed typed label on the backing. Gelatin silver print, image size 13 1/2 x 11 1/2 in. (34.3 x 29.2 cm), framed. Condition: Minor delamination along l.r. edge. $5,000-7,000 100

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101

101 Marilyn Bridges (American, b. 1948) Castillo from Perpendicular, Yucatan, 1982. Titled, copyrighted, signed, and dated in pencil on the verso. Gelatin silver print, image size 14 3/4 x 18 5/8 in. (37.5 x 47.3 cm), unmatted, unframed. Condition: Curling, a few very minor cracks in the emulsion. $200-400 102 Keith Carter (American, b. 1948) Pool, 2003. Numbered, titled, signed, and dated â&#x20AC;&#x153;7/35...â&#x20AC;? in pencil on the verso. Gelatin silver print, image size 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm), framed. Condition: Good. $700-900 102

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103

103 Henri Cartier-Bresson (French, 1908-2004) Srinagar, Kashmir, 1948, a later printing. Signed “Henri Cartier-Bresson” in ink l.r., inscribed “41 AGP” in pencil l.l. on the verso and “Z. 201” in pencil l.r. Gelatin silver print, image size 9 1/2 x 14 in. (24.1 x 35.6 cm), framed. Condition: Small area of staining affecting the emulsion to l.c. edge and l.r. corner outside of the image, minor accretions to u.l. edge visible in raking light.

N.B. Cartier-Bresson visited India for the first time in 1947 amid its fraught postwar political transition from British colonial rule to independence and the partition of India and Pakistan. This period was marked by a surge of violence between Hindus, Muslims, and Sikhs, with the partition displacing hundreds of thousands of refugees between India and Pakistan in just two years, and several millions in the decades after. From 19311951 several million refugees went missing as they attempted to cross into either India or Pakistan in order to escape religious attacks and persecution, and up to 2 million people perished due to widespread violence. Arguably one of the most notable victims of this religious violence was Mahatma Gandhi. In 1948, Cartier-Bresson met with Gandhi, who had just finished a six-day fast calling for an end to the inter-communal brutality over the partition. They met again the following day a mere 90 minutes before Gandhi was assassinated by a Hindu Nationalist. CartierBresson subsequently documented his funeral and the national outpouring of grief that followed in the wake of his death.

His images from this three-year trip to Asia are often quiet and self-effacing, such as Srinagar, Kashmir, where a group of Muslim women gather on top of Hari Parbat hill to pray as the sun rises behind the Himalayas. The image is full of a static gravity while bearing CartierBresson’s characteristic strength in structure as seen in the visual parallel between the line of the women and the mountains. Aware of his privileged position as a white European male, he made an effort not to photograph India from above in what could be seen as a reductive manner, but instead placed himself among his subjects. His portfolio of India captured scenes of mourning and fleeing refugees, but also scenes of daily life and its rituals. With these images Cartier-Bresson achieved global recognition as both an artist and photojournalist, and would go on to document his travel around the world. $12,000-18,000

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105

104 Elliott Erwitt (American, b. 1928) Barcelona, Spain, 1951, likely printed later. Signed in ink l.r., signed and inscribed “27%” in pencil on the verso, faintly inscribed “7” to the l.r. corner in pencil on the verso. Gelatin silver print, image size 21 3/4 x 14 1/2 in. (55.2 x 36.8 cm), matted, unframed. Condition: Creasing and folds to corners, curling, handling creases, few small cracks in the emulsion, faint silver mirroring to black border. $200-400

104

105 Walker Evans (American, 1903-1975) Bed and Stove, Truro, Massachusetts, 1931, printed 1971. Signed “Walker Evans” in pencil on the mount l.r., inscribed “III 91/100 1936-1971” in pencil on the mount l.l., identified on a label from Harcus Krakow Rosen Sonnabend Gallery, Boston, affixed to the backing. Gelatin silver print, image size 6 x 7 3/4 in. (15.2 x 19.4 cm), framed. Condition: Not examined out of frame. $1,500-2,000

106

106 Harold Feinstein (American, 1931-2015) Greta Garbo Poster, 1966, printed 2012. Signed in ink l.r., inscribed, titled, dated, and numbered “HF. CL 72b...1/20” in pencil on the verso. Gelatin silver print, image size 12 x 16 1/2 in. (30.5 x 41.9 cm), unmatted, unframed. Condition: Good. $1,000-1,500

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107

107 Robert Frank (Swiss, b. 1924) Workers in Hard Hats, 1950-60s, printed later. Signed “Robert Frank” in ink on the verso l.r., “COPYRIGHT © Robert Frank” stamp inscribed “Robert Frank 1980” in ink on the verso l.l., “ROBERT FRANK ARCHIVE” stamp inscribed “2680” in pencil on the verso l.r. Gelatin silver print, image size 10 1/2 x 13 1/2 in. (26.6 x 34.3 cm), unmatted, unframed. Condition: Good.

108

Provenance: A private Massachusetts collection. $800-1,200 108 Ralph Gibson (American, b. 1939) Dreams, alternatively titled MJ, Sardinia, from Infanta, 1980, likely printed later. Inscribed and titled “For Ellen from Ralph...” in ink on the reverse, inscribed “L505” in pencil on the reverse. Gelatin silver print on Agfa paper, sheet size 13 7/8 x 10 7/8 in. (35.2 x 27.6 cm), framed. Condition: Minor cockling. $1,000-1,500 109 Ralph Gibson (American, b. 1939) Untitled, from the series New York, 1968, printed 1990s. Signed and dated on the reverse. Gelatin silver print, sight size 8 3/4 x 5 5/8 in. (22.2 x 14.3 cm), framed. Condition: Not examined out of frame. N.B. Purchased from the Mother Jones International Fund for Documentary Photography, New York Portfolio 1. $700-900

109

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110

110 Frank Gohlke (American, b. 1942) Inside Mt. St. Helens Crater, Lava Dome Base on Left, 1983. Titled and dated in ink l.l. Gelatin silver print, image size 17 3/4 x 22 in. (45.1 x 55.9 cm), framed. Condition: Minor cockling, handling creases. $2,000-3,000 111 Frank Gohlke (American, b. 1942) Rockfall - Mt. Saint Helens Crater, 1990, printed 1992. Titled and inscribed with negative date in ink on the recto, numbered “5/30,” titled, inscribed with negative date, signed, dated, and inscribed “P790-24-1” in pencil on the verso. Gelatin silver print, image size 17 3/4 x 21 3/4 in. (45.1 x 55.2 cm), framed. Condition: Minor handling creases. $2,000-3,000 111

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112

112 John Gruen (French, 1926-2016) Ventilation Tubes No. 2, 1970s/80s. Inscribed “11934” in pencil on the verso. Gelatin silver print on Agfa paper, image size 13 1/2 x 17 1/2 in. (34.3 x 44.5 cm), framed. Condition: Rippling. $300-500 112A Paul Ickovic (Czech/American, b. 1944) 112A

Single Chambermaid, Prague, 1990. Artist’s handstamp and copyright handstamp on the reverse. Gelatin silver print, image size 13 x 19 in. (33.0 x 48.3 cm), framed. Condition: Good. $700-900 113 Lotte Jacobi (American, 1896-1990) Pauline Koner, Dancer, New York, 1937, printed later. Signed “Lotte Jacobi” in pencil l.l., Studio 139, Portsmouth, New Hampshire, handstamp on the backing. Gelatin silver print, image size 7 x 9 3/4 in. (17.8 x 24.8 cm), framed. Condition: Foxing, curling, light-struck. $400-600

113

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114

114 Duane Michals (American, b. 1932) New York, 1969, printed 1990s. Signed in ink in the lower margin. Gelatin silver print, sight size 6 3/4 x 9 7/8 in. (17.1 x 25.1 cm), framed. Condition: Not examined out of frame. N.B. This work was purchased from the Mother Jones International Fund for Documentary Photography, New York Portfolio 1. $700-900 115 John O’Reilly (American, b. 1930)

115

Before Bonnard, 1996. Numbered “39/65” in pencil l.l., signed l.r., identified and titled on a label from Barbara Krakow Gallery, Boston, affixed to the backing. Photogravure after a photomontage, image size 3 1/4 x 4 5/8 in. (8.3 x 11.7 cm), framed. Condition: Not examined out of frame. $700-900 116 Marc Riboud (French, 1923-2016) After Bathing in the Ganges, Uttar Pradesh, Benares, India, 1956, printed 1990s. Signed l.r. Gelatin silver print, sight size 8 x 12 1/4 in. (20.3 x 31.1 cm), framed. Condition: Not examined out of frame. N.B. This work was purchased from the Mother Jones International Fund for Documentary Photography, Portfolio 5. $700-900

116

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117

117 Ralph Steiner (American, 1899-1986) Typewriter Keys, 1921-22, printed 1977. Signed, inscribed, and dated â&#x20AC;&#x153;...negative 1921-1922â&#x20AC;? in ink on the verso. Gelatin silver print, sight size 8 x 6 in. (20.3 x 15.2 cm), framed. Condition: 1 1/4 inch narrow abrasion to l.l. quadrant depressing the emulsion. $1,500-2,000 118 Paul Strand (American, 1890-1976) College Hall - Amherst, 1940s. Titled and signed in pencil l.r. Platinum print with handtinting, image size 9 1/4 x 7 1/4 in. (23.5 x 18.4 cm), matted, unframed. Condition: Toned, horizontal crease along center axis. $1,000-1,500

118

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119 Various Artists:

119, partial

Mother Jones International Fund for Documentary Photography, Portfolio Number 4, including Cristina García Rodero (Spanish, b. 1949), La Maya, Colmenar Viejo, 1991; Bernard Plossu (French, b. 1945), Agadès, Niger, 1975; Sebastião Salgado (Brazilian, b. 1944), Condor, Ecuador, 1982; Jack Delano (Ukrainian/ American, 1914-1997), In the county jail, Greene Co. Georgia, May 1941, 1941. Portfolio edition 33 of 50, printed 1990s. Each signed by the respective artist in pencil on the reverse, Condor with artist’s dry stamp l.l. Gelatin silver prints, sizes to 14 x 11 in. (35.6 x 27.9 cm), framed. Condition: Not examined out of frames. N.B. The lot is accompanied by the original cloth-bound folder with colophon page. $3,500-5,500 120 Todd Webb (American, 1905-2000) 106th Street, New York, c. 1946. Signed and inscribed “WEBB...T1197” in pencil on the reverse of the mount, identified, alternatively titled Poster, and dated on an unattributed typed label affixed to the backing. Gelatin silver print, image size 6 1/8 x 4 5/8 in. (15.5 x 11.7 cm), framed. Condition: Affixed to mat with photo corners l.l. and l.r., and with tape hinges u.l. and u.r. $300-500

120

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121

121 American School, 21st Century 8/04/04/01, 2005. Numbered, titled, signed or monogrammed indistinctly, and dated “4/15...” in pencil in the lower margin. Platinum print, image size 7 3/4 x 7 3/8 in. (19.7 x 18.7 cm), framed. Condition: Deckled edges. $250-350 122 Barbara Bosworth (American, b. 1953) Christmas Solar Eclipse in My Father’s Hands, Sanibel, 2000. No visible signature. Gelatin silver print, sheet size 10 x 8 in. (25.4 x 20.3 cm), floated within the frame. Condition: Extremely minor cockling. $1,000-1,500

122

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123

123 John Chervinsky (American, 1961-2015) Through the Looking Glass, from the series An Experiment in Perspective, 2008. Signed on the verso according to label (see below), identified, titled, dated, and numbered â&#x20AC;&#x153;...2/15â&#x20AC;? on a label from the Photographic Resource Center, Boston University, 2009 Benefit Auction affixed to the backing. Archival pigment print, image size 18 x 22 1/2 in. (20.3 x 57.2 cm), floated in frame. Condition: Deckled edges, not examined out of frame. $600-800 124 William Garnett (American, 1916-2006) Mississippi River near Prairie du Chien, Wisconsin, from the portfolio Color Nature Landscapes I, 1968. Signed l.r., copyright handstamp on the verso, identified and titled on a handstamp on the mat. Cibachrome print, image size 19 x 13 in. (48.2 x 33.0 cm), matted, unframed. Condition: Good. N.B. With the assistance of the G.I. Bill, Garnett took flight lessons and purchased his first plane in 1949. Specializing in aerial photography and equipped with his Cessna 170B and 35mm, in both black-and-white and color film, he elevated the genre to the rank of fine art. $1,000-1,500 124

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125 Nan Goldin (American, b. 1953) Kenny Putting on Make Up, Boston, 1973. Signed, titled, dated, and numbered “...27/100” in ink on the reverse, identified on a label from Barbara Krakow Gallery, Boston, affixed to the backing. Cibachrome print, sight size 13 1/2 x 8 3/4 in. (34.3 x 22.2 cm), framed. Condition: Good. $1,200-1,800 126 Nan Goldin (American, b. 1953) Lynette and Donna at Marion’s Restaurant, 1991, printed 1990s, edition of 100 printed for Mother Jones. Titled, dated, and signed in ink on the reverse, stamped and numbered “28 of 100” on the reverse. Cibachrome print, sight size 8 3/4 x 13 1/4 in. (22.2 x 33.7 cm), framed. Condition: Not examined out of frame. N.B. This work was purchased from the Mother Jones International Fund for Documentary Photography, New York Portfolio 1. $1,000-1,500

125

126

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127

127 Ernst Haas (Austrian/American, 1921-1986) Route 66, Albuquerque, New Mexico, 1969, printed 2019. Titled and numbered “...23/100” in black ink on the verso, titled, dated, numbered, and signed by Alexander Haas in ink on a Haas Studio label. Chromogenic print, image size 12 x 18 in. (30.5 x 45.7 cm), unmatted, unframed. Condition: Good. N.B. Route 66 is one of Ernst Haas’s most famous images. 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. The Haas Studio label accompanies the lot. $2,500-3,500 128 Ernst Haas (Austrian/American, 1921-1986) California, USA, 1976, printed 2019. Titled and numbered “...7/25” in black ink on the verso, titled, dated, numbered, and signed by Alexander Haas in ink on a Haas Studio label. Chromogenic print, image size 18 x 12 in. (45.7 x 30.5 cm), unmatted, unframed. Condition: Good. N.B. The Haas Studio label accompanies the lot. $2,500-3,500

128

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129

130

129 Henry Horenstein (American, b. 1947) Melody Sweets, New York, NY, 2008. Signed in pencil on the verso. Pigmented inkjet print, image size 12 x 12 in. (30.5 x 30.5 cm), framed. Condition: Good. $400-600 130 Mimmo Jodice (Italian, b. 1934) Volto di Donna Ateniese, 1994. Signed on the verso according to a label from Panopticon Gallery, Boston, affixed to the backing. Gelatin silver print, sight size 18 x 17 1/4 in. (45.7 x 43.8 cm), framed. Condition: Not examined out of frame. $2,000-3,000

131

131 Ko Si-chi (Taiwanese, b. 1929) Rocks and Water, 1981. Numbered, signed, and dated “22/75...” in ink in the lower margin. Dye-transfer print, image size 15 1/4 x 22 3/4 in. (38.7 x 57.8 cm), framed. Condition: Possible color shifting to left edge, not examined out of frame. $700-900 132 Ko Si-chi (Taiwanese, b. 1929) Children, 1986. Numbered, signed, and dated “1/75...” in ink in the lower margin. Dye-transfer print, image size 15 x 23 in. (38.1 x 58.4 cm), matted, unframed. Condition: Possible minor color shifting to u.r. and l.l. edges. $700-900

132

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133 Mary Kocol (American, b. 1962)

133

Porch Infinity, 1992. Identified, titled, numbered, and dated “...2/15...” on a Gallery NAGA, Boston, label affixed to the reverse. Fujicolor print, sight size 25 x 37 1/4 in. (63.5 x 94.6 cm), framed (without glass). Condition: Good. $400-600 134 Robert Mapplethorpe (American, 19461989) Black Jack, 1982, printed 1984. Titled, numbered, and signed “...57/75...” in black ink on the mount. Gelatin silver print, image size 12 1/2 x 12 1/2 in. (31.8 x 31.8 cm), framed. Condition: Good. N.B. Jack Walls was Mapplethorpe’s lover, mentee, and one of his most famous models.

134

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“He was 10 years older than me when we moved in together. I was 25 and he was 35 when we started living together. That’s a big gap. He had already been through the Chelsea Hotel days with Patti Smith. He had already done some things that got the art world’s attention. I would say, now, it was a mentorship, but then, I just thought that I had a very cool boyfriend. I really did. It’s not often you could say that your boyfriend is also your favorite artist and mean it. I knew art couples, where their other half wasn’t their favorite artist. But I could say that and actually mean it. My favorite artist was my boyfriend, and he would’ve been my favorite artist even if he wasn’t my boyfriend. I lived with this man, and that’s part of my legacy. No one can change that, although people have tried.” (Sarah Nechamkin, “Artist Jack Walls on the Dark Magic of Robert Mapplethorpe,” Interview magazine, January 29, 2019, https://www.interviewmagazine.com/art/ jack-walls-on-life-with-robert-mapplethorpeguggenheim-implicit-tensions). $2,500-3,500

135

135 Steve McCurry (American, b. 1950) Afghan Girl (Sharbat Gula), Refugee Camp, Pakistan, 1984, printed later. Signed “Steve McCurry” on the reverse. Chromogenic print on Fuji Crystal Archive paper, image size 19 1/2 x 13 in. (49.4 x 33.0 cm), matted, framed. Condition: Minor crease to l.r. quadrant measuring approximately 1/2 inch. N.B. This now iconic portrait was featured on the cover of the June 1985 issue of National Geographic. $7,000-9,000 136 Joel Meyerowitz (American, b. 1938) Ariel, Provincetown Porch Scene, from Porch Series, Provincetown, 1971, printed 1979. Signed, dated, and numbered “13/75” in pen on the verso. Chromogenic print on Kodak paper, sheet size 8 x 10 in. (20.3 x 25.4 cm), matted, unframed. Condition: Gentle curling. $700-900 136

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137

137 Evgeny Mokhorev (Russian, b. 1967) Dina, Fort Konstantin, Kronshtadt, from the series The 26th Element, 2004. Signed, titled in Cyrillic, dated, and numbered “...8/20” in pencil on the verso. Gelatin silver print, image size 16 x 16 in. (40.6 x 40.6 cm), framed. Condition: Good. N.B. A reproduction of this image was used as the cover image for the 2010 documentary Fragile, based on the post-Soviet era in St. Petersburg and the photography of Evgeny Mokhorev. $1,500-2,500 138 Sarah Moon (French, b. 1941) Étude, 1985, printed 1988. Dated and signed in white ink l.r. Toned gelatin silver print from a Polaroid negative, image size 7 x 4 3/4 in. (17.8 x 12.1 cm), framed. Condition: Creasing to corners, curling. N.B. An ARTnews print clipping discussing the artist and featuring an image of Etude is affixed to the frame backing. $1,000-1,500 138

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139

140

139 Abelardo Morell (Cuban/American, b. 1948) After Da Vinci’s Lady with Ermine, 1993. Signed, inscribed, and dated “...Art Book: Leonardo Da Vinci and School of Da Vinci Paintings...” in pencil on the verso. Gelatin silver print, image size 22 1/2 x 18 in. (57.1 x 45.7 cm), framed. Condition: Good. $2,000-3,000 140 Abelardo Morell (Cuban/American, b. 1948) Camera Obscura Image of Boston View Looking Southeast in Conference Room, 1998. Signed, numbered, titled, and dated “...11/30...” in pencil on the verso. Gelatin silver print, image size 18 x 22 1/2 in. (45.7 x 57.2 cm), framed. Condition: Good. $2,000-3,000 141 Abelardo Morell (Cuban/American, b. 1948) 141

Camera Obscura Image of San Francisco Looking East, 2002. Signed, inscribed, numbered, and titled “...Donated by the ArtistSpecial Edition For Camera Work...28/30” in pencil on the reverse. Gelatin silver print, image size 13 1/2 x 17 in. (34.3 x 43.2 cm), framed. Condition: Extremely minute tear to l.l. edge. $700-900

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142

143

142 Vik Muniz (Brazilian, b. 1961)

143 Nicholas Nixon (American, b. 1947)

144 Matthew Pillsbury (American, b. 1973)

Philosopher (Freud) in Ham, 1998. Signed on the recto according to gallery label (see below), identified, titled, and dated on a label from Panopticon Gallery, Boston, on the backing. Polaroid print, sight size 25 3/4 x 20 in. (65.4 x 50.8 cm), framed. Condition: Not examined out of frame. $6,000-8,000

Waverly Street, Brookline, 2000. Titled, dated, numbered, and signed “...6/25...” in pencil on the verso. Gelatin silver print, sight size 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm), framed. Condition: Good. $1,000-1,500

Wyoming Diplodocus, Natural History Museum, London, 2007. Signed, titled, and dated on recto margin according to backing label (see below), identified, titled, dated, and numbered “...15/20” on a label from Bonni Benrubi Gallery, Inc., New York, affixed to the backing. Archival pigment print, sight size 13 x 19 in. (33.0 x 48.3 cm), framed. Condition: Not examined out of frame. $1,000-1,500

144

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145 Aaron Siskind (American, 1903-1991) Lima 89, from the portfolio Homage to Franz Kline, 1975. Titled, dated, and numbered “...2/50” in pencil l.l., signed in pencil l.r. Photogravure, plate size 16 x 15 1/2 in. (40.6 x 39.4 cm), matted, unframed. Condition: Minor accretion to l.l. quadrant outside of image. $1,000-1,500 146 Thomas Stafford (American, b. 1930), Eugene Cernan (American, 1934-2017), or John Young (American, b. 1930) and Neil Armstrong (American, 1930-2012), Buzz Aldrin (American, b. 1930), or Michael Collins (American, b. 1930)

145

Four NASA-issued Color Photographs from Apollo 10 and Apollo 11, 1969, printed later. Three numbered in red on the recto u.l. margin, all four with NASA logo, title, and captions on the verso. Chromogenic prints on Kodak paper with “A KODAK PAPER” watermark on the verso, image sizes to 7 1/2 x 7 1/2 in. (19.1 x 19.1 cm), unmatted, unframed. Condition: Tack holes to corners, minor wear and creasing to corners, possible color shifting, lines of scattered paper fibers to Apollo 10 View of Earth Rise and Apollo 10 CSM View from LM over Moon, Apollo 11 View of Moon with scattered abrasions, creasing, minor tear to c.l. edge. $400-600

146

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147

147 Jock Sturges (American, b. 1947) Daniella, Oud Heusden, the Netherlands, 1993, 1993. Signed, dated, numbered, titled, and inscribed “...17/40...A756” and “JOS5054” in pencil on the verso, a label from the Photographic Resource Center 2007 Benefit Auction at Boston University on the backing. Gelatin silver print, image size 14 1/2 x 18 1/2 in. (36.8 x 47.0 cm), framed. Condition: Good. $1,000-1,500 148 Triiibe (American, 20th/21st Century) Homeland, 2007. Titled, dated, inscribed, and signed “...A/P...” in pencil in the lower margin, identified on a label from the Photographic Resource Center, Boston University, affixed to the backing. Archival pigment print, sheet size 26 1/2 x 16 3/4 in. (67.3 x 42.5 cm), framed. Condition: Not examined out of frame.

148

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N.B. Triiibe is composed of three identical triplets, Alicia, Kelly, and Sara Casilio, and photographer Cary Wolinsky. Through their work the group seeks to confound concepts of the self and the superficiality of difference, such as here where each triplet assumes a distinct persona while challenging the viewer with their identical features. $500-700

149

149 Andy Warhol (American, 1928-1987) Gale Smith, 1977. Artist’s dry stamp l.r., Andy Warhol estate hand stamp, Andy Warhol Foundation for the Visual Arts hand stamp, and numbered “FA04. 09184” in pencil and “H713351” in type, all on the reverse. Polacolor Type 108, sheet size 4 1/4 x 3 1/4 in. (10.8 x 8.3 cm), framed. Condition: Minor mat burn, minor color shift.

N.B. Warhol’s Polaroids served as preparatory sketches for his silkscreens. With his fascination for multiplicity as a means of reducing distinctiveness, his Big Shot and SX-70 Polaroid cameras were the perfect tools in carrying out this concept. In the 1970s and 80s Warhol’s camera went everywhere with him and shot everyone famous he came in contact with. For his silkscreens, he would take numerous variant snapshots, taking up to several dozen in just one “sitting.” This snapshot of Gale Smith was likely taken amongst others as the basis for his 1979 silkscreen of the Factory girl. $5,000-7,000

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150 William Wegman (American, b. 1943)

150, partial

Six Images from William Wegman’s Mother Goose: Little Jack Horner; Little Jumping Joan; Little Miss Muffet; Old Mother Hubbard; Pat-a-cake; and Rub-adub-dub, 1996, printed 2001. Each numbered, titled, signed, and dated “1/300...2001” in pencil in the lower margin. Pigment prints, image sizes to 9 5/8 x 9 7/16 in. (24.4 x 24.0 cm), floated within the frames. Condition: Not examined out of frames. N.B. Reproductions of these images were used as illustrations in William Wegman’s Mother Goose (New York: Hyperion Books for Children, 1996). His collaborators in the Mother Goose series are all descendant from his second Weimaraner, Fay Ray, who joined his family in 1986. $4,000-6,000 151 William Wegman (American, b. 1943) Basic Shapes in Color, 2001. Numbered, titled, signed, and dated “18/150...” in pencil in the lower margin. Pigment print on paper, image size 19 x 15 in. (48.3 x 38.1 cm), matted to back mat with photo corners, with loose front mat, unframed. Condition: Good. N.B. Wegman’s canine collaborator pictured is Fay Ray, with his current collaborators all being her descendants. $600-800

151

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Fine Paintings & Sculpture Lots 201â&#x20AC;&#x201C;437 to be sold Friday, January 24, 12PM

Join us! Friday, January 24th | 11AM Enjoy a petite brunch of pastries and mimosas before the auction The public is welcome to attend. RSVP events@skinnerinc.com or 617.350.5400

201

201 School of Salvator Rosa (Italian, 16151673) The Dispute Unsigned. Oil on copper, 7 1/4 x 12 3/4 in. (18.7 x 32.5 cm), unframed. Condition: Scattered multiple paint losses, craquelure, surface grime. $800-1,200 202 Spanish Colonial School, 18th Century John the Baptist Unsigned. Oil on canvas, 33 x 16 1/4 in. (84.0 x 41.2 cm), framed. Condition: Punctures, paint losses, canvas deformation, surface grime. $400-600

202

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204

203

203 School of André Jean LeBrun (French, 1737-1811) Sketch of a Bearded Saint, Probably St. Jerome, at Prayer Unsigned, attributed to Ferraù Fenzoni (Italian, 15621645) or Jean Jouvenet (French, 1644-1717) in a handwritten note affixed to the frame backing. Red chalk on laid paper, 10 5/8 x 6 5/8 in. (27.0 x 16.8 cm), framed. Condition: Sheet lined with fine Japan paper, scattered tiny holes in the laid sheet, gentle rippling, minor foxing, toning, and soiling, sheet slightly irregularly trimmed. Provenance: The collection of Jakob Rosenberg, former Curator of Prints at the Fogg Art Museum and Professor of Art and Architecture at Harvard University, then by descent to the current owner. N.B. The drawing at hand appears to be an 18th century French copy after a 17th century work. $2,000-3,000 204 Italian School, 17th Century Angel Leading St. Peter from Prison Unsigned. Oil on canvas, 22 x 29 in. (56.0 x 73.0 cm), unframed. Condition: Lined. $2,000-3,000

205, partial

205 Two Drawings: Attributed to Baldassare Calamai (Italian, 17871851), Allegorical Scene, signed or inscribed “B. Calamai” l.l., indistinctly inscribed at the lower margin, sheet size 7 5/8 x 10 3/8 in. (19.6 x 26.3 cm); Attributed to Luigi Sabatelli (Italian, 1772-1850), Jupiter and Mercury Holding a Child, signed “Sabatelli” l.r., octagonal format, sheet size 5 3/4 x 6 1/2 in. (14.6 x 16.5 cm). Both ink with graphite on paper, unframed, both affixed to a common supporting sheet of paper. Condition: Scene adhered to support at corners, squared for transfer, subtle toning, soiling and staining (predominantly u.r.); Jupiter and Mercury adhered to support on left edge, mild toning, very mild scattered soiling/staining. N.B. The composition of Jupiter and Mercury Holding a Child is distantly related to Sabatelli’s fresco at the Sala dell’Iliade in the Pitti Palace, Florence, 1820-1825. $300-500

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206 School of Jean-Baptiste Monnoyer (French, c. 1636-1699) Elegant Flowers in an Urn Flanked by Cherubs Unsigned. Oil on canvas, 31 5/8 x 38 5/8 in. (80.2 x 98.2 cm), in a period frame. Condition: Lined, scattered retouch, fine craquelure. Provenance: Colonial Williamsburg Foundation, proceeds to benefit the acquisitions fund. N.B. The consignor reports that this floral still life was purchased in 1936 from Lenygon & Morant, Ltd., London. In 1968 Ellis K. Waterhouse, then director of the Barber Institute of the University of Birmingham, England, noted that the work was “like Monnoyer” and ascribed a general date of 17th century. $2,000-3,000 207 School of Alessandro Longhi (Italian, 17331813)

206

Portrait of a Lady Unsigned. Oil on canvas, 35 3/4 x 29 1/2 in. (91.0 x 74.5 cm), framed. Condition: Lined, retouch, craquelure. $1,200-1,800 208 French School, 18th Century Fête Galante in a Moonlit Garden Unsigned. Oil on canvas, 27 x 34 5/8 in. (68.5 x 88.0 cm), framed (in a liner). Condition: Retouch, craquelure, skinning, varnish inconsistencies, surface imperfections and grime. $1,500-2,000

207

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208

209 School of Jean-Baptiste Monnoyer (French, c. 1636-1699)

209

Flowers in a Vase Unsigned, inscribed “Rachel Ruysch/1664-1750” on a handwritten label affixed to the stretcher. Oil on canvas, 27 x 20 in. (68.3 x 51.0 cm), in a period frame. Condition: Lined, minor retouch, fine, stable craquelure. Provenance: Colonial Williamsburg Foundation, proceeds to benefit the acquisitions fund. N.B. The consignor reports that Flowers in a Vase was purchased in 1936 from Vicars Brothers, Bond Street, London. At that time it was attributed to Rachel Ruysch, 1700-1750. Later, in 1957, painting consultant E.J. Speelman suggested it instead was by Monnoyer, circa 1680. Over the years, various authorship has been suggested, but a firm attribution remains elusive. $1,200-1,800 210 Georg Melchior Kraus (German, 1737-1806) Study of Three Male Figures Inscribed, signed, and dated “desine d’après nature/à l’academie royal à Paris/par G M Kraus 1764” c.r., inscribed indistinctly “Krause/...” on the reverse. Charcoal on laid paper, 19 3/8 x 16 1/2 in. (49.5 x 42.0 cm), matted, unframed. Condition: Professionally restored and laid onto fine Japan paper, old losses to u.l. and l.l. corners, scattered small surface imperfections and stains. $800-1,200

210

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211 Manner of Quiringh Gerritsz van Brekelenkam (Dutch, c. 1622-1668) Grandmother and a Boy Snacking by a Hearth Unsigned. Oil on canvas, 19 1/4 x 16 3/4 in. (49.0 x 42.5 cm), framed. Condition: Lined, craquelure, surface grime. $1,500-2,500 212 Attributed to Ferdinando Cavalleri (Italian, 1794-1865) Portrait Bust of a Young Boy Unsigned. Oil on canvas mounted to board, 22 x 18 in. (56.0 x 45.7 cm), framed. Condition: Old retouch and repairs primarily to the background, areas of craquelure, varnish discoloration, secondary paperboard backing affixed to the reverse. $1,500-2,500

211

212

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213 School of Adriaen Jansz van Ostade (Dutch, 1610-1685)

213

Figure of a Man in a Tall Hat Holding an Instrument Unsigned. Oil on panel, 10 x 7 5/8 in. (25.5 x 19.3 cm), framed. Condition: Fine craquelure, heavy varnish layer. Provenance: Butterfieldâ&#x20AC;&#x2122;s, San Francisco, European Paintings, Wednesday, November 13, 2002, Sale #7374P, Lot 07026. $300-500 214 Attributed to Henry Robert Morland (British, 1716-1797) or his School The Unlucky Boy Unsigned, identified on a label from The Leger Galleries, Ltd., London, and on a modern auction label, both affixed to the back of the frame. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Lined, retouch, fine craquelure, scattered minor paint losses. Provenance: Purchased by the grandfather of the current owner, probably from The Leger Galleries, Ltd., thence by family descent. N.B. The birth year of Henry Robert Morland has been debated. For the entry here we have used the date on the Getty Research Institute Union List of Artist Names Online. This composition was reproduced as a mezzotint in 1772. $2,500-3,500

214

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215

215 Luigi Bechi (Italian, 1830-1919) Going to Market Signed â&#x20AC;&#x153;L. Bechiâ&#x20AC;? l.r. Oil on canvas, 39 x 31 in. (99.0 x 79.0 cm), in a period frame. Condition: Lined, retouch primarily to the sky, fine craquelure. $7,000-9,000

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216

216 Hubert Salentin (German, 1822-1910) The Morning Post Signed and dated “H. Salentin/1877” l.r. Oil on canvas, 16 x 24 3/4 in. (40.6 x 62.9 cm), framed. Condition: Craquelure. N.B. A fond subject of Salentin’s, he produced several variants of this composition. $1,500-2,000 217 British School, 19th Century Two Genre Paintings of Children with Harvest Carts Unsigned. Both oil on canvas, 12 5/8 x 10 5/8 in. (32.0 x 27.0 cm), unframed. Condition: Lined and restored in 2019, retouch, stable craquelure. N.B. A conservator’s report accompanies the lot. $1,000-1,200

217, partial

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218

219

220

218 Jules Dupré (French, 1811-1889)

219 Camille Magnus (French, 1850-1877)

220 Jules Dupré (French, 1811-1889)

Barbizon Landscape with Figures Monogrammed “J.D.” l.r. Oil on canvas, 9 3/4 x 13 in. (24.7 x 33.0 cm), framed (under glass). Condition: Lined, craquelure, surface grime, scattered retouch to sky. $800-1,200

Barbizon Landscape Signed “C. Magnus” l.l., identified on an unattributed handwritten label and a note handwritten in French with the artist’s biography, both affixed to the reverse. Oil on panel, 11 1/2 x 9 1/2 in. (29.2 x 24.1 cm), framed. Condition: Fine craquelure. $800-1,200

Cows Watering Signed “J. Dupré” l.l. Oil on panel, 9 1/2 x 13 in. (24.1 x 33.0 cm), framed. Condition: Minor retouch, minor surface grime. $1,000-1,500

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221

221 Louis Gurlitt (German, 1812-1897) Landscape with River Signed “Gurlitt” l.r., handstamp and label from Suzanne Duff, Paintings Conservator, Essex Fells, New Jersey, on the backing, partial label from W.K. O’Brien and & Bro., New York, affixed to the frame. Oil on canvas, 31 x 44 1/2 in. (78.7 x 113.0 cm), framed. Condition: Lined with Beva film onto a new stretcher, craquelure, areas of thinned pigment, scattered retouch.

222

N.B. The lot is accompanied by Suzanne Duff’s examination report and conservation proposal, compiled in September 2019 and executed in October 2019. $1,200-1,800 222 Edward Moerenhout (Belgian, 1801-1893) Moonlit Canal Signed and dated “Ed. Moerenhout 1880” l.r. Oil on canvas, 22 1/4 x 36 1/4 in. (56.5 x 92.1 cm), framed. Condition: Lined, minor surface grime, craquelure. $1,000-1,500

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223

223 Vlaho Bukovac (Croatian, 1855-1922) Portrait of a Woman Incised signature “B Bukovac” l.l. Oil on canvas, 18 1/4 x 15 1/4 in. (46.5 x 39.0 cm), framed. Condition: Craquelure, gentle canvas rippling, surface grime. Provenance: Hugu Ruef, October 8, 2010, Lot 49; private collection, Toronto. $10,000-15,000 224 Jules Edouard Diart (French, 1840-1890) Still Life with Fruit and Flowers Signed and dated “DIART. 1859” l.l. Oil on board, 21 x 17 1/2 in. (53.3 x 44.5 cm), framed. Condition: Craquelure, tenting, very minor loss to u.l. edge near corner. $600-800

224

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225

225 Henri Fantin-Latour (French, 1836-1904) Fleurs Signed “Fantin” u.r., dated “Avril 1863” u.l., numbered “4071” and with a canvas stencil from Tableaux Modernes, Paris, on the reverse. Oil on canvas, 18 1/2 x 18 1/8 in. (47.0 x 46.0 cm), framed. Condition: Lined, possible old retouch to background. Provenance: M.V.B. Hill; Christie’s London, February 20, 1959, Lot 31; Anonymous sale; Sotheby’s London, July 5, 1961, Lot 109; O’Hanna Gallery, London (acquired at the above sale); Hirschl & Adler Galleries, Inc., New York; Private Collection (acquired from the above in 1967); Christie’s New York, Impressionist and Post-Impressionist Art, November 9, 1999, Sale 9222, Lot 229; to the current private Massachusetts collection.

Literature: Mme. Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour (Paris, 1911) p. 31, no. 221 (Provenance: Sold in London in 1906). Exhibitions: Finch College Museum of Art, New York, Still Life Painters: Pieter Aertsen to Georges Braque, February-May, 1965, p. 7, no. 35 (illustrated p. 42). N.B. A print-out of the auction record from Christie’s 1999 auction referenced above accompanies the lot. $120,000-180,000

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226

227

226 James Holland (British, 1799-1870)

227 Franco-American School, 19th Century

The Leaning Tower of the Church of St. George the Greek Signed “...AS HOLLAND” within the composition c.l., titled, signed, and dated “...VEN.../James Holland, 1845” on the reverse, identified on a label from Frost & Reed, London, affixed to the reverse. Oil on panel, 14 1/4 x 10 5/8 in. (36.0 x 27.0 cm), framed. Condition: Fine craquelure, minor surface grime. $1,000-1,500

Bathers by a Stream Possible indistinct incised signature l.c. Oil on academy board, 18 x 14 in. (45.7 x 35.5 cm), framed. Condition: Minor surface imperfections and grime. $800-1,200

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228 Pál (Paul) Böhm (Hungarian, 1839-1905) Family at Rest by a Bridge and Stream Signed and inscribed “fert: Böhm Pál Munchen” l.l. Oil on partially cradled panel, 19 1/4 x 13 7/8 in. (49.0 x 35.3 cm), framed. Condition: A few fine vertical cracks to the upper half of the composition in the sky and trees with minor retouch, craquelure with areas of lifting along some of the cracks. $1,200-1,800 229 School of Hermanus Koekkoek Jr. (Dutch, 1836-1909) Coastal Scene with Lighthouse and Beached Vessel Initialed “V.W” l.l. Oil on canvas, 16 x 25 1/2 in. (40.5 x 64.5 cm), framed. Condition: Craquelure, surface grime. $1,000-1,500

228

229

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230 Sanford Robinson Gifford (American, 1823-1880) Sketch of the Lago di Nemi Signed and dated “S. R. Gifford/18[57?]” l.r. Oil on canvas, 13 1/2 x 20 1/2 in. (34.5 x 52.2 cm), framed (in a liner, under glass). Condition: Surface grime, varnish discoloration and varnish inconsistencies in the sky, very minor craquelure in the sun, a tiny spot of craquelure with lifting in the left edge of the tree at center, a cluster of small paint losses to the right of the tree in the center. Provenance: Arthur Dennis Veasey (d. 1927), Haverhill, Massachusetts, mill owner, Groveland, Massachusetts; by family descent to the current private collection. N.B. The following text was written by Dr. Kevin J. Avery, Independent Scholar, co-author, Hudson River School Visions: The Landscapes of Sanford R. Gifford. This recently surfaced painting is the last and the largest of at least four known or recorded works by Gifford in preparation of his breakout masterpiece, Lake Nemi, in the Toledo Museum of Art. (i) Like three of the four other preparatory oils, the present picture was probably painted in Rome in the fall and winter of 1856-57, probably even as the Toledo painting was in progress. The present work, about one-third the size of the Toledo picture (39 5/8 x 60 3/8 inches), is the ultimate of the four rehearsal images, and may well have served to test effects the artist was incorporating into the magnum opus. Gifford might well have craved the sense of security that experimentation on the smaller work would have afforded him in executing the larger. The Toledo painting was a major commission from Charles Coffey Alger, a partner of Gifford’s father in an iron foundry at Hudson, New York. The artist’s long absence abroad from home and family, coupled with the rainy, chill winter in Rome confined mostly to his studio, depressed his spirits as he labored haltingly and uncertainly on the big commission. (ii) Lake Nemi, the small volcanic lake nestled in the Alban Hills seventeen miles southeast of Rome, became one of the most coveted subjects for eighteenth and nineteenth-century Northern European and American artists making the Grand Tour of the Continent culminating in Italy. For Gifford, the British master Joseph M. W. Turner was the foremost model among artists who had essayed Nemi and other Italian volcanic lakes such as nearby Albano, as well as Avernus, near Naples. (iii) On the same tour, beginning in London in 1855, Gifford had marveled at the works of the recently deceased Turner, and then debated their merits in a personal audience with the master’s renowned champion, John Ruskin. When, on the evening of 6 October 1856, Gifford reached the town of Nemi in the company of other aspiring American landscape painters (including Albert Bierstadt and Worthington Whittredge), he was primed to stare in awe, not merely at the lake, but at the full moon hanging above it and its reflection on the water. (iv) Possibly by the time even of his first oil sketch of the scene (unlocated), painted on site, the hanging moon had become, in Turner fashion, the diffused sun, in a conception that persisted through the four pictures of the site (including the present one) he painted thereafter. The orb reflects not only on the lake, but also beyond, on the Tyrrhenian Sea, about twenty miles to the west. On the middle ground terrain, its light is manifested in the contrejour effect of the foliage, casting radial shadows near lakeside and on the crest of the crater’s rim. To convey further the sun’s influence, in all his known paintings of Lake Nemi Gifford included local women, at the foot of the dwellings on the foreground ledge, spreading laundry to dry.

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Besides being the largest of the preparatory works, the present painting appears also to be the most highly finished. Yet, in relative refinement of execution and in overall tone, it still differs measurably from the large painting. For what Gifford himself termed his “Chief Pictures” (of which Toledo’s Lake Nemi figured first) he typically imparted a smoother surface texture and an even warmer, rosier tone throughout. (v) With all the solar heat embodied in the present picture, it appears greener, more neutral, and more naturalistic than the ultimate work. Still, Gifford’s preparatory paintings scarcely repelled potential patrons, and throughout his career critics occasionally expressed a preference for his smaller works. It is possible that this rediscovered Lake Nemi painting is the sketch that Gifford, writing to his father from Rome in April 1857, disclosed having just made to send home to “Lizzie Mulock,” undoubtedly a family friend. (vi) By 1881, a painting titled Lago di Nemi, reportedly conforming almost exactly to the dimensions of the present work, was owned by the railroad and steamship executive LeGrand B. Cannon, a native of Troy, New York, and later a resident of New York City and Burlington, Vermont. Like Gifford, Cannon was a Civil War veteran, a Union League club member, and a founder of The Metropolitan Museum of Art. (vii) i) Three of the four are listed in A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N. A. (New York: The Metropolitan Museum of Art, 1881), nos. 99, A Sketch of Lago di Nemi, dated October 7th, 1856, 10 x 14 inches; (unlocated); 101, A Sketch of Lago di Nemi, dated October 23d [sic], 1856 (private collection); and 115, Lago di Nemi, “date not known,” size 14 x 20, owned by LeGrand B. Cannon. The last is probably the present painting. The other two extant oil sketches, one of them not listed in the Memorial Catalogue, are illustrated and discussed in Eleanor Jones Harvey, The Painted Sketch: American Impressions from Nature, 1830-1880, exhibition catalogue, Dallas Museum of Art (Dallas, Texas, 1998), pp. 204-206. ii) For Charles Coffey Alger, see The Gossips of Rivertown: News and Commentary about the City of Hudson, New York: https://gossipsofrivertown.blogspot.com/2019/04/nine-notto-ignore-no-2.html. For Gifford’s work on the large Lake Nemi, see Kevin J. Avery and Franklin Kelly, Hudson River School Visions: The Landscapes of Sanford R. Gifford, exhibition catalogue, The Metropolitan Museum of Art and the National Gallery of Art (New York and Washington, 2003), pp. 12, 103-105. iii) Gifford’s efforts to see original Turner paintings in England and his follow-up interview with Ruskin are described in Avery and Kelly 2003, pp. 10-11; 103, 104 (fig. 68). iv) Harvey 1998, pp. 204-205; Avery and Kelly 2003, p. 103; see also Ila Weiss, Poetic Landscape: The Art and the Experience of Sanford R. Gifford (Newark, Del.: University of Delaware Press, 1987), pp. 195-197. v) Gifford’s “List of Some of My Chief Pictures” is included in Weiss 1987, pp. 327-330. vi) Harvey 1998, p. 206; Avery and Kelly 2003, p. 106n11. vii) Memorial Catalogue 1881, p. 18, no. 115. For Cannon, see “Colonel Cannon,” Middlebury [Vermont] Register, 16 November 1906, p. 4; A Metropolitan Art-Museum in the City of New York. Proceedings of a Meeting Held at the Theatre of the Union League Club, Tuesday evening, November 23, 1869... (New York, [Union League Club, Committee of Fifty], 1869), pp. 19, [40]; Weiss 1987, pp. 128-129.

$200,000-300,000

230

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231

231 Menci Clement Crncic ˇ ´ (Croatian, 1865-1930) Wide Sea/View of Krk Signed “Menci Cl Crncic” ˇ ´ l.l., with labels from Dorotheum (see below) affixed to the back of the frame. Oil on linen, 20 x 29 1/4 in. (50.5 x 74.5 cm), framed. Condition: Gentle canvas rippling, fine craquelure. Provenance: Dorotheum, Vienna, Nineteenth Century Paintings and Watercolors, June 9, 2011, Lot 218; private collection, Toronto. $12,000-15,000 232 William Trost Richards (American, 18331905)

232

Norway Signed and dated “Wm. T. Richards.97.” l.l., identified on a label from Peridot Gallery, New York, and on a clipping from a Christie’s auction catalog, both affixed to the frame backing paper. Watercolor and pencil on paper/board, sight size 15 3/4 x 24 1/2 in. (40.0 x 62.0 cm), framed. Condition: Scattered very small accretions mainly to sky, not examined out of frame. Provenance: Peridot Gallery, New York; Christie’s New York, Rockefeller Center, May 29, 1987, Lot 59; to the current private Massachusetts collection. $3,000-5,000

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233

233 William Trost Richards (American, 18331905) Cliffs of Cornwall Signed and dated â&#x20AC;&#x153;Wm. T. Richards.1887.â&#x20AC;? l.r. Oil on canvas, 35 x 25 in. (89.0 x 63.5 cm), in a period frame. Condition: Stable craquelure. Provenance: A private Massachusetts collection. $25,000-35,000

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234

235

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236

234 Mauritz Frederik Hendrik de Haas (Dutch/ American, 1832-1895) Rolling Surf, Rocky Coast Signed “M F H de Haas” l.r., identified, alternatively titled New England Coast, and inscribed “27892” on a label from Vose Galleries of Boston, Inc., affixed to the backing, inscribed “27892” on the stretcher. Oil on canvas, 12 3/4 x 19 in. (32.4 x 48.2 cm), framed. Condition: Minor craquelure and drying cracks.

235 Edward Moran (American, 1829-1901)

236 Irving Ramsay Wiles (American, 1861-1948)

Ship in Moonlight Signed “Ed. Moran” l.l. Oil on canvas, 16 x 23 in. (40.3 x 58.7 cm), framed. Condition: Patch reinforcements, retouch to sky, craquelure, surface grime. $3,000-5,000

Paddle Wheeler and Schooner on the River Signed “Irving R. Wiles” l.r., inscribed “To...H. Clark, Esq./From Irving R. Wiles/New London, Conn./Aug. 1916” on the reverse. Oil on panel, 9 3/4 x 14 in. (24.7 x 34.9 cm), framed (in a liner). Condition: Two small tack holes (or similar) l.r., surface grime. $6,000-8,000

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

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237

237 Wesley Elbridge Webber (American, 18411914) Crashing Surf Signed “W. Webber.” l.r., identified on an unattributed typed label affixed to the frame. Oil on canvas, 30 x 50 in. (76.2 x 127.0 cm), framed. Condition: Lined. $1,500-2,000 238 Samuel Lancaster Gerry (American, 18131891) The Ride of Paul Revere Signed “S L Gerry.” l.r., inscribed by a later hand with alternative title “Midnight Ride of Paul Revere” on the frame. Oil on canvas, 27 x 22 in. (68.6 x 55.9 cm), framed. Condition: Lined onto a new stretcher, small loss to c.l. edge, minor retouch, craquelure. $800-1,200

238

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239 Alexander Theobald Van Laer (American, 1857-1920) Pastoral Hillside Signed “A.T. VAN LAER. ANA.” l.r. Oil on canvas, 27 x 20 in. (68.6 x 50.8 cm), framed. Condition: Craquelure, varnish discoloration, tack holes near edges, minor accretion l.l. near edge. $700-900 240 Harrison Bird Brown (American, 1831-1915) View of Mt. Desert... Signed “HB BROWN” l.r., inscribed “View of Mt. Desert...,” possibly ending in “from Lamoine Park,” in pencil on the stretcher. Oil on canvas, 13 1/2 x 23 1/4 in. (34.3 x 59.1 cm), framed. Condition: Minute puncture to l.l. quadrant with canvas loss, faint stretcher marks. Provenance: A private Massachusetts collection. $1,500-2,500

239

240

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241

241 Mary Blood Mellen (American, 1817-1882) Boats in Gloucester Harbor Unsigned. Oil on canvas (stretched with Boston tabs), 10 1/4 x 15 3/4 in. (26.0 x 40.0 cm), framed. Condition: Craquelure, scattered retouch, varnish inconsistencies.

N.B. As an aspiring artist, Mary Blood Mellen was attracted to Fitz Henry Laneâ&#x20AC;&#x2122;s work and was probably working in his Gloucester studio by 1848, where she began her apprenticeship making copies of Laneâ&#x20AC;&#x2122;s work.1 Mellen and Lane developed a close relationship and often worked collaboratively on the same canvas as well as side by side on their respective paintings. Mellen also painted many original works with considerable skill and often produced several versions of the same scene, like this view of Gloucester Harbor, of which at least two other examples are known (see Wilmerding, as below, cat no. 15, p. 65, and Skinner, Inc., American & European Works of Art, Sale 2432, Lot 71. 1. Wilmerding, John, Fitz Henry Lane & Mary Blood Mellen: Old Mysteries and New Discoveries, exhibition catalog, Cape Ann Historical Museum and Spanierman Gallery, LLC, (New York: 2007), p. 40.

$15,000-25,000

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242

242 American School, 19th Century Ship Nancy Leaving Whampoa Signed “John West” l.r., titled along the bottom of the composition, identified and dated “...July 1886” on a handwritten label affixed to the stretcher. Oil on canvas, 19 x 24 1/2 in. (48.2 x 62.0 cm), framed. Condition: Lined and backed with a map of the Pacific Ocean and Australia/New Zealand with views of China in the margins, varnish discoloration. $1,200-1,800

242A

242A British School, 19th Century Clipper Ship Under Sail Unsigned. Oil on canvas, 24 x 35 5/8 in. (61.0 x 90.5 cm), framed. Condition: Small area of retouch on the hull of the ship corresponding to patch reinforcement on the reverse, possible old retouch to the sky, craquelure with some areas of lifting, scattered small paint losses, varnish discoloration, framer’s notations on the stretcher. $700-900

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244

243 Francis Thayer (American, 19th/20th Century) Forested Stream Signed, dated, and inscribed “- Thayer 1901/ Paris” l.r. Oil on canvas, 50 1/4 x 32 1/4 in. (127.6 x 81.9 cm), framed. Condition: Craquelure, stretcher marks. $700-900

244 William Allen Wall (American, 1801-1885) Woodland Respite Signed “W.A. Wall” l.r., a label from WalkerCunningham Fine Art, Boston, affixed to the reverse. Watercolor and gouache on paper/board, sight size 15 1/2 x 11 in. (39.4 x 27.9 cm), framed. Condition: Minor staining or similar to sky, very minor foxing to sky, not examined out of frame. $700-900

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245

245 Attributed to Ralph Albert Blakelock (American, 1847-1919) Woodland View Signed â&#x20AC;&#x153;R.A. Blakelockâ&#x20AC;? l.r., tag from Selkirk Auctions, St. Louis, Missouri, tied to the hanging wire. Oil on panel, 16 x 12 in. (40.6 x 30.5 cm), framed. Condition: Varnish inconsistencies, varnish discoloration, craquelure, surface grime. Provenance: Selkirk Auctions, November 19, 2019, Lot 135. $2,500-3,500

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246 Alfred T. Ordway (American, 1819-1897) Cows Beneath Trees Signed and dated “A. Ordway/1886” l.l., with a label from Frost & Adams, Boston, and a partial label from Charles Harris Picture Frames, Boston, affixed to the stretcher. Oil on canvas, 28 x 42 in. (71.1 x 106.7 cm), framed. Condition: Lined, drying cracks. $2,500-5,500 247 Hugh Bolton Jones (American, 1848-1927)

246

Backcountry Stream in Autumn Signed “H. BOLTON JONES” l.l., with a label from David Bendann’s Fine Art Rooms, Baltimore, affixed to the stretcher and frame. Oil on canvas, 16 x 24 in. (41.0 x 61.0 cm), framed. Condition: Two small punctures to u.r. quadrant in sky, patch reinforcements, small area of retouch to c.l. edge corresponding to a patch on the reverse, paint loss to c.r. edge, minor surface grime. $3,000-5,000 248 George Arthur Hays (American, 1854-1945) Ploughin At Dusk Signed “GA HAYS” l.l., inscribed “Ploughin At Dusk/GA Hays 1910/65” on the reverse and the backing. Oil on canvas, 20 x 27 in. (50.8 x 68.6 cm), framed. Condition: Prominent craquelure, lined, retouch to sky. $700-900

247

248

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249

250

249 Samuel Lancaster Gerry (American, 18131891)

250 Wesley Elbridge Webber (American, 18411914)

Rustic Bridge Over a Woodland Stream Signed “S.L. Gerry” l.r. Oil on canvas, 17 x 25 in. (43.2 x 63.5 cm), in a period frame. Condition: Scattered small paint losses and minor abrasions to l.l. quadrant. $1,000-1,500

Country Road with Horse Cart Signed “W. Webber.” l.r. Oil on canvas, 26 x 36 in. (66.0 x 91.4 cm), framed. Condition: Craquelure. $700-900

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251

252

251 American School, 19th Century The Flower Seller Unsigned. Oil on canvas, 18 1/4 x 15 in. (46.3 x 38.0 cm), framed. Condition: Lined, retouch, craquelure. N.B. The young girl seated in a twig chair is wiring fresh flowers from her basket, probably intended for a nosegay or corsage. The setting appears to be on a ship or ferry. $700-900

253

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254

252 De Scott Evans (American, 1847-1898) Portrait of Professor Edward Mayerhofer Signed and dated “De Scott Evans/1892” u.l., dedicated “To my friend. Prof. Edw. Mayerhofer” u.r. Oil on canvas, 16 x 12 in. (40.5 x 30.0 cm), in a period frame. Condition: Craquelure, surface grime. $1,000-1,500

253 Abbott Fuller Graves (American, 18591936) Mother and Child with Geraniums Signed “Abbott Graves” l.l., identified on an unattributed typed label affixed to the stretcher. Oil on canvas, 20 x 14 in. (50.8 x 35.6 cm), framed. Condition: Minor surface grime. $1,000-1,500

254 Levi Wells Prentice (American, 1851-1935) A Basket of Apples Signed “L.W. Prentice” l.l. and also on the reverse. Oil on canvas, 20 x 24 in. (50.7 x 60.8 cm), framed. Condition: Scattered minor accretions and paint losses, areas of bloom (primarily within deep brown pigments), minor surface grime. $20,000-30,000

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101

255 Levi Wells Prentice (American, 1851-1935) Still Life with Tomatoes, Carrots, and a Parsnip Signed “L.W. Prentice” l.r. Oil on canvas, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Scattered areas of minute losses, craquelure, wear to edges, including the “e” in the signature, likely from contact with the frame. $4,000-6,000

255

256 Charles Ethan Porter (American, 18471923) Lilacs Signed “C.E. Porter” l.r. Oil on canvas, 20 x 28 in. (50.8 x 71.1 cm), framed. Condition: Scattered small losses, surface grime, drying cracks, scattered pinprick accretions. N.B. Charles Ethan Porter was a still-life painter in the 19th and early 20th century. He attended the Wesleyan Academy in Massachusetts and went on to study at New York’s National Academy of Design, where he was one of the first African Americans to exhibit. In 1878, Porter opened a studio in Hartford where Samuel Clemens (Mark Twain) came to know him through his local exhibitions. In the early 1880s, Porter announced a sale of his works to raise money to study in Europe. In 1881, Twain wrote to artist Karl Gerhardt and his wife Harriet, asking them to help Porter when he arrived in Paris. He also wrote a general letter of introduction for Porter to the American community there. $2,000-2,500

256

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257 Charles Ethan Porter (American 1847-1923) Roses Signed “C.E. Porter” l.r. Oil on canvas, 13 x 15 in. (33.0 x 38.1 cm), framed. Condition: Minor canvas deformation, varnish inconsistencies, drying cracks, pinprick puncture to u.l. corner. $1,500-2,500 258 Harry A. Driscole (American, 1861-1923) Bass Grabbing a Fly Signed and dated “H.A. Driscole/1899” l.r. Oil on canvas, 14 5/8 x 21 5/8 in. (37.0 x 54.8 cm), framed. Condition: Surface grime. $800-1,200 259 Anna Eliza Hardy (American, 1839-1934) Roses Monogrammed “A.E.H.” l.l. Oil on canvas, 26 x 14 in. (66.0 x 35.5 cm), framed. Condition: Drying cracks, craquelure. $1,000-1,500

257

258

259

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103

260 Otto von Thoren (German, 1828-1889) Horsemen at Sunset Signed “O. von Thoren” l.r., inscribed indistinctly “.../von Thoren” in ink on an unattributed label affixed to the backing. Oil on canvas, 21 1/2 x 33 3/4 in. (54.6 x 85.7 cm), framed. Condition: Minute scattered losses, canvas loss with repair to u.l. quadrant near the edge. $800-1,200 260

261 Edmund Henry Osthaus (American, 18581928) Two Bird Dogs Signed and dated “Edm. H. Osthaus/1892” l.r. Watercolor on paper mounted to paperboard, 17 7/8 x 29 5/8 in. (45.5 x 75.5 cm), in the original frame. Condition: Toning, scattered minor fox marks, small loss to l.r. edge. Provenance: Gift of the artist to Fred Turner of Muskogee, Oklahoma, great uncle of the consignor; thence by family descent to a private Kansas collection.

261

N.B. Fred Turner met Edmund Osthaus at graduation ceremonies for The Art Institute of Chicago, where Osthaus was the keynote speaker and Turner’s sister was a student. The two men, who shared a strong interest in bird hunting, bird dogs, and field trials, became friends and exchanged visits to one another’s homes. On one such visit, Osthaus presented Turner with the watercolor at hand. $6,000-8,000 262 Carl Jutz (German, 1838-1916) Two Genre Scenes: Ducks and Ducklings by a Barnyard Water Trough and Ducks Beside a Garden Pond Signed, inscribed, and dated “Carl Jutz/ München.1861.” and “Carl Jutz.1861.” l.r. and l.l., respectively. Oil on canvas, oval format, 12 1/2 x 16 in. (31.7 x 40.6 cm), framed. Condition: Lined, scattered minor retouch, craquelure.

262, partial

104

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Provenance: Skinner, Inc., American & European Paintings & Prints, March 12, 1999, Sale 1907, Lot 214; to a private Massachusetts collection. $4,000-6,000

263

263 Alexander Pope (American, 1849-1924), Charles Prendergast (American, 1863-1948), Maurice Brazil Prendergast (American, 1858-1924) Blue Ribbon Winners at Lawson Kennels: Ivel Dublin Girl, Thackeray Soda, Fashion, Glen Monarch, Rodney Monarch, Duke of St. Martin, Rodney Duplicate, Kruger, and Isla Queen Painting signed and dated “ALEXANDER POPE 02” l.r., frame signed/inscribed and dated “Charles F. Prendergast/ Maurice B. Prendergast/1903” on the top horizontal rail on the reverse. Oil on canvas, 27 1/2 x 70 in. (70.0 x 178 cm), in a signed Prendergast brothers frame; frame is polychrome and gold leaf on carved, incised, and gessoed panel. Condition: Patch reinforcements, retouch, scattered abrasions, craquelure, minor canvas deformation, surface grime. N.B. Thomas W. Lawson was a wildly successful Boston businessman. He made a fortune selling copper, earning him the moniker “The Copper King,” and he speculated heavily—some might say recklessly—in the stock market. In 1901 he began designing his residence, Dreamwold, in Egypt, Massachusetts (Scituate). The property was considered a farm, and themes of farming and harvest were repeated throughout the decoration of the property, but the plans were wildly extravagant. The stables were designed to accommodate 300 horses, with a riding academy and three brooding stables, as well as eight other stables. It also had kennels for 150 dogs. Designed with all of the day’s modern conveniences including electricity and telephones, the house was decorated by the top artists and artisans of the period. The estimated cost of Dreamwold at the time was $6,000,000. The Lawson Tower in Scituate is all that remains of Dreamwold today. Although he bred at least six different breeds of dogs, Lawson’s favorite were his champion English Bulldogs. It is said that no dog show was complete in the first decade of the 20th century without entries from the Lawson kennels. Lawson had not one but two paintings of his bulldogs commissioned for Dreamwold, one of which is offered here. Both were painted by Alexander Pope, one of the top dog portraitists of the day, who was, conveniently, a Boston native. The nine bulldogs depicted in the Skinner painting are actually specific portraits, and they are identified as the title indicates. (The companion painting, location unknown, included eleven prize-winners.) The frame was made by Charles and Maurice Prendergast, and it too depicts some of Lawson’s dogs as well as his four daughters, and is topped with the Dreamwold badge: a winged horse (Pegasus) held by the strong hand of a man, symbolizing “Beauty, Strength and Speed.” The Prendergast frame from the companion painting is owned by the Terra Museum of American Art, Chicago. $15,000-25,000

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105

266

264 Franz Arthur Bischoff (American, 1864-1929) Landscape with Moss-covered Rocks Signed â&#x20AC;&#x153;Franz A Bischoff -â&#x20AC;? l.l. Watercolor and pencil on paper/board, sight size 11 x 9 in. (27.9 x 22.9 cm), framed. Condition: Not examined out of frame. $800-1,200

264

265

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267

265 Frank Weston Benson (American, 18621951)

266 James McDougal Hart (American, 18281901)

267 Frank Weston Benson (American, 18621951)

Trout Pond, Middleboro Signed, dated, and dedicated “F.W. Benson ‘24...” in blue watercolor and “To Llewellyn HOWLAND ‘36” in pencil l.l., identified on a label from Vose Galleries of Boston, Inc., affixed to the frame backing, further inscribed by Llewellyn Howland and with a typed copy of Howland’s poem Lines to F.W.B. from a prior backing now encapsulated and affixed to the frame backing. Watercolor on paper/board, sight size 14 x 20 1/2 in. (52.0 x 35.5 cm), framed. Condition: Pale toning, pale stains to edge at u.r. quadrant, not examined out of frame.

A View Through the Mountains Signed and inscribed “Jas M. Hart/Boston, Mass.” in ink l.l., signed and titled in ink on the reverse. Watercolor on paper, 7 x 9 3/4 in. (17.7 x 24.8 cm), framed. Condition: Mat burn.

Snowladen Trees Signed and indistinctly dated “F.W. Benson ‘2...” l.l., identified on labels from the Boston Museum of Fine Arts and the Fogg Art Museum encapsulated on the new frame backing. Watercolor on paper, 14 1/2 x 20 5/8 in. (36.8 x 52.3 cm), framed. Condition: Mat burn, toning and a brown paper tape remnant to the reverse.

Provenance: A private Massachusetts collection. $800-1,200

Provenance: A private Massachusetts collection. $10,000-15,000

Provenance: A private Massachusetts collection. N.B. In the inscription on the old backing paper, Howard Llewellyn wrote, “This painting of a trout pond in the Middleboro region of Cape Cod was given to me in 1937 by Frank Benson. In grateful recognition of this gift I wrote and sent him the following poem. Lines to F.W.B.” The inscription is followed by a thirty-six-line poem extolling Benson’s artistic talents, love of nature, and generosity and kindness to his friends. $8,000-12,000

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268

268 Frank Weston Benson (American, 18621951) Ducks in Flight at Dusk Signed and dated “F.W. Benson 45” l.l. Watercolor on paper, sight size 19 1/4 x 24 in. (49.0 x 61.0 cm), framed. Condition: Subtle toning, not examined out of frame. Provenance: A private Massachusetts collection. $15,000-25,000 269 Frank Weston Benson (American, 18621951) Ruffed Grouse Signed and dated “F.W. Benson /24” l.l., identified on a label from Vose Galleries of Boston, Inc., and on encapsulated labels from the Guild of Boston Artists and the Museum of Fine Arts, Boston, affixed to the new frame backing. Watercolor on paper, sight size 23 1/4 x 17 5/8 in. (59.0 x 44.7 cm), framed. Condition: Not examined out of frame. Provenance: A private Massachusetts collection. Exhibitions: Museum of Fine Arts, Boston, Paintings by Frank W. Benson and the Late Edmund C. Tarbell, November 16–December 15, 1938, no. 70, lent by Dr. Charles G. Mixter, Brookline, Massachusetts. $15,000-25,000

269

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270

270 Frank Weston Benson (American, 18621951) Hunter Collecting His Quarry Signed and dated “F.W. Benson/’37” l.l. Oil on canvas, 20 x 30 in. (51.0 x 76.5 cm), framed. Condition: Minor varnish inconsistencies, thinly brushed retouch to sky, stretcher replaced. Provenance: A private Massachusetts collection. $80,000-120,000

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109

271

272

271 Harry Jackson (American, 1924-2011)

272 Carl Kauba (a.k.a. T Curts) (Austrian, 18951922)

Algonquin Chief Signed and dated “© Harry Jackson/76,” numbered “AC 6P,” and with the WFS foundry mark and the artist’s thumbprint in the bronze on the back of the bust; also signed and dated “© H. Jackson 82” in paint on the back of the bust. Painted bronze, height approximately 9 in. (23.0 cm), on a metal and marble plinth. Condition: Minor paint losses to the surface, surface dust. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. This head of an Algonquin chief is derived from a larger bronze, Algonquin Chief and Warrior, which was inspired by and related directly to Jackson’s large mural sequence River, Road and Point. $2,000-3,000

110

Ki-yat-ti-de (The Water Carrier) Signed “T. Curts” in the top of the bronze base, titled on a presentation plaque affixed to the plinth. Cold-patinated bronze with copper brown patina, height 18 1/2 in. (47.5 cm), on a marble plinth. Condition: Minor dust and dirt. N.B. Possibly inspired by a photograph of a Laguna girl in Apache clothing by Karl E Moon & Company, Albuquerque, New Mexico, published in The Burr McIntosh Monthly, Volume 11. $3,000-5,000

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273

273 John Nieto (American, 1936-2018) Standing Brave Signed, dated, and numbered “Nieto ‘79 © 12/25” in the bronze l.r., with the foundry mark “SCHAEFER/ART BRONZE” in the bronze on the back edge. Bronze with dark brown patina, height 13 1/2 in. (34.0 cm), on a round wood plinth. Condition: Minor dust and dirt. $700-900

274, partial

276

275

274 Edwin Willard Deming (American, 18601942) Two Sketches of Figures on Horseback Each inscribed with the artist’s cipher and signed “EW DEMING” l.l. Gouache on paper/board, sight size to 4 1/2 x 6 7/8 in. (11.4 x 17.5 cm), framed. Condition: Very minor lifting, minor flaking to the profile sketch of the figure on horseback, not examined out of frames. $400-600

275 Harry Jackson (American, 1924-2011) Study for Bust I Signed, dated, and inscribed “© Harry Jackson/SHS 1 1980” and with the WFS foundry mark and the artist’s thumbprint all on the back of the bronze base, identified on a presentation plaque. Bronze with dark brown patina, height 6 7/8 in. (17.5 cm), on a stone base. Condition: Dust and dirt to interstices. Provenance: The collection of Joseph Thomas Alvarez III, California. $1,200-1,800

276 Kate Thompson Cory (American, 18611958) Young Hopi Girl Signed “KATE T CORY” l.l., with a possible faint monogram to the left of the signature. Oil on academy board, 12 1/4 x 9 1/4 in. (31.0 x 23.5 cm), framed. Condition: Possible retouch or varnish inconsistencies along the top edge of the sky, stable craquelure, frame abrasions along top edge, wear and small losses to lower corners, minor surface grime. $800-1,200

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111

277 Albert Lorey Groll (American, 1866-1952) Arizona Signed “Groll” l.l., signed and titled on the reverse, a sticker from J.J. Gillespie Fine Art Galleries, Pittsburgh, Pennsylvania, affixed to the backing. Oil on board, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Wear to left edge with minor areas of flaking and extremely minute crack to the surface of the board. $1,000-1,500 278 Frank Paul Sauerwein (American, 18711910) Western Landscape with Cows Signed and dated “F. Sauerwein 96.” l.r. Oil on paper/board, sight size 3 1/2 x 8 1/8 in. (8.9 x 20.6 cm), framed. Condition: Cockling, minute strip of tape adhesive to lower edge, minor surface grime, not examined out of frame. $600-800

277

279 Albert Lorey Groll (American, 1866-1952) Western Landscape Signed “Groll” l.r. Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Prominent craquelure, minor wear to edges. $500-700

278

279

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280

281

280 Otto Sommer (American, 1811-1911)

281 Elmer L. Boone (American, 1881-1952)

Mountain Lake Signed and dated “Otto Sommer/1841” l.l., a label from Charles Harris Frame Company, Boston, affixed to the frame. Oil on canvas, 27 x 39 in. (68.6 x 99.1 cm), framed. Condition: Lined, a few extremely minor losses, craquelure. $2,000-3,000

The Cattle Drive Signed “E.L. BOONE” l.r. Oil on canvas, 19 1/4 x 30 1/4 in. (48.9 x 76.8 cm), framed. Condition: Drying cracks, minute scattered losses, minor accretion to u.l. corner. $1,500-2,000

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113

282 Harry Jackson (American, 1924-2011) A Lack of Slack Signed, dated, and numbered “© Harry Jackson 1973/LS” on the top of the base, with the WFS Italy foundry mark; inscribed and dedicated “FOR BILL WRIGHT/WHO SAVVYS THIS SWITCH./YOUR FRIEND AND FELLOW BELIEVER/HARRY” on the bronze base; titled on a presentation plaque affixed to the plinth. Bronze with a brown/black patina, height 15 3/4 in. (40.0 cm), on a contoured stone base. Condition: Dust and dirt to interstices.

282

Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. Bill Wright was the husband of Mary Wright, Harry Jackson’s director of sales. This sculpture is considered an unnumbered, dedicated work, separate from the numbered edition. We would like to thank Matt Jackson for his kind assistance with cataloging this work. $4,000-6,000 283 Harry Jackson (American, 1924-2011) Pony Express Rider, Bust Signed and dated “Harry Jackson © 72” and numbered “5/100” in the bronze on the back edge beneath the rider’s coattails. Bronze with dark brown patina, height 10 in. (25.4 cm), on a round marble plinth. Condition: Dust and dirt to interstices. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. In preparation for his Pony Express series of sculptures (1963-1980), Harry Jackson studied Pony Express manuals to confirm the historical clothing and equipment used, striving for the greatest accuracy. However, when it came to the gun, Jackson substituted a large .44 caliber 1851 Navy Colt pistol rather than the smaller gun that was called for in the manual, believing that any experienced rider would opt for the weapon he found most comfortable and reliable.1 1. Larry Pointer and Donald Goddard, Harry Jackson (New York: Harry N. Abrams Inc., 1981), p. 119.

283

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$700-900

284

284 Harry Jackson (American, 1924-2011) Cowboy’s Meditation Signed, dated, and numbered “Harry Jackson/64/2” and with the artist’s thumbprint on the top of the bronze base. Painted bronze, height 22 1/2 in. (57.0 cm), on a black wood plinth. Condition: Areas of wear to the painted surface including small spots on the right stirrup, the crown and brim of the hat, and the rider’s left sleeve, dust and dirt overall. Provenance: The collection of Joseph Thomas Alvarez III, California.

N.B. This figure of a respectful horse and rider, both with lowered heads, was derived from the mounted cowboy in Jackson’s painting Range Burial. Jackson began to make painted versions of the sculpture in 1963, first using the plasteline original and then four hydrostone castings, painted in realistic colors to articulate and bear witness to the subject. Hydrostone proved to be too fragile a medium, so Jackson resolved to paint only metal casts in the future. The earliest polychrome bronze versions of Cowboy’s Meditation appeared in 1964. Not conceived as a specific portrait, the cowboy represented a certain physical and spiritual type that Jackson understood and revered, with the color applied to specifically reveal the man inside. $18,000-22,000

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285

285 Karl Mohr (German, 1922-2013) Fox Hunt with Hounds Signed “K. Mohr” l.l. Oil on canvas, 28 x 24 in. (71.1 x 61.0 cm), framed. Condition: Minor surface grime, drying cracks. $400-600 286 James Montgomery Flagg (American, 1877-1960) Portrait of a Woman in Riding Attire, Said to be Dame Edith Sitwell Signed “JAMES MONTGOMERY FLAGG” l.r. Oil on pressed paperboard, 20 x 15 in. (50.7 x 38.0 cm), framed. Condition: Retouch, minor surface grime. $800-1,200

286

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287

287 John Falter (American, 1910-1982) Two Boys Fishing Signed “JOHN FALTER” on the stretcher. Oil on canvas, 18 x 20 1/2 in. (45.7 x 52.0 cm), framed. Condition: Very minor accretions, a few minor narrow rubs. $2,500-3,500

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288

288 Arthur Clifton Goodwin (American, 18661929) New England Landscape with Rolling Hills and Farmhouses Signed and dated “A.C. Goodwin/’08” l.l., numbered “G215” on the reverse and “31893H” on the stretcher. Oil on canvas, 27 3/4 x 26 in. (71.0 x 91.5 cm), unframed. Condition: Vertical tear measuring 2 inches to l.r. quadrant, craquelure, varnish inconsistencies, possible pentimento at horizon c.r., surface grime. Provenance: Estate of the artist, to a private collection, to the current owner. $700-900 289

289 Henry Kenyon (American, 1861-1926) Autumn Landscape with Stream Identified on a presentation plaque. Oil on board, 10 1/2 x 13 3/4 in. (26.7 x 34.9 cm), framed. Condition: Good. $600-800 290 Arthur Clifton Goodwin (American, 18661929) Estate in Afternoon Light Signed “A.C. GOODWIN” l.r. Pastel on paper, sight size 16 1/4 x 20 1/2 in. (41.3 x 52.1 cm), framed. Condition: Toned, not examined out of frame. $1,200-1,800

290

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291

291 Emile Albert Gruppé (American, 1896-1978) Autumn Stream Signed “Emile A. Gruppé” l.l. Oil on canvas, 20 1/4 x 24 in. (51.4 x 61.0 cm), framed. Condition: Minute losses to l.l. quadrant, stretcher marks, canvas deformation to u.l. and l.l. corners. $2,500-3,500 292 Arthur Clifton Goodwin (American, 18661929) Shady Woodland Brook and Waterfall Signed “AC Goodwin” l.l. Pastel on paper/board, sight size 19 1/2 x 23 in. (49.0 x 58.5 cm), framed. Condition: Not examined out of frame. 292

Provenance: Estate of the artist; to a private collection; to the current owner. $300-500

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293

293 Attributed to Charles Reiffel (American, 1862-1942) House Among the Trees, California Unsigned. Oil on composition board, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Small divot to board l.c., minor surface grime, narrow black accretion measuring approximately 1 1/2 inches to sky and to l.l. quadrant. $10,000-15,000 294 Aiden Lassell Ripley (American, 1896-1969)

294

One Room Church Unsigned, identified in two inscriptions on the reverse and with an A. Lassell Ripley estate stamp on the reverse. Watercolor on paper, 14 x 19 7/8 in. (35.3 x 50.5 cm), framed. Condition: Small notch cut out of the l.c. edge, hinged to window mat in two places on the top edge of reverse. Provenance: A private Massachusetts collection. $1,500-2,500

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295

295 Charles Ephraim Burchfield (American, 1893-1967) Night in Gardenville Monogrammed and dated â&#x20AC;&#x153;.../1937â&#x20AC;? l.l. Ink and watercolor on heavy pressed paperboard, 15 1/4 x 20 in. (38.7 x 50.8 cm), framed. Condition: Toning, minor soiling, and scattered fox marks all evident in margins of board (the composition measures 10 1/2 x 14 1/2 in.), board affixed to window mat with adhesive along upper edge. Provenance: Gift from the artist to his neighbor in West Seneca, New York; by descent to the current private collection, Massachusetts.

N.B. Charles Burchfield painted this eerie late fall scene at a time when his career was in full swing. The Museum of Modern Art had mounted an exhibition of his early work in 1930 (the first single-artist exhibition ever held at MoMA), and he had been represented by the Frank K.M. Rehn Galleries in New York since 1929. After moving to Gardenville, New York, a village near Buffalo, in 1925, his neighborhood became the primary subject of his artworks. Burchfield used his bold, modernist handling of watercolor to depict his environs in each season. Here, he contrasted the barren trees and lingering snow of late autumn with the warm golden light of a welcoming homestead. Twinkling stars peek out through an evening sky filled with dark, stylized clouds. Burchfield 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. $15,000-20,000

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296

296 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. $1,000-1,500 297 Loring W. Coleman Jr. (American, 19182015) Among Bare Maple Boughs Signed “Loring W. Coleman/AWS” l.l., titled and signed on a handwritten label affixed to the backing, titled on a label from Shore Gallery, Boston, affixed to the backing. Watercolor and ink on paper, sight size 28 x 20 1/2 in. (71.1 x 52.1 cm), framed. Condition: Not examined out of frame. $1,500-2,500

297

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298

298 Luigi Lucioni (Italian/American, 1900-1988) The Three Graces Signed and dated “Luigi Lucioni 1949” l.l., identified on a label from Associated American Artists, New York, affixed to the back of the frame. Oil on canvas, 17 x 14 in. (43.3 x 35.7 cm), in a period frame. Condition: Very minor craquelure to l.r. quadrant. Provenance: Associated American Artists, New York; private New York collection; acquired from the above by the parents of the current private collectors.

Literature: Stuart P. Embury, M.D., The Art and Life of Luigi Lucioni, A Contribution Towards a Catalogue Raisonné (Privately Printed, 2006), as The Three Graces (No. 2), cat. no. 49.27, p. 173. Exhibitions: Associated American Artists, New York, Twenty-five Years of Painting, 1951, no. 41; Elizabeth de C. Wilson Museum, Southern Vermont Arts Center, Manchester, Vermont, Luigi Lucioni: A Manchester Realist of the Twentieth Century, (dates unspecified). N.B. Luigi Lucioni’s lovingly rendered, realist landscapes of the Green Mountain State earned him the title “Artist Laureate of Vermont.” He was particularly fond of the Manchester area where he spent many summers.

The present painting shows the grounds of the Ekwanok Country Club in Manchester. A collector of Lucioni’s works, Dr. John J. Siudmak recorded, “(Lucioni) resided in Vermont during the Spring and Summer months. His first love was to paint the red barns (but stated that they were just about gone). His second love were the birch trees, a grove of which was on the nearby golf course. He was given special permission to utilize this 1 scenery at will.” 1. https://www.askart.com/artist_bio/Luigi_Lucioni/24087/ Luigi_Lucioni.aspx

$20,000-30,000

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299

300

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301

299 Ernest Lawson (American, 1873-1939)

300 Reynolds Beal (American, 1867-1951)

Along the Riverbank Signed “E. Lawson” l.r., inscribed “Dr... McCarthy” on the reverse. Oil on Masonite, 12 x 14 3/4 in. (30.5 x 37.5 cm), framed. Condition: Good.

Montgomery, New York Signed and dated “REYNOLDS BEAL 1919.” l.r., titled on the reverse, titled and dated on the stretcher, inscribed “R.B.” twice on the stretcher. Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), framed. Condition: A few extremely minor pinprick losses in sky, retouch to perimeter. $6,000-8,000

Provenance: William Doyle Galleries, American Paintings, October 21, 1987, Lot 133; private collection, Montecito, California; private New England collection. $3,000-5,000

301 Richard Hayley Lever (American, 18761958) Marblehead in Spring Signed “Hayley Lever N.A.” l.r., identified on a presentation plaque, identified, titled, and dated to 1932 on a label from ClaytonLiberatore Art Gallery, Bridgehampton, New York, affixed to the frame, inscribed by a later hand with title on the stretcher. Oil on canvas, 16 1/4 x 20 1/2 in. (41.3 x 52.1 cm), framed. Condition: Lined, stretcher replaced, minor craquelure, retouch. $7,000-9,000

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302 Walter Koeniger (American, 1881-1943) January, Forest Park Signed “W. KOENIGER” l.r., titled, signed, and dated “...1928” on the reverse. Canvas mounted to paperboard, 14 1/2 x 10 3/4 in. (36.8 x 27.3 cm), framed. Condition: Craquelure. Provenance: A private Massachusetts collection. $1,000-1,500 303 James King Bonnar (American, 1883-1961) Vermont Covered Bridge in Winter Signed “JAMES KING BONNAR” l.r. Oil on canvas, 21 x 27 in. (53.3 x 68.6 cm), framed. Condition: Stretcher replaced, minor surface grime. $1,000-1,500

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304 Thomas Andrew Nicholas (American, b. 1934) Winter Shadows, Vermont Signed “TOM NICHOLAS NA” l.l., identified and titled on a presentation plaque. Oil on canvas, 16 x 16 in. (40.6 x 40.6 cm), framed. Condition: Good. $700-900 305 Arthur Clifton Goodwin (American, 18661929) Valley with Brook Edged in Snow Signed “A.C. Goodwin” l.r., numbered “G51” and “31892-B” on the stretcher. Oil on canvas, 29 x 36 in. (73.8 x 91.6 cm), unframed. Condition: Test patch cleaned in l.r. corner, minor canvas rippling, heavy surface grime. Provenance: Estate of the artist; to a private collection; to the current owner. $1,000-1,500

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306 Bertram George Bruestle (American, 19061968) Connecticut Landscape, Autumn Afternoon Monogram signature “BGBruestle” l.l. Oil on canvas, 25 x 30 in. (63.5 x 76.0 cm), framed. Condition: Minor surface grime. $800-1,200 307 Bertram George Bruestle (American, 19061968)

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Rocks and Barn Monogram signature “BGBruestle” l.r., identified on a label from The Cooley Gallery, Old Lyme, Connecticut, affixed to the frame. Oil on canvas, 20 x 24 in. (51.0 x 61.0 cm), framed. Condition: Minor surface grime. $800-1,200 308 Paul Strisik (American, 1918-1998) Old Farm, Vermont Signed “P. Strisik” l.r., identified on the artist’s label affixed to the stretcher, numbered “#0-673” and stamped by the artist on the stretcher. Oil on canvas, 20 x 30 in. (50.7 x 76.4 cm), framed. Condition: Good. $2,000-3,000

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309 John Falter (American, 1910-1982) Nighttime Farm Landscape Signed “JOHN FALTER” l.l., numbered “P1083” on the reverse. Oil on canvas, 27 x 24 in. (68.5 x 60.5 cm), framed. Condition: Craquelure, drying cracks, minor frame abrasions, subtle canvas rippling, varnish discoloration, surface grime. Provenance: Collection of Robert Fuoss, former editor of The Saturday Evening Post; then by descent within the family. Literature: Cover image, The Saturday Evening Post, January 12, 1946.

N.B. Describing the cover illustration, The Saturday Evening Post wrote, “In John Falter’s memory-evoking painting of milking time at sundown, when lights gleam in the barn and kitchen, and supper is on the stove, there is a devil trap, if you know where to look. The decorations on the barn are traditional in Falter’s neighborhood, which is Bucks County, Pennsylvania, and date back to the days when a gloomy belief in ‘hexing,’ or witchcraft, was general. The stars came into favor as an antihex mark, or witch repellent, a kind of countermeasure, like carrying a rabbit’s foot. They jinxed the hex, if you follow. The arches painted over the barn window represent a foxy scheme to give the devil a headache. Seeing the arches—it was originally believed—the devil would mistake a small window for a big one, and crack his head when he tried to fly inside.” (Vol. 218, No. 28, p. 2). Please note that the copyright for this image is held by The Curtis Publishing Company, owner of The Saturday Evening Post. $10,000-15,000

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310 Lars Thorsen (Norwegian/American, 18761952) Yacht Signed “LARS THORSEN” l.l. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Patch to the reverse, minor craquelure and drying cracks, very minor retouch. $800-1,200

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311 Emile Albert Gruppé (American, 1896-1978) Schooner at a Pier Signed “Emile A. Gruppe” l.r. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Minute losses, primarily to l.l. and l.c. edges, varnish inconsistencies, stretcher marks. $4,000-6,000 312 Lance Walker (American, b. 1962) Wianno Senior Regatta Signed “LANCE WALKER” l.r., signed, titled, and dated “...2012” on the reverse. Oil on canvas mounted to board, 11 x 14 in. (27.9 x 35.6 cm), framed. Condition: Good. $700-900

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313 Edward Henry Potthast (American, 18571927) Rocky Coast Signed “E. Potthast” l.r. Oil on canvas, 15 1/2 x 19 in. (39.4 x 48.2 cm), framed. Condition: Lined, stretcher replaced, minor craquelure. $4,000-6,000 314 Thomas Michael Nicholas (American, b. 1963) 313

Acadia Signed “T.M. NICHOLAS” l.r., identified and titled on a presentation plaque. Oil on board, 13 x 16 in. (33.0 x 40.6 cm), framed. Condition: Good. $600-800 315 John Whorf (American, 1903-1959) Crashing Waves Signed “John Whorf” l.r. Watercolor on paper, sight size 15 x 20 1/2 in. (38.1 x 52.1 cm), framed. Condition: Gentle cockling, not examined out of frame. $800-1,200

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316 Richard Hayley Lever (American, 18761958) Rockport Signed and dated “Hayley Lever 1942” l.l., titled and inscribed “.../1876 HAYLEY LEVER 1958/RW-RA-NA” on the reverse, with a label from Clayton-Liberatore Art Gallery, Bridgehampton, New York, affixed to the reverse. Oil on board, 16 x 20 in. (40.6 x 50.7 cm), framed. Condition: Horizontal lines of craquelure (corresponding to cracks in the board), surface grime. $3,500-5,500 316

317 Louis George Bouché (American, 18961969) Progression Signed and dated “LOUIS BOUCHÉ 1944” l.l., numbered “S-132-2” on the tacking edge. Oil on canvas, 18 x 28 in. (45.7 x 71.2 cm), framed. Condition: Minor dots of retouch to the sky. Provenance: Christie’s New York East, June 10, 1992, Lot 582, with the title Progression. $800-1,200 318 Mildred C. Jones (American, 1899-1991)

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Pigeon Cove Signed “Mildred C. Jones” l.r., titled on a label from the De Cordova Museum Corporate Program affixed to the frame backing. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Craquelure, scattered areas of flaking, scattered retouch. $500-700

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320

319 William J. Scott (American, 1870-1940)

320 John Whorf (American, 1903-1959)

Horse Cart and Farmer Identified in an inscription on the mat, no visible signature. Pastel on paper/board, sight size 12 x 21 in. (30.5 x 53.3 cm), framed. Condition: Minor rubs to edges from mat, not examined out of frame. $1,200-1,800

Fisherman Signed â&#x20AC;&#x153;John Whorfâ&#x20AC;? l.l. Watercolor and pencil on paper, sight size 14 x 20 1/2 in. (35.6 x 52.1 cm), framed. Condition: Cockling, not examined out of frame. $800-1,200

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321 Arthur Clifton Goodwin (American, 18661929) Harbor Nocturne Signed “A.C. Goodwin” l.l., numbered “G22” and “31891-T” on the stretcher. Oil on canvas, 27 x 21 in. (68.5 x 53.5 cm), unframed. Condition: A cluster of minor paint losses at l.c. edge, minor canvas rippling, scattered shallow surface abrasions, weakened tacking edges, heavy surface grime.

322 Bernard Corey (American, 1914-2000) Boat Landing Signed “BERNARD COREY” l.r., identified on a typed label from Marbella Gallery, Inc., New York, affixed to the reverse, typed biography of the artist on a page affixed to the reverse. Oil on Masonite, 8 1/4 x 12 1/4 in. (21.0 x 31.1 cm), framed. Condition: Good. $600-800

Provenance: Estate of the artist; to a private collection; to the current owner. $700-900

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323 Arthur Clifton Goodwin (American, 18661929) Figures on a Beach at Dusk Signed “A.C. Goodwin” l.l., signed “A.C. Goodwin” in pencil on the reverse, numbered “G35” and “31891-W” on the reverse. Oil on pressed paperboard, 12 1/8 x 15 3/16 in. (30.8 x 38.5 cm), framed (in a liner). Condition: Abrasion to sky in u.r. quadrant, small paint losses at l.r. edge, heavy surface grime. Provenance: Estate of the artist; to a private collection; to the current owner. $500-700

324 Leopoldo Romañach (Cuban, 1862-1951) Atardecer (Late Afternoon at a Beach) Signed “L. Romanach” l.l., titled in ink on the reverse, with a stamp from Registro Nacional Bienes Culturales Republica de Cuba numbered “A-623/98” affixed to the reverse. Oil on canvas, 15 7/8 x 21 in. (40.5 x 53.5 cm), framed Condition: Canvas trimmed and mounted to heavy pressed paperboard which is period to the work, retouch along left side of the recto, scattered abrasions and water staining along right side of the reverse of the mount, slight bowing to the mount.

324

Provenance: Sotheby’s New York, Latin American Art, June 4, 1999, Lot 104; to the current private Massachusetts collection. N.B. The current owner of this painting provided the date of 1915. $4,000-6,000 325 Leopoldo Romañach (Cuban, 1862-1951) Cayo Frances Signed “L Romanach” l.l., identified on a barcode label from Sotheby’s New York affixed to the frame backing paper. Oil on canvas, 13 1/2 x 12 3/4 in. (34.5 x 32.5 cm), framed. Condition: Canvas trimmed and laid down on heavy pressed paperboard which appears to be period, tape remnants, label fragment, and staining to the reverse of the paperboard support. 325

Provenance: Sotheby’s New York, Important Latin American Paintings, Drawings, Sculpture, and Haitian Paintings, November 27, 1985, Lot 174; to the current private Massachusetts collection. $1,500-2,500

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326 Lawton Silas Parker (American, 1868-1954) View of the Paris Pantheon from the Luxembourg Gardens Signed “Lawton/Parker” l.l. Oil on canvas, 15 x 13 in. (38.1 x 33.0 cm), framed. Condition: Lined, stretcher replaced, retouch to sky. $1,200-1,800 327 Ethelbert Brown (American, 1870-1946) Sunset Landscape Signed “ETHELBERT BROWN” l.r. Oil on canvas, 19 x 24 in. (48.2 x 60.9 cm), framed. Condition: Lined, retouch, areas of thinned pigment. Provenance: Skinner, Inc., American & European Paintings, November 19, 2004, Sale 2260, Lot 404. $800-1,200

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328 Theodore Earl Butler (American, 18611936) Sunset, Giverny Signed “T.E. Butler” l.r. Oil on canvas, 29 x 19 1/4 in. (73.7 x 48.5 cm), framed. Condition: Gentle canvas rippling, minor surface grime.

328

N.B. Of the group of American painters who visited Giverny to work with Monet, Theodore Butler was the one who made the French village his home. Butler sailed for Europe in 1885 with friend and fellow art student Philip Leslie Hale and joined the circle of American expatriate artists studying at the private art studios on Paris’s Left Bank. In 1888, Theodore Robinson invited Butler to visit Monet in Giverny, where a group of American painters had flocked. A writer for Art Amateur reported “Quite an American colony has gathered, I am told, at Giverny… A few pictures just received from these young men show that they have all got the bluegreen color of Monet’s impressionism and ‘got it bad’.”1 Butler was no exception—he quickly adopted Monet’s vibrant palette and free brushwork. In 1892, Butler married Monet’s stepdaughter, Suzanne Hoschedé, further involving him in the life and work of the Impressionist master. During World War I, Butler decamped to the United States. He returned to Giverny in 1921 and focused his energies on painting landscapes that combined Monet’s style of Impressionism with the bold palette and decorative patterning of the Fauves and Post-Impressionists. This stunning example of Butler’s late work displays his strong ties to Impressionist color and brushwork—evident in the pastel-hued sky and the loose strokes of the houses along the horizon line—while presenting his interest and familiarity with the Fauves and PostImpressionism through the strong colors in the lower foreground and the small, almost pointillist brushstrokes of the tree leaves. 1. Greta, “Boston Art and Artists,” Art Amateur, 17 (October 17, 1887) p. 93; as quoted in H. Barbara Weinberg, “Summers in the Country,” Americans in Paris: 1860-1900, Kathleen Adler, Erica E. Hirshler, and H. Barbara Weinberg (London: National Gallery, 2006), p. 142.

$15,000-25,000

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329 John Ford Clymer (American, 1907-1989) Rocky Mountain Fly Fishing Signed “John Clymer” l.l. Tempera on heavy pressed paperboard, 34 x 26 3/4 in. (86.3 x 68.0 cm), framed. Condition: Scattered minor scuffs, areas of very fine craquelure, original paperboard has been affixed to a secondary heavy paperboard support. Provenance: Collection of Robert Fuoss, former editor of The Saturday Evening Post, then by descent within the family. Literature: Cover illustration, The Saturday Evening Post, May 5, 1956.

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N.B. Describing this cover illustration, The Saturday Evening Post wrote, “Why doesn’t the angler turn around and exult in the beauty behind him? Spring climbing in the meadow; mist shreds playing in the foothills; battlements of the Rockies conversing with the sky—how can he bear not to look at that? Because he is looking at the beauty in front of him—a specimen of aquatic, water-breathing, craniate vertebrate having the limbs developed as fins, which will weigh plenty if he lands it, or even if he doesn’t. And now we come, deviously, to John Clymer. With some of his paintings Clymer wrestles and repaints and tears his hair, but this one fairly leaped off his brush, crying, ‘Here I be, John!’ Psychological explanation: he painted this in February, and he was fed up with snowdrifts and wanted out. So he rapidly painted himself out.” (Vol. 228, No. 45, p. 3). Please note that the copyright for this image is held by The Curtis Publishing Company, owner of The Saturday Evening Post. $30,000-40,000

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330 John Ford Clymer (American, 1907-1989) Belgian Horse Farm Signed “John Clymer” l.r., numbered “P8971” and with a label from The Curtis Publishing Company, Saturday Evening Post, affixed to the frame backing. Oil on canvas, 38 x 30 in. (96.5 x 76.0 cm), framed. Condition: Small dimple to u.l. corner, subtle canvas rippling, surface grime. Provenance: Collection of Robert Fuoss, former editor of The Saturday Evening Post, then by descent within the family. Literature: Cover illustration, The Saturday Evening Post, October 8, 1949.

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N.B. The Post described the cover image, “There could be a trace of transcontinental nostalgia in John Clymer’s picture. In Westport, Connecticut, he painted a Washington State scene familiar to his boyhood, working as much from memory and from love of the land as from sketches which he had previously made on the spot. It is October on the eastern slope of the Cascade Range; up above Ellensburg, Clymer’s birthplace, and on above the town of Cle Elum the red and gold of fall climbs into the evergreen of the foothills, which in turn climb toward the big peaks where the snow comes early. Clymer thinks that the little farms which snuggle cozily in the high valleys are a wonderful place to spend one’s childhood, whether one is a boy, a girl, or a colt.” (Vol. 222, No. 15, p. 3). Please note that the copyright for this image is held by The Curtis Publishing Company, owner of The Saturday Evening Post. $40,000-60,000

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331 Paul Henry (Irish, 1876-1958) Rolling Hills Signed “PAUL HENRY.” l.l. Gouache and watercolor on paper/board, sight size 4 3/4 x 5 3/4 in. (12.1 x 14.6 cm), framed. Condition: Minor drying cracks, extremely minute accretions to l.r. corner, not examined out of frame. $4,000-6,000 332 Harry Aiken Vincent (American, 1864-1931)

332

Market Vendors, Late Afternoon Signed “VINCENT” l.l. Oil on academy board, 8 x 10 in. (20.2 x 25.3 cm), framed. Condition: Good. $500-700 333 Harold Broadfield Warren (American, 18591934) View of Plymouth, England Signed “H.B. WARREN” l.r., location identified in a pencil inscription on the frame backing paper. Watercolor with gouache on paper, sight size 9 7/8 x 13 7/8 in. (25.0 x 35.3 cm), framed. Condition: Not examined out of frame. $600-800

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334

334 Lesser Ury (German, 1861-1931) Mountains Silhouetted Against Twilight Sky Signed and dated “L. Ury 1894” l.l. Pastel on paperboard, 13 1/2 x 19 1/2 in. (34.0 x 50.0 cm), framed. Condition: Toning, loss to paperboard support at l.r. corner, deterioration/separation of the layers of edges of the paperboard. Provenance: By descent in a Belgian/Peruvian family to the current private collection. N.B. This scene probably depicts the area around Monte Baldo and Lake Garda in the lakes region of northern Italy. $10,000-15,000

335

335 Colin Campbell Cooper (American, 18561937) Cottagers at Work in the Village Signed “Colin Campbell Cooper” l.l. Oil on canvas, 20 x 26 in. (50.8 x 66.0 cm), framed. Condition: Stretcher replaced, drying cracks. $4,000-6,000

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336 Arthur Beecher Carles (American, 1882-1952) Seated Nude Identified and dated to c. 1929 on a label from Hollis Taggart Galleries, New York, affixed to the backing. Oil on canvas, 20 1/4 x 26 in. (51.4 x 66.0 cm), framed. Condition: Lined, stretcher replaced, craquelure, minor surface grime, minor scattered retouch. $4,000-6,000 337 Reynolds Beal (American, 1867-1951) Carnival - San Juan, Porto Rico Signed “REYNOLDS BEAL” l.l., titled and inscribed “...Easter Week” on the reverse, titled and dated “...1921” on the stretcher, a sticker from Charles Harris Picture Frame Co., Boston, affixed to the backing. Oil on canvas, 29 x 36 in. (73.7 x 91.4 cm), framed. Condition: Craquelure. $2,000-3,000 338 Robert Beauchamp (American, 1923-1995) The Artist and His Muse Signed and dated “Beauchamp 84” l.r., identified and titled on an unattributed handwritten label affixed to the backing. Oil on paper/board, sight size 39 x 27 1/4 in. (99.1 x 69.2 cm), framed (under Plexiglas). Condition: Not examined out of frame. $1,000-1,500

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339 Frank Carson (American, 1881-1968) Circus in the Cornfield Signed “CARSON” l.l., titled and identified on labels from the Provincetown Art Association, Inc., 1933 Annual Exhibition and the Jordan Marsh Company Exhibition of Paintings, Art Week in Boston, April 8–21, 1934, affixed to the reverse. Oil on academy board, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Minor thinning of pigment and a few paint losses along the perimeter, pinprick puncture to l.c. edge, minor drying cracks. $1,000-1,500 339

340 Jason Berger (American, 1924-2010) Grasse Perfume Factories Signed and dated “jason berger 1971” l.r., initialed and titled “JB...” on the stretcher, inscribed “A-1240” in two places on the stretcher and on the frame. Oil on linen, 31 1/2 x 37 1/2 in. (80.0 x 95.2 cm), framed. Condition: Scattered areas of craquelure, canvas rippling, scattered accretions, surface grime. $1,000-1,500 341 Albert Pels (American, 1910-1998) Jazz Signed “PELS” l.r. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Craquelure, stretcher marks. $700-900

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342 American School, 20th Century Boston University Bridge Unsigned, indistinctly inscribed, perhaps “Winterhaller,” multiple times on the stretcher, a sticker from Charles A. Harris Frames, Boston, affixed to the backing. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Minor craquelure. $1,000-1,500 343 Reynolds Beal (American, 1867-1951)

343

The Banana Steamer Signed and dated “REYNOLDS BEAL-1910-” l.r., titled on the tacking edge, titled and dated “...1910” on the stretcher. Oil on canvas, 26 x 36 in. (66.0 x 91.4 cm), framed. Condition: Retouch, minor surface grime. $5,000-7,000 344 Henry Schnakenberg (American, 18921970) High Bridge (Washington Bridge over the Harlem River) Signed “H.E. Schnakenberg” l.l., identified on a label from Kraushaar Galleries, New York, affixed to the frame. Oil on canvas, 16 x 24 in. (41.0 x 61.0 cm), framed. Condition: Surface grime. N.B. We would like to thank the staff of Historic Richmond Town, Staten Island, New York, for identifying this New York landmark as the Washington Bridge over the Harlem River. $1,000-1,500

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345 Charles Vezin (American, 1858-1942) The East River Signed “C. Vezin” l.l., identified, titled, and dated to 1912 on the frame, with a partial unattributed handwritten label affixed to the stretcher. Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Scattered losses. $2,000-3,000 346 Glenn Cooper Henshaw (American, 18801946) 345

Queensborough, East River, New York City Signed “Henshaw” l.r., inscribed with title, dated, and with indistinct inscription “...1921...” in pencil on the backing paper. Pastel on paper/board, sight size 16 1/2 x 20 1/2 in. (41.9 x 52.1 cm), framed. Condition: Not examined out of frame. $800-1,200 347 John Rutherford Boyd (American, 18841951) Dockside View Signed “RUTHERFORD BOYD” l.l. Watercolor and pencil on paper, sight size 21 1/2 x 29 1/2 in. (54.6 x 74.9 cm), framed. Condition: Not examined out of frame. $3,000-4,000

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348

349

350

348 Julius Tanzer (American, 1905-1963)

349 Walter Sanford (American, 1912-1987)

Harlem Revival Signed “Julius Tanzer” l.r. Charcoal and pencil on pressed paperboard, 14 1/2 x 17 1/2 in. (36.8 x 44.4 cm), unframed. Condition: Toning, scattered stains, creases, small tears, and small losses to edges and corners. $300-500

Woman in Violet Signed “Sanford” l.r. Oil on canvas, 24 x 16 in. (61.0 x 40.6 cm), framed. Condition: Craquelure, lifting, flaking with scattered minor losses. $400-600

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350 Benjamin Albert Stahl (American, 19101987) Visit to the Great White Father Signed, dated, and titled “Stahl 79...” l.l., typed cutout with the artist’s biography, a business card from Chinook Wind Gallery, Richland, Washington, and a sticker from Daults Fine Framing, Spokane, Washington, all affixed to the backing. Charcoal on paper, sight size 14 1/2 x 10 5/8 in. (36.8 x 27.0 cm), framed. Condition: Not examined out of frame. $600-800

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351 Amos Sewell (American, 1901-1983) A Christmas Sermon Signed “AMOS/SEWELL” l.r., numbered “P7935” on the reverse, identified on labels from The Curtis Publishing Company and The Saturday Evening Post affixed to the reverse. Tempera or similar on illustration board, 28 x 22 in. (71.0 x 55.6 cm), framed. Condition: Flaking, subtle rippling to the illustration board.

N.B. This painting was published in the December 25, 1948, issue of The Saturday Evening Post to illustrate Roark Bradford’s poem A Christmas Sermon (Vol. 221, No. 26, text p. 16, color ill. p. 17). Please note that the copyright for this image is held by The Curtis Publishing Company, owner of The Saturday Evening Post. $5,000-7,000

Provenance: Collection of Robert Fuoss, former editor of The Saturday Evening Post, then by descent within the family.

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352 Justus Pfeiffen (American, 20th Century)

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Summer Landscape with Hayfield and Rolling Hills Signed and dated “Justus Pfeiffen 43” l.l. Oil on canvas, 26 x 30 in. (66.0 x 76.0 cm), in a period frame. Condition: Small vertical tear to c.r., tack hole l.l., minor canvas deformation, varnish discoloration, surface grime. N.B. Although little biographical information is available for Justus Pfeiffen, he exhibited at the Pennsylvania Academy of the Fine Arts in 1910 and 1913, and records show his residence was in Manhattan. Both works exhibited at PAFA were landscapes, one called Ohio Mountain: Kattskill. $1,500-2,000 353 Molly Luce (American, 1896-1986) Harvest Outing in Summer Signed and dated “Molly Luce 29” l.r. Oil on canvas, 24 x 30 1/4 in. (61.0 x 76.8 cm), framed. Condition: Stretcher replaced, scattered retouch, old abrasion with pigment loss l.r. $3,000-5,000 353

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354

354 Domingo Enriques Ramos (Cuban, 18941967) Paisaje de Viñales Signed and dated “Domingo Ramos/1933” l.l., with a label from the Registro Nacional Bienes Culturales Republica de Cuba numbered “A 1395/77” affixed to the reverse. Oil on canvas, 22 x 28 3/4 in. (56.0 x 73.0 cm), framed. Condition: Patch reinforcement, strip lining to the vertical sides, retouch. Provenance: A private Massachusetts collection. $6,000-8,000

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355 Ramiro Arrue (Spanish, 1892-1971)

356 Isabel Bishop (American, 1902-1988)

357 Yervand Nahapetian (Iranian, 1916-2006)

Sketch of Basque Fishermen on the Docks Signed “RAMIRO/ARRUE” l.l. Oil on paper mounted to paperboard support, 13 x 16 in. (33.0 x 40.5 cm), framed. Condition: Bowing to the support, small loss to l.l. corner, varnish discoloration or inconsistency to the sky at u.l. corner. $3,000-5,000

Man Seated Signed “Isabel Bishop” l.r., titled on a label from Midtown Galleries, New York, affixed to the reverse, dated “1935-50” on a label from Susan Teller Gallery, New York, affixed to the frame backing. Oil and tempera on Masonite, 11 x 9 in. (28.0 x 22.8 cm), in a Max Kuehne frame. Condition: Craquelure in areas of yellow pigment.

Village Landscape, Probably Isfahan Signed and dated “Yervand/Nahapetian 1965” l.l. Watercolor on paper/board, 18 x 23 in. (45.7 x 58.4 cm), framed. Condition: Toned, not examined out of frame. $400-600

Exhibitions: Peggy Bacon and Her Circle, Susan Teller Gallery, New York, July 13– August 18, 2011. $4,000-6,000

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358

358 T. Lux Feininger (German/American, 19102011) A Meeting at Sea Signed “LUX” u.r., inscribed “Painted/by/ Theodore Lux Feininger/1932” and “Painted by/Theodore Lux Feininger/1932/French/ English/American/Belgium} Ships” in ink on the reverse. Oil on canvas, 35 x 76 in. (88.9 x 193.0 cm), framed. Condition: Varnish inconsistencies, staining or similar to right half of canvas, canvas deformation u.r. corner, a few scattered narrow abrasions with thinned pigment. $2,000-3,000

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359 Maurice Utrillo (French, 1883-1955) L’Arc de Parc Monceau Signed “Maurice.Utrillo.V.” l.l., titled on the reverse, identified on a fragmentary label and with a stamp from Collection Libaude, Paris, both on the reverse. Oil on heavy pressed paperboard, 28 5/8 x 21 1/8 in. (72.8 x 53.5 cm), framed. Condition: Very slight bowing to the support. Provenance: Etienne Bignou (Ancienne collection Bignou), Paris; Libaude Collection, Paris; Carroll Carstairs Gallery, New York; ...; Christie’s, New York, Impressionist and Post-Impressionist Art, November 9, 1999, Sale 9222, Lot 302; to the current private Massachusetts collection.

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Literature: Paul Pétridès; L’oeuvre complet de Maurice Utrillo (Paris: P. Pétridès, 1962), vol ii, p. 138, no. 600 (illustrated p. 139; described as oil on canvas). N.B. The catalog entry for the Christie’s auction provides the date of 1916 for this painting. $50,000-70,000

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360 Maurice Utrillo (French, 1883-1955)

360

Rue de Province Signed “Maurice.Utrillo.V.” l.l., identified on a label from Walter Klinkhoff Gallery, Inc., Montreal, affixed to the back of the frame. Oil on canvas, 22 3/4 x 18 1/8 in. (57.5 x 46.0 cm), framed. Condition: Lined, scattered minor retouch, minor paint losses to l.l. corner, craquelure. Provenance: Walter Klinkhoff Gallery, Inc., Montreal; to a private collection, 1980; to Christie’s New York, Impressionist and Post-Impressionist Art, November 9, 1999, Sale 9222, Lot 314; to the current private Massachusetts collection. Literature: Probably Paul Pétridès; L’oeuvre complet de Maurice Utrillo (Paris: P. Pétridès, 1962), vol iii, p. 518, no. 1236. N.B. The label from Walter Klinkhoff Gallery bears the gallery’s dry stamp, includes typewritten information identifying this particular painting, and is printed with the words “UN OEUVRE AUTHENTIQUE” and “AN AUTHENTIC WORK” along the bottom edge. The catalog entry for the Christie’s sale states that Jan Fabris has confirmed the authenticity of this painting. $60,000-80,000

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153

361 School of William Merritt Chase (American, 1849-1916) Two Women in Japanese Dress Unsigned. Oil on canvas, 29 x 26 in. (73.6 x 66.0 cm), in a Paul Carter Goodnow frame. Condition: Craquelure, several patches to the reverse, areas of thinned pigment, retouch. N.B. The setting could possibly be William Merritt Chase’s studio in Shinnecock, New York. There are three preparatory sketches on the reverse. $2,000-3,000 362 Laura Coombs Hills (American, 1859-1952)

361

362

154

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Calendulas and Stock Signed “Laura Hills” l.l., titled, dated, and inscribed “.../1946 H-4050-E” on a piece of a previous frame backing affixed to the current frame backing, with labels from Childs Gallery, Boston, and The Guild of Boston Artists affixed to the frame backing. Pastel on paper/board, sight size 13 1/2 x 11 1/2 in. (34.2 x 29.2 cm), framed. Condition: Abrasion l.l., not examined out of frame. $2,000-3,000

363

363 Anita I. Johnson (American, 20th/21st Century) Chinoiserie Signed “A.I. Johnson” l.l., identified and titled on a typed label from the artist affixed to the frame. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Condition: Narrow vertical abrasion with paint loss measuring approximately 4 inches near the u.r. edge. $2,000-3,000 364 Ambrose McEvoy (British, 1878-1927) Lady Patricia Moore Signed “McEvoy” in pencil in the l.r. quadrant, identified on the mat. Watercolor and pencil on heavy paper, 22 x 15 1/4 in. (55.9 x 38.7 cm), accompanied by two mats, one printed with the artist’s name, unframed. Condition: Tack holes to corners, toned, line of creasing to lower half near the bottom edge, narrow curved abrasion to u.l. quadrant, not affecting the image. $1,200-1,800

364

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155

365 Abbott Fuller Graves (American, 18591936) Peonies Signed “Abbott Graves” l.l., with an unattributed label affixed to the reverse. Oil on panel, 11 3/4 x 9 1/2 in. (29.8 x 24.1 cm), framed. Condition: Good. $1,500-2,500 366 Oszkár Glatz (Hungarian, 1872-1958) Barefoot Amongst the Trees Indistinctly signed and dated “Glatz/194...” l.l. Oil on canvas, 21 x 26 in. (53.3 x 66.0 cm), framed. Condition: Lined, drying cracks. $2,500-3,500

365

366

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367

367 George Melnik (American, 20th Century) In the Garden Signed “G. Melnik” l.r. (partially obscured by frame), identified and titled on a presentation plaque, signed on the stretcher, inscribed “Painted 1948 Signed 2-17-199...Artist, Birthday” in ink on the stretcher. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Good. $2,500-3,500 368 John Joseph Enneking (American, 18411916) Mixed Bouquet Signed and dated “Enneking 77” l.r., titled and identified on a presentation plaque. Oil on canvas, 22 x 18 in. (55.8 x 45.7 cm), framed. Condition: Craquelure, extremely minor surface grime. $2,000-3,000

368

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157

369

369 Elie Nadelman (American, 1885-1946) Profile Head of a Woman Inscribed and dated “EN 1897” on the reverse, per a label from Barbara Krakow Gallery, Boston, affixed to the frame backing. Pencil on paper, 11 x 8 1/2 in. (28.0 x 21.6 cm), framed. Condition: Creasing, pale fox marks, small stain to u.r. corner, not examined out of frame. $1,200-1,800 370 Max Kuehne (American, 1880-1968) Pair of Wooden Tables with Floral Motifs Each with incised signature “Max Kuehne” l.c. on the table top. Gilded and polychrome decorated carved wood including silver leaf, height 20 3/4, width 24, depth 19 in. (52.7 x 61.0 x 48.3 cm). Condition: Each with glass top, some oxidization of silver, minor losses and abrasions, minor hairline cracks to a few legs where they meet the apron. $6,000-8,000

370

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371

371 Bryson Burroughs (American, 1869-1934) The Bathers Signed and dated “BRYSON/ BURROUGHS/1913” c.l., dated in an inscription on the stretcher, with three unattributed labels affixed to the stretcher. Oil on canvas, 24 x 36 in. (60.9 x 91.4 cm), framed. Condition: Two tears c.r. with abrasions and small paint losses, small punctures u.r., repaired tear with retouch c.l., scattered areas of skinning, surface grime.

N.B. After studying painting at the Art Students League in New York City and the Académie Julian in Paris, Bryson Burroughs embarked upon a long career as a curator at the Metropolitan Museum of Art. He was responsible for the museum’s tremendous increase in American art holdings, in addition to numerous other achievements including the first acquisition for a public collection of a work by Paul Cézanne. Throughout his tenure at the Met, Burroughs maintained a productive artistic practice. His work was heavily influenced by French artist Pierre Puvis de Chavannes, whose muted palette and flat, decorative style Burroughs adopted and applied to his biblical and mythological scenes. $1,500-2,500

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159

372

372 Jerome Blum (American, 1884-1956) Still Life with Fruit and Vegetables Signed “Jerome Blum” l.r. Oil on canvas, 20 x 26 in. (50.8 x 66.0 cm), framed. Condition: Gentle canvas rippling. $2,000-3,000 373 Gayle Blair Tate (American, b. 1944) Trompe l’Oeil with Postage Signed “g.b. tate” with artist’s cipher l.r. Oil on panel, 22 x 16 in. (55.8 x 40.6 cm), framed. Condition: Good. $1,200-1,800

373

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374

374 Luigi Lucioni (American, 1900-1988) Scherzo in Green Signed and dated “L. Lucioni 1976” l.l., identified on an exhibition label from Southern Vermont Artists, Inc. (see below), Manchester, Vermont, and on the artist’s mailing label, both affixed to the back of the frame. Oil on canvas, 19 x 21 in. (48.3 x 53.5 cm), framed. Condition: Good.

Literature: Stuart P. Embury, M.D., The Art and Life of Luigi Lucioni, A Contribution Towards a Catalogue Raisonné (Privately Printed, 2006), cat. no. 76.3, p. 220. Exhibitions: Annual Members Exhibition, (year unspecified), Southern Vermont Artists, Inc., Manchester, Vermont. $7,000-9,000

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161

374A

374A Richard Hayley Lever (American, 18761958) Still Life with Pumpkin and Bottle Signed â&#x20AC;&#x153;Hayley Leverâ&#x20AC;? l.l., identified on a presentation plaque, titled, identified, and dated to 19[..] on a label from ClaytonLiberatore Art Gallery, Bridgehampton, New York, affixed to the stretcher. Oil on canvas, 21 x 33 in. (53.3 x 83.8 cm), framed. Condition: Lined, stretcher replaced, minor surface grime, craquelure. $3,000-5,000

162

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374B

374B Jane Peterson (American, 1876-1965) Red and White Zinnias Signed “JANE PETERSON” l.r., with a label from O. Rundle Gilbert (from the Jane Peterson estate sale) numbered “368” affixed to the stretcher. Oil on canvas, 24 1/4 x 24 in. (61.5 x 61.0 cm), unframed. Condition: Minor wear to edges of canvas, minor surface grime. Provenance: Purchased by the current owner from the Jane Peterson Philipp Estate sale, Ipswich, Massachusetts, August 10, 1966. N.B. The lot is accompanied by a copy of the receipt from the above referenced sale. $2,000-3,000

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163

375

376

375 Maurice Minkowski (Polish, 1881-1930) Portrait of a Woman in Blue Signed â&#x20AC;&#x153;M. MINKOWSKIâ&#x20AC;? l.r., Polish government red wax seal on the reverse. Watercolor and pencil on paper/board, sight size 14 x 10 3/4 in. (35.6 x 27.3 cm), framed. Condition: Toned, minor scattered accretions, minor staining or similar to u.l. edge, not examined out of frame. $800-1,200 377

164

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378

376 Albert Pels (American, 1910-1998)

377 Moses Soyer (American, 1899-1974)

378 Raphael Soyer (American, 1899-1987)

Girls on a Bench Signed “Pels” l.l. Oil on canvas mounted to pressed paperboard, 20 x 16 in. (50.8 x 40.6 cm), framed. Condition: Canvas rippling u.c. and l.c., tack holes to corners, accretions near edges (possibly gold leaf from framing), minor surface grime. $1,000-1,500

Two Girls Signed “M SOYER” l.r. Oil on canvas, 18 x 14 in. (45.7 x 35.6 cm), framed. Condition: Rubs with minor paint losses to l.l. corner, possible surface imperfection u.c. $1,500-2,000

Dressing Room Signed “RAPHAEL SOYER” l.r., identified on a label from ACA Galleries, New York, affixed to the back of the frame. Oil on canvas, 22 x 18 1/4 in. (56.0 x 46.5 cm), framed. Condition: Minor retouch, stable craquelure. $4,000-6,000

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165

379

381

380

379 Gaston Longchamp (French/American, 1894-1986) Woman Peeling Pears Unsigned. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Condition: A few areas of lifting, a few minute accretions and losses. $2,500-3,500

166

380 Alexandre Kelety (Hungarian, 1874-1940)

381 Lillian Cotton (American, 1901-1962)

Two Bronzes of Laborers, Possibly Bookends Each signed “Kelety” in the bronze bases. Bronze with green/brown patina, height to 5 3/4 in. (14.5 cm), on black stone plinths. Condition: Dust and dirt to interstices, areas of oxidation. $600-800

Portrait of a Young Girl Signed “LLillianCCotton” l.l. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Lined. $500-700

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382 Gaston Longchamp (French/American, 1894-1986) Serge Diaghilev de Petrushka Signed “G. Longchamp” on the reverse, inscribed on the reverse (see below), and with a portrait of Picasso on the reverse. Oil on canvas, 48 x 32 in. (121.9 x 81.3 cm), framed. Condition: Flaking with scattered losses primarily to the perimeter, lifting, a few scattered minor pinprick punctures. N.B. The full inscription reads: “SERGE DIAGHILEV/JUNE 1911/à la 1ère représentation/au CHATELET/ de/”PETRUSHKA”/MUSIQUE DE STRAVINSKY/DECORS DE ALEX. BENOIT/ CHOREGRAPHIE DE FOKINE/KARSAVINA NIJINSKY} DANCEURS/PIERRE MONTEUX, CONDUCTEUR” and “avec un PORTRAIT de PICASSO/G Longchamp.”

382

Gaston Longchamp was a set designer in the Parisian avant-garde ballet world, assisting Picasso with stage designs for the Ballet Russe and Chagall with scenery for Stravinsky’s Firebird. He went on to work at the Metropolitan Opera in New York and designed sets for the American Ballet’s Transcendence with choreography by George Balanchine, which premiered in 1935 at the Adelphi Theatre. $2,000-3,000 383 Nicholas Vasilieff (American/Russian, 18921970) Afternoon Tea Signed and dated “N. Vasilieff · 46” l.r., with an exhibition label (see below) affixed to the stretcher, and with a stamp from Erling Hansen, Restoration of Fine Paintings, Portsmouth, New Hampshire, applied to the stretcher. Oil on canvas, 41 1/2 x 50 in. (104.1 x 127.0 cm), framed. Condition: Lined, scattered minor retouch, craquelure, varnish inconsistencies, scattered minor pigment losses. Exhibitions: Nicholas Vasilieff - A Retrospective, William Benton Museum of Art, The University of Connecticut, Storrs, March 21–May 29, 1977. $3,000-5,000

383

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167

385 384

384 Alan Feltus (American, b. 1943) Woman with Scarf Signed and dated “Alan Evan Feltus 1982” c.r., titled on a label from Forum Gallery, New York, affixed to the frame backing. Charcoal on C.M. Fabriano dry-stamped paper, 22 x 15 in. (55.9 x 38.0 cm), framed. Condition: Sheet with three deckled edges, hinged to backing with cloth tape near upper corners on the reverse, adhesive residue l.l. and l.r. near edges, pale toning, very gentle rippling, pencil annotations regarding framing near u.l. corner, scattered minor handling creases. $400-600 385 Adolphe Joseph Thomas Monticelli (French, 1824-1886) Three Women in a Park Signed “Monticelli” l.l. Oil on board, 14 x 22 in. (35.6 x 55.9 cm), framed. Condition: Surface grime, varnish discoloration. $600-800 386 Alberto Vargas (American, 1896-1982) Space-age Pinup Sketch Unsigned, estate stamped l.r. Pencil on tracing paper, 20 3/4 x 16 1/4 in. (52.7 x 41.3 cm), unframed. Condition: Unevenly trimmed, scattered tears, crimps, and creases to edges, scattered creases, accretions l.c. $600-800 386

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387

387 Jane Peterson (American, 1876-1965) Hungry Birds Signed or inscribed “Jane Peterson” l.r., titled on the reverse. Watercolor and gouache on watercolor board, 18 x 18 in. (45.7 x 45.7 cm), framed. Condition: Cockling, not examined out of frame. $1,200-1,800 388 Harrison Cady (American, 1877-1970) Three Illustrations from Tommy and the Wishing Stone: Mother Goose had only to speak; With Peter, he made; I suppose the brier patch, and an Illustration from The Adventures of Chatterer The Red Squirrel: Have you found a new home yet? Each signed “HARRISON CADY” in ink l.r., three titled and identified on production labels from St. Nicholas magazine affixed to the verso, titled with various inscriptions to the margins and the versos. Ink and ink wash on illustration board, image sizes 13 x 9 in. (33.0 x 22.9), unmatted, unframed. Condition: Toned, surface grime, wear and losses to edges. $3,000-5,000

388, partial

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169

389 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.

389

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. 1. Roman Bronze Works Archive, Client Cards, Mrs. Max Wasserman Client Card, Amon Carter Museum of American Art Archives, Fort Worth, Texas.

$5,000-7,000 390 American School, 20th Century The Embrace Initialed indistinctly and dated “R.../57” on the side of the marble base. White marble, height 37 in. (94.0 cm). Condition: Staining and rubs to the surface, surface grime. $2,000-3,000

390

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391 Mario Carreño (Cuban, 1913-1999)

391

Baile Afrocubano Inscribed and signed “A MIGUEL ANGEL/ CON SINCERO/AFECTO,/Karreño.” l.r., with a stamp from La Paleta Artistica, Madrid, applied to the original frame backing, and with labels from Sotheby’s affixed to the original frame backing (a portion of the original frame backing is encased in an envelope on the back of the frame). Mixed media including gouache, ink, and pencil on paper/board, sight size 19 3/4 x 13 1/2 in. (50.2 x 34.2 cm), framed. Condition: Foxing, not examined out of frame. Provenance: Sotheby’s New York, Latin American Art, June 4, 1999, Lot 110; to the current private Massachusetts collection. $12,000-18,000

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171

392

393

392 Gonzalo Ariza (Colombian, 1912-1995) Head of a Boy Signed “Gonzalo Ariza” l.r., with a painted-over still life sketch on the reverse. Oil on canvas mounted to board, 13 1/2 x 13 in. (34.3 x 33.0 cm), framed. Condition: Minor surface grime. $800-1,200 393 Richard MacDonald (American, b. 1946) Torso of a Gymnast Signed, dated, and numbered “© R. MacDonald/95/2/...” in the bronze l.r. Bronze with gray/gold patina, height 7 1/2 in. (19.9 cm), on a marble pedestal. Condition: Minor oxidation to the hair. N.B. This torso relates to MacDonald’s larger bronze The Gymnast. $800-1,200 394 German/American School, 20th Century

394

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Elongated Nude Unsigned. Bronze with green patina, height 26 3/4 in. (67.5 cm), on a stone plinth. Condition: Minor dust and grime. $1,000-1,500

395

395 David Aronson (American, 1923-2015) Angel Choir/Panel from The Door, 19631969 Signed “Aronson” in the bronze l.r., numbered “1/12” on the reverse l.l. Bronze relief, 27 1/2 x 31 1/2 in. (68.5 x 81.3 cm). Condition: Good. N.B. Angel Choir was created as one of seven panels for David Aronson’s monumental relief The Door. The Door measured 94 x 50 1/2 inches, and was cast in an edition of eight. Each of the seven panels was also cast separately in editions of twelve. $8,000-12,000

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173

396 Antoine Poncet (Swiss, b. 1928) Abstract Form Incised number “AP 5/6” near base l.l. Bronze with a golden patina, height 50 1/2 in. (128.2 cm), on a stone plinth. Condition: Scattered scuffs and abrasions. $8,000-12,000 397 Judith Foosaner (American, b. 1940) Ship to Sea Titled, signed, and dated “.../Foosaner/2006” on the reverse. Oil on canvas, 42 x 42 in. (106.7 x 106.7 cm), unframed. Condition: Scattered minor surface abrasions, surface grime. $800-1,200

396

397

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398

398 Roberto Marcello Iras Baldessari (Italian, 18941965) Still Life Initialed “R.M.B” l.l., with a stamp from Galleria Gissi, Turin, applied to the frame backing. Pencil on thick paper, 11 x 18 3/4 in. (27.8 x 47.7 cm), framed. Condition: Toning, dog-ear creases to corners, scattered stains and fox marks, small nicks and crimps to edges. N.B. Likely a study for a 1917 still life painting (private collection), Baldessari completed this drawing at the height of his invlovment with Italian Futurism. This work will be included in the forthcoming catalogue raisonné of the artist’s work in preparation by Maurizio Scudiero. We would like to thank Dott. Scudiero for his kind assistance with cataloging the drawing and providing the date of circa 1917 for the work. $5,000-10,000 399 Victor Brauner (Romanian, 1903-1966)

399

Untitled Figure Signed and dated “VICTOR BRAUNER/28. XII -947-” l.r., dated “...1949” on a label from Jeanne Frank, New York, affixed to the frame backing. Ink on paper, 9 3/4 x 6 11/16 in. (24.6 x 17.0 cm), matted, framed. Condition: Sheet with perforated left edge, mounted to pressed paperboard, toning, mat burn, foxing. $2,000-3,000

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175

400 Arshile Gorky (Armenian/American, 19041948) Untitled Signed “Gorky” u.l., dated “1933” on a label from Retina Gallery, Cambridge, Massachusetts, affixed to the frame backing. Ink on paper, 9 5/16 x 12 3/8 in. (23.6 x 31.4 cm), framed. Condition: Hinged to window mat near upper corners on the reverse, toning, right edge trimmed unevenly, pinholes to upper corners, dog-ear creases l.r., scattered handling creases, tape remnants near upper corners on the reverse.

400

Provenance: Retina Gallery, Cambridge, Massachusetts; private collection, Boston; by descent to the current private collection, Hillsborough, New Hampshire. N.B. This work has been affirmed by the Arshile Gorky Foundation’s catalogue raisonné advisory panel and endorsed with the identification number D0355. A copy of the Foundation’s letter accompanies the lot. $8,000-12,000 401 Antonio Saura (Spanish, 1930-1998) Foule Unsigned. Mixed media including ink and wash on paper, 14 11/16 x 19 7/16 in. (37.5 x 49.0 cm), matted, framed. Condition: Hinged to mat with tape near upper corners on the reverse, pale toning to edges, crease l.l., small dog-ear creases to corners, tape remnants and pencil inscriptions to the reverse. Provenance: A private Massachusetts collection. 401

176

N.B. A certificate of authenticity from the Fondation Archives Antonio Saura accompanies the lot. $6,000-8,000

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402

402 Antonio Saura (Spanish, 1930-1998) Untitled Signed and dated indistinctly l.r. Ink on paper, 27 1/2 x 39 3/8 in. (70.0 x 100.0 cm), framed. Condition: Deckled upper and left edges, fox marks l.l., floated within the frame, not examined out of frame. Provenance: A private Massachusetts collection. N.B. A certificate of authenticity from the Fondation Archives Antonio Saura accompanies the lot. $12,000-18,000

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403

405 404

403 Friedel Dzubas (German/American, 19151994) Study for Sentenial No visible signature, inscribed “164 + C/74=59 1/2” x 151”” in pencil in the right margin. Oil on canvas (unstretched), 6 1/2 x 17 1/4 in. (16.5 x 43.8 cm), framed (under glass). Condition: Minor surface grime to center, floated within the frame, not examined out of frame.

404 Claude Venard (French, 1913-1999)

405 Jackie Saccoccio (American, b. 1963)

Nature Morte Signed “C. Venard” l.l., identified on a handwritten label affixed to the stretcher. Oil on canvas, 9 1/2 x 7 5/8 in. (24.0 x 19.5 cm), framed. Condition: Drying cracks, surface grime. $800-1,200

Split Titled, dated, signed, and inscribed “...2004/ Saccoccio/For Michele and Gene/American Academy in Rome/Rome, Italia” on the reverse. Oil on linen, 22 x 20 in. (56.0 x 51.0 cm), unframed. Condition: Scattered areas of drying cracks, minor surface grime. $3,000-5,000

N.B. The completed work is in the collection of the Grand Rapids Art Museum and measures 59 3/8 x 151 1/2 inches. We would like to thank the Grand Rapids Art Museum for their kind assistance with cataloging this lot. $5,000-7,000

178

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408

406 David Manzur (Colombian, b. 1929)

406

Abstract Figures Signed and dated “Manzur/1958” u.l., partial unidentified framing label affixed to the backing. Oil on board, 20 x 9 in. (50.8 x 22.9 cm), framed. Condition: Craquelure. $800-1,200 407 Larry Zox (American, 1936-2006) Untitled Signed “ZOX” l.r., signed or inscribed and dated “ZOX/ZOX/ JAN/57” on the reverse, with a Christie’s label affixed to the frame backing. Acrylic on canvas, 30 x 25 1/2 in. (76.2 x 64.8 cm), framed. Condition: Scattered areas of craquelure with flaking, scattered abrasions, retouch to some areas of flaking. Provenance: Christie’s East, December 16, 1987, Lot 162; through to the current private collection, Massachusetts. $1,500-2,500 408 Shusaku Arakawa (Japanese/American, 1936-2010) Abstract Drawing on a Poster for an Exhibition at Harcus/Krakow Gallery, Boston Inscribed, dated, and signed “Happy Birthday for J. oct. 30, 1971, ARAKAWA.” l.c. Mixed media including offset lithograph, ink, and pencil on paper, sight size 22 1/2 x 28 1/4 in. (57.1 x 71.8 cm), framed. Condition: Scattered stains and handling creases, rippling, not examined out of frame. Provenance: Gift from the artist to a family member; private collection, Massachusetts. $1,200-1,800

407

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179

409

409 Alejandro Obregón (Colombian, 1920-1992)

410

Bañistas en Santa Marta Signed “Obregón.” l.l., titled in an inscription on the reverse, inscribed “7390” and with an indistinct notation in pencil to the reverse. Acrylic on paper, 27 1/2 x 39 3/8 in. (69.8 x 100.0 cm), framed. Condition: Rippling, creasing, tears u.l. and u.r., tear l.r. repaired with tape to the reverse, scattered areas of craquelure, scattered areas of pigment loss near edges, abrasion with small pigment losses c.r., remnants of mounting corners, staining to the reverse, tape remnants to the reverse. Provenance: Purchased from the artist in Colombia in the 1950s; by descent to the current private collection, Vermont. N.B. A photo-certificate of authenticity signed by Luis Fernando Pradilla accompanies the lot. $10,000-15,000

411

180

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412

410 Dozier Bell (American, b. 1957)

411 Dozier Bell (American, b. 1957)

412 Alejandro Obregón (Colombian, 1920-1992)

Inlet Signed and dated “Dozier Bell 4/91” in pencil on the verso, inscribed with title on the backing. Gouache and collage on paper, 11 x 13 1/2 in. (27.9 x 34.3 cm), framed. Condition: Very few minor rubs, extremely minor tear to l.r. edge. $400-600

Reconnaissance Signed and dated “Dozier Bell 2/91” in pencil on the verso, inscribed with title on the backing. Gouache and collage on paper, 11 x 15 in. (27.9 x 38.1 cm), framed. Condition: Scattered minor rubs and accretions to the lower edge. $400-600

Yellow Landscape Signed “Obregón.” l.l. Oil on canvas, 21 1/4 x 25 3/4 in. (54.0 x 65.5 cm), framed. Condition: Gentle canvas rippling, faint stretcher marks, scattered areas of craquelure and flaking with very small paint losses, surface grime. Provenance: Purchased from the artist in Colombia in the 1950s; by descent to the current private collection, Vermont. N.B. A photo-certificate of authenticity signed by Luis Fernando Pradilla accompanies the lot. $20,000-40,000

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181

415

413

414

416

182

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417

418

413 James Balla (American, b. 1956)

415 Irene Valincius (German/American, b. 1948)

418 Balcomb Greene (American, 1904-1990)

Untitled Signed and dated “Balla 1992” on the reverse, with a label from Universal Fine Objects Gallery, Provincetown, Massachusetts, affixed to the frame backing. Oil on linen, 20 x 20 in. (50.8 x 50.8 cm), framed. Condition: Two small areas of pigment loss c.r. $400-600

Untitled Signed and dated “Irene Valincius/1990” on the reverse. Oil, beeswax, and dry pigment on canvas, 72 x 60 in. (183.0 x 152.4 cm), unframed. Condition: Craquelure, scattered areas of flaking with pigment losses, scattered abrasions. $600-800

Suzanne Waking Incised signature “Balcomb Greene” l.r., titled and signed “...Balcomb Greene” on the stretcher. Oil on canvas, 40 1/4 x 32 in. (102.2 x 81.2 cm), framed. Condition: Surface grime.

414 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way ‘68” l.l. Oil on paper, 19 x 24 in. (48.5 x 61.0 cm), unmatted, unframed. Condition: Good. Provenance: Through the family of the artist. $1,500-2,500

416 Piero Dorazio (Italian, 1927-2005) Untitled Signed and dated “piero dorazio 60” l.r., with a stamp from Galleria Gissi, Turin, applied to the frame backing. Watercolor on paper, 19 5/8 x 13 3/4 in. (49.8 x 34.7 cm), framed. Condition: Pale toning, rippling, scattered minor handling creases, scattered minor nicks and crimps to edges. $3,000-5,000

N.B. A founding member of the American Abstract Artists group, Balcomb Greene turned towards a figurative painting style in the 1940s when he moved from New York City to Pittsburgh to begin a professorship in art history, aesthetics, and philosophy at the Carnegie Institute of Technology. Abstract Expressionism gained momentum in New York just as Greene moved from the city and shifted away from non-objective art. This painting reflects Greene’s later style of semiabstracted figures and landscapes. $1,500-2,500

417 Elizabeth Neel (American, b. 1975) Visiting Hours No visible signature, identified, titled, and dated “.../2010” on an unattributed label affixed to the frame backing. Acrylic on paper, 24 x 19 in. (61.0 x 48.2 cm), framed. Condition: Rippling, floated within the frame, not examined out of frame. $2,500-3,500

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183

419

420

419 Yvaral (Jean-Pierre Vasarely) (French, 19342002)

420 Yvaral (Jean-Pierre Vasarely) (French, 19342002)

Progression Polychrome A Signed “YVARAL” l.c., titled, inscribed, dated, and signed “.../OC-VF/1971 No 1123/ YVARAL” on the reverse, with a shipping label from Agence Maritime Delamare & Cie, Paris, affixed to the stretcher bar. Acrylic on canvas, 43 1/4 x 63 1/4 in. (110.0 x 160.0 cm), framed. Condition: Surface grime. $7,000-9,000

Carbone Orange Signed “YVARAL” l.c., titled, dated, signed, and inscribed “.../1971/YVARAL/No 1136” on the reverse, with a shipping label from Agence Maritime Delamare & Cie, Paris, affixed to the stretcher bar. Acrylic on canvas, 43 1/4 x 63 1/4 in. (110.0 x 160.0 cm), framed. Condition: Scattered abrasions with small pigment losses, surface grime. $7,000-9,000

184

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421 Charles Green Shaw (American, 18921974)

421

Untitled Signed and dated “Charles G. Shaw/1940” on the reverse, with labels from Washburn, New York, and Christie’s (see below) affixed to the back of the frame. Oil on canvasboard, 16 x 11 7/8 in. (40.6 x 30.2 cm), framed. Condition: Small area of retouch u.r., wear and small pigment losses to edges and corners, scattered minor abrasions. Provenance: Joan T. Washburn Gallery, New York; a private American collection; Christie’s New York, Fine American Paintings, Drawings, and Sculpture, Sale 2142, March 5, 2009, Lot 37; a private collection, Massachusetts. $8,000-12,000

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185

422

422 René Portocarrero (Cuban, 1912-1985) Three Figures Signed and dated “PORTOCARRERO/1952” l.l., with a stamp from the Museo Nacional, Havana, Cuba, “AUTORIZADA SU SALIDA DEL PAIS” applied to the reverse. Ink, watercolor, and gouache on paper, 11 x 13 3/4 in. (28.0 x 35.0 cm), framed. Condition: Hinged to window mat in two places along upper edge on the reverse, minor wear and creases to corners, crimping, creasing, and small tears to l.c. edge, crease and small tear to u.l. edge, tape remnants and adhesive residue near edges on the reverse, abrasions to the reverse. Provenance: A private Massachusetts collection. $1,500-2,500 423 Jessie Chancey Fairbanks (American, b. 1930)

423

186

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Abstract Landscape Signed and dated “Jessie/Chancey/ Fairbanks/1940” l.r. Oil on canvas, 28 x 25 in. (71.1 x 63.5 cm), framed. Condition: Surface grime, craquelure, a few scattered minor accretions, a few narrow linear abrasions. $800-1,200

424 Attributed to Xanti Schawinsky (Swiss, 1904-1979) Mask Unsigned. Bronze with a golden patina, 9 x 6 x 4 in. (22.8 x 15.2 x 10.2 cm). Condition: Scattered areas of oxidation, adhesive residue near lower edge at right, scattered areas of pitting, dust and dirt to the interstices. $400-600 425 Millard Sheets (American, 1907-1989)

424

Sunday - Guadalajara Signed â&#x20AC;&#x153;Millard Sheetsâ&#x20AC;? l.r., identified and inscribed with title on an unattributed handwritten label affixed to the backing. Watercolor and gouache on paper/board, sight size 20 3/4 x 28 3/4 in. (52.7 x 73.0 cm), framed. Condition: A few pale pinprick fox marks to sky, not examined out of frame. $3,000-5,000

425

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187

426

426 René Portocarrero (Cuban, 1912-1985) Catedral Signed and dated “PORTOCARRERO/61” l.l., with an adhesive stamp from the Cuban Ministry of Culture affixed to the reverse, and with labels from Sotheby’s affixed to the frame backing. Oil on canvas, 25 3/4 x 19 3/4 in. (65.5 x 50.2 cm), framed. Condition: Craquelure to some areas of impasto, scattered losses, canvas rippling, minor surface grime.

188

Provenance: Sotheby’s, New York, Latin American Art, Sale 7322, June 3–4, 1999, Lot 173; to the current private Massachusetts collection. $15,000-25,000

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427

427 Guillermo Wiedemann (German/Colombian, 1905-1969) Three Women Signed and dated “Wiedemann/1955” l.l. Oil on board, 39 1/2 x 27 3/8 in. (100.3 x 69.5 cm), framed. Condition: Craquelure, scattered paint losses, surface grime.

Provenance: Purchased from the artist in Colombia in the 1950s; by descent to the current private Vermont collection. N.B. Munich-born Guillermo Wiedemann fled Germany in 1938 after his work was classified as “Degenerate” by the Nazi regime. He settled in Colombia and became one of the country’s most renowned artists. $20,000-40,000

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189

428

428 Alexander Calder (American, 1898-1976) Petite vitesse Signed and dated “Calder 69” l.r., numbered and titled “10309/Petite Vitesse” in pencil on the reverse u.r., inscribed “5000.B/GIC6086” in pencil on the reverse at l.r. corner. Gouache and ink on paper, 29 1/4 x 43 in. (74.4 x 109.3 cm), framed. Condition: Accretion in the form of a stray drop of paint (white over blue) at u.r. corner, subtle dog-ear creases to the lower corners, minor scattered handling creases more noticeable at the c.l. edge, stray fox mark or similar to the l.l. corner, minor soiling to edges of the sheet.

190

Provenance: Galerie Maeght, Paris; to Kim C. Anderson & Co., Minneapolis, Minnesota (1973); to Tate Fine Arts Gallery, Tallahassee, Florida (1973); to the current private Georgia collection. N.B. This work is registered in the archives of the Calder Foundation, New York, under application number A12521. The lot is accompanied by a copy of the sales receipt from Tate Fine Arts Gallery, Tallahassee, Florida, dated August 7, 1973. $50,000-70,000

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429

429 Alexander Calder (American, 1898-1976) Osaka Signed and dated “Calder 70” l.r., titled and numbered “.../10.859” on the reverse u.r. Gouache on paper, 29 3/8 x 42 3/8 in. (74.5 x 107.5 cm), framed. Condition: Small L-shaped tear (5/8 x 1/4 inch) at u.l. edge stabilized with tape on the reverse, minor creasing to corners, hinged to back mat at three places along the top edge of the reverse. Provenance: A private Massachusetts collection. $50,000-70,000

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191

430

430 Eric Carle (American, b. 1929) Dandelion and Butterfly Dedicated and signed “FOR HENS/WITH LOVE/Eric Carle” u.l. Mixed media collage on illustration board, 13 x 16 in. (33.2 x 40.7 cm), unframed. Condition: Good. Provenance: Purchased by the current owner at a small auction in The Netherlands. N.B. The dedication presumably refers to Hens Gottmer, who published Carle’s books in Holland (J.H. Gottmer/H.J.W. Becht, The Netherlands). $4,000-6,000 431 Ruth Asawa (American, 1926-2013)

431

Chrysanthemums Signed and dated “ASAWA 1983 ©” in pencil l.c., a handwritten letter from the artist on the reverse. Ink on paper, 8 1/2 x 11 in. (21.6 x 27.9 cm), unmatted, unframed. Condition: Creases, a few small scattered accretions. Provenance: Gift from the artist to the current owner. $3,000-5,000

192

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432

432 Valerie Hollister (American, b. 1939) Calm Signed and dated “Valerie Hollister/1975” on the reverse, titled, dated, and inscribed “...VALERIE HOLLISTER” on the stretcher bar. Oil on canvas, 60 x 87 in. (152.4 x 221.0 cm), unframed. Condition: Scattered small accretions, especially to the lower edge. $800-1,200 433 Lois Tarlow (American, b. 1929) The Pink Lizard Signed “Tarlow” l.r. Oil on canvas, 26 x 30 in. (66.0 x 76.2 cm), framed. Condition: A few minute losses. $600-800

433

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193

434

435

436

434 Ed Stitt (American, 20th/21st Century)

435 Arnau Alemany (Spanish, b. 1948)

436 Ed Stitt (American, 20th/21st Century)

Building Over Commons Unsigned, identified, titled, and dated “.../2000” on a label from Gallery NAGA, Boston, and with a label from the artist’s studio, both affixed to the frame backing. Oil on linen, 18 x 20 in. (45.7 x 50.8 cm), framed. Condition: Minor abrasion or accretion u.r. $600-800

Surrealist Landscape with Airplane Signed “Arnau Alemany” l.r., inscribed and dated “95/12 [within a circle]/ARNAU ALEMANY/Barcelona 1995...” on the reverse. Oil on pressed paperboard, 26 x 18 1/2 in. (65.5 x 47.2 cm), framed. Condition: Surface grime. $1,000-1,500

White Building On the Fenway Unsigned, identified, titled, and dated “.../1987” on a label from Gallery NAGA, Boston, affixed to the stretcher. Oil on linen, 12 x 14 in. (30.5 x 35.5 cm), framed. Condition: Area of craquelure at center, surface grime. $600-800

194

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437

437 Gabriela Garza Padilla (Mexican, b. 1965) Force Signed and dated “GABRIELA GARZA PADILLA · 2005” on one of the cubes, titled on the other cube. Mixed media including paint, gold leaf, and metal, 20 3/4 x 26 1/2 x 10 in. (52.7 x 67.3 x 25.4 cm). Condition: Scattered scuffs and abrasions with pigment losses, rust to underside of scale, dust and dirt to the interstices. $2,000-4,000

End of Sale 3338B

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195

Artist Index Adams, Ansel................................................ 98 Aldrin, Buzz................................................. 146 Alemany, Arnau........................................... 435 American School, 19th Century........... 242, 251 American School, 20th Century.......... 342, 390 American School, 21st Century................... 121 Arakawa, Shusaku................................ 56, 408 Ariza, Gonzalo............................................. 392 Armstrong, Neil........................................... 146 Arnold, Eve.................................................... 99 Aronson, David............................................ 395 Arp, Jean (Hans)............................................ 57 Arrue, Ramiro.............................................. 355 Asawa, Ruth................................................ 431 Ayres, Gillian.................................................. 58 Bacon, Peggy................................................ 23 Baldessari, Roberto Marcello Iras................ 398 Balla, James................................................ 413 Baskin, Leonard.......................................59–61 Beal, Reynolds............................ 300, 337, 343 Beauchamp, Robert.................................... 338 Bechi, Luigi................................................. 215 Bell, Dozier.......................................... 410, 411 Benson, Frank Weston.....24–31, 265, 267–270 Benton, Thomas Hart.................................... 32 Berger, Jason.............................................. 340 Bischoff, Franz Arthur.................................. 264 Bishop, Isabel.............................................. 356 Blakelock, Ralph Albert (Attributed to)......... 245 Blum, Jerome.............................................. 372 Bonnar, James King.................................... 303 Boone, Elmer L........................................... 281 Bosworth, Barbara...................................... 122 Bouché, Louis George................................. 317 Boyd, John Rutherford................................ 347 Brandt, Bill................................................... 100 Brangwyn, Sir Frank........................................ 9 Braque, Georges..................................... 62, 63 Brauner, Victor............................................ 399 Brekelenkam, Quiringh Gerritsz van (Manner of).................................................. 211 Bridges, Marilyn........................................... 101 British School, 19th Century.............. 217, 242A Brown, Ethelbert......................................... 327 Brown, Harrison Bird................................... 240 Bruestle, Bertram George.................... 306, 307 Bukovac, Vlaho........................................... 223 Burchfield, Charles Ephraim........................ 295 Burroughs, Bryson...................................... 371 Butler, Theodore Earl................................... 328 Böhm, Pál (Paul).......................................... 228 Cady, Harrison............................................ 388 Calamai, Baldassare (Attributed to).............. 205 Calder, Alexander................................ 428, 429 Camp, Maxime Du........................................ 93 Carle, Eric.................................................... 430 Carles, Arthur Beecher................................ 336 Carreño, Mario............................................ 391 Carson, Frank.............................................. 339 Carter, Keith................................................ 102 Cartier-Bresson, Henri................................. 103 Cassatt, Mary.......................................... 33, 34 Cavalleri, Ferdinando (Attributed to)............. 212 Cernan, Eugene.......................................... 146 Chagall, Marc........................................ 63A–65 Chase, William Merritt (School of)................ 361 Chervinsky, John......................................... 123 Clark, Lygia............................................. 66, 67 Clymer, John Ford............................... 329, 330 Coleman Jr., Loring W................................ 297 Collins, Michael........................................... 146 Cooper, Colin Campbell.............................. 335 Corey, Bernard............................................ 322 Cory, Kate Thompson................................. 276 Cotton, Lillian.............................................. 381 ˇ ´ Menci Clement................................ 231 Crncic, Curry, John Steuart....................................... 35 Curtis, Edward Sheriff.................................... 92 Curts, T....................................................... 272 de Haas, Mauritz Frederik Hendrik.............. 234 Delano, Jack............................................... 119

Deming, Edwin Willard................................. 274 Diart, Jules Edouard.................................... 224 Dine, Jim....................................................... 68 Dongen, Kees van......................................... 9A Dorazio, Piero.............................................. 416 Driscole, Harry A......................................... 258 Dupré, Jules........................................ 218, 220 Dzubas, Friedel........................................... 403 Dürer, Albrecht................................................ 1 Edgerton, Harold E. “Doc”............................. 94 Elsheimer, Adam (After)................................... 4 Enneking, John Joseph............................... 368 Erwitt, Elliott................................................ 104 Escher, M.C. (Maurits Cornelis)..................... 10 Evans, De Scott.......................................... 252 Evans, Walker............................................. 105 Fairbanks, Jessie Chancey.......................... 423 Fairey, Shepard........................................69–71 Falter, John......................................... 287, 309 Fantin-Latour, Henri..................................... 225 Feininger, T. Lux.......................................... 358 Feinstein, Harold......................................... 106 Feltus, Alan................................................. 384 Fiene, Ernest................................................. 36 Flagg, James Montgomery.......................... 286 Foosaner, Judith......................................... 397 Foujita, Léonard Tsuguharu..................... 11, 12 Franco-American School, 19th Century....... 227 Frank, Robert.............................................. 107 French School, 18th Century....................... 208 Frith, Francis.................................................. 95 Garnett, William........................................... 124 German/American School, 20th Century..... 394 Gerry, Samuel Lancaster..................... 238, 249 Gesmar, Charles........................................... 13 Gibson, Ralph..................................... 108, 109 Gifford, Sanford Robinson........................... 230 Glatz, Oszkár............................................... 366 Gohlke, Frank...................................... 110, 111 Goldin, Nan......................................... 125, 126 Goodwin, Arthur Clifton............... 288, 290, 292 ................................................... 305, 321, 323 Gorky, Arshile.............................................. 400 Goudt, Count Hendrik (After)........................... 4 Goya y Lucientes, Francisco José de.......... 2, 3 Graves, Abbott Fuller........................... 253, 365 Greene, Balcomb........................................ 418 Groll, Albert Lorey................................ 277, 279 Gruen, John................................................ 112 Gruppé, Emile Albert................... 291, 296, 311 Gurlitt, Louis................................................ 221 Haas, Ernst................................................. 127 Hansen, James Lee....................................... 72 Hardy, Anna Eliza........................................ 259 Hart, James McDougal................................ 266 Hays, George Arthur.................................... 248 Heckel, Erich................................................. 73 Henry, Paul.................................................. 331 Henshaw, Glenn Cooper............................. 346 Heron, Patrick............................................... 74 Hills, Laura Coombs.................................... 362 Hockney, David........................................75–77 Holland, James........................................... 226 Hollar, Wenceslaus.......................................... 4 Hollister, Valerie........................................... 432 Horenstein, Henry........................................ 129 Hurd, Peter.................................................... 37 Hutty, Alfred Heber........................................ 38 Ickovic, Paul.............................................. 112A Italian School, 17th Century........................ 204 Jackson, Harry.................... 271, 275, 282–284 Jacobi, Lotte............................................... 113 Jodice, Mimmo........................................... 130 Johnson, Anita I.......................................... 363 Jones, Hugh Bolton..................................... 247 Jones, Mildred C......................................... 318 Jutz, Carl..................................................... 262 Kandinsky, Wassily (After).........................78–80

Kauba, Carl ................................................ 272 Kelety, Alexandre......................................... 380 Kent, Rockwell.............................................. 39 Kenyon, Henry............................................. 289 Klinger, Max.................................................. 14 Kocol, Mary................................................. 133 Koekkoek Jr., Hermanus (School of)........... 229 Koeniger, Walter.......................................... 302 Kollwitz, Käthe............................................. 389 Kraus, Georg Melchior................................. 210 Kuehne, Max............................................... 370

Ramos, Domingo Enriques.......................... 354 Rauschenberg, Robert.................................. 85 Reiffel, Charles (Attributed to)...................... 293 Rembrandt van Rijn..................................... 7, 8 Riboud, Marc.............................................. 116 Richards, William Trost........................ 232, 233 Ripley, Aiden Lassell.................................... 294 Rodero, Cristina García............................... 119 Romañach, Leopoldo.......................... 324, 325 Rosa, Salvator (School of)........................... 201 Rouault, Georges.....................................19–21

Laer, Alexander Theobald Van..................... 239 Lawson, Ernest........................................... 299 LeBrun, André Jean (School of)................... 203 Lever, Richard Hayley................301, 316, 374A Lewis, Martin................................................. 40 Loewy, Maurice............................................. 96 Longchamp, Gaston............................ 379, 382 Longhi, Alessandro (School of).................... 207 Luce, Molly.................................................. 353 Lucioni, Luigi....................................... 298, 374 Léger, Fernand.............................................. 81

Sabatelli, Luigi (Attributed to)....................... 205 Saccoccio, Jackie....................................... 405 Salentin, Hubert........................................... 216 Salgado, Sebastião..................................... 119 Sanford, Walter........................................... 349 Sauerwein, Frank Paul................................. 278 Saura, Antonio.................................... 401, 402 Schawinsky, Xanti (Attributed to)................. 424 Schnakenberg, Henry.................................. 344 Scott, William J. ......................................... 319 Sewell, Amos.............................................. 351 Shaw, Charles Green.................................. 421 Sheets, Millard............................................. 425 Si-chi, Ko............................................ 131, 132 Siskind, Aaron............................................. 145 Sommer, Otto............................................. 280 Soulages, Pierre............................................ 86 Soyer, Moses.............................................. 377 Soyer, Raphael............................................ 378 Spanish Colonial, 18th Century................... 202 Stafford, Thomas......................................... 146 Stahl, Benjamin Albert................................. 350 Steiner, Ralph.............................................. 117 Stitt, Ed............................................... 434, 436 Strand, Paul................................................ 118 Strang, William.............................................. 22 Strisik, Paul................................................. 308 Sturges, Jock.............................................. 147

MacDonald, Richard.................................... 393 Magnus, Camille.......................................... 219 Manzur, David............................................. 406 Mapplethorpe, Robert................................. 134 Marsh, Reginald...................................... 41, 42 Matisse, Henri............................................... 15 McCurry, Steve........................................... 135 McEvoy, Ambrose....................................... 364 Mellen, Mary Blood...................................... 241 Melnik, George............................................ 367 Meyerowitz, Joel......................................... 136 Michals, Duane............................................ 114 Millet, Jean-François...................................... 16 Minkowski, Maurice..................................... 375 Miró, Joan..................................................... 82 Moerenhout, Edward................................... 222 Mohr, Karl................................................... 285 Mokhorev, Evgeny....................................... 137 Monnoyer, Jean-Baptiste (School of)... 206, 209 Monticelli, Adolphe Joseph Thomas............ 385 Moon, Sarah............................................... 138 Moore, Henry................................................ 83 Moran, Edward............................................ 235 Morell, Abelardo...................................139–141 Morland, Henry Robert (Attributed to).......... 214 Muniz, Vik.................................................... 142 Muybridge, Eadweard................................... 97 Nadelman, Elie............................................ 369 Nahapetian, Yervand................................... 357 Neel, Elizabeth............................................. 417 Nicholas, Thomas Andrew........................... 304 Nicholas, Thomas Michael........................... 314 Nieto, John.................................................. 273 Nixon, Nicholas........................................... 143 O’Reilly, John.............................................. 115 Obregón, Alejandro............................. 409, 412 Ordway, Alfred T......................................... 246 Orsi............................................................... 17 Ostade, Adriaen Jansz van.............................. 5 Ostade, Adriaen Jansz van (School of)........ 213 Osthaus, Edmund Henry............................. 261 Padilla, Gabriela Garza................................ 437 Parker, Lawton Silas.................................... 326 Pels, Albert.......................................... 341, 376 Peterson, Jane..................................374B, 387 Pfeiffen, Justus............................................ 352 Picasso, Pablo.............................................. 84 Pillsbury, Matthew....................................... 144 Plossu, Bernard........................................... 119 Poncet, Antoine........................................... 396 Pope, Alexander.......................................... 263 Porter, Charles Ethan.......................... 256, 257 Portocarrero, René.............................. 422, 426 Potthast, Edward Henry.............................. 313 Prendergast, Charles................................... 263 Prendergast, Maurice Brazil......................... 263 Prentice, Levi Wells............................. 254, 255 Puiseux, Pierre-Henri..................................... 96

Tanzer, Julius.............................................. 348 Tarlow, Lois................................................. 433 Tate, Gayle Blair.......................................... 373 Thayer, Francis............................................ 243 Thoren, Otto von......................................... 260 Thorsen, Lars.............................................. 310 Tiepolo, Giovanni Domenico............................ 6 Tissot, James Jacques Joseph..................... 18 Triiibe.......................................................... 148 Ury, Lesser.................................................. 334 Utrillo, Maurice.................................... 359, 360 Valincius, Irene............................................ 415 Vargas, Alberto............................................ 386 Vasarely, Jean-Pierre........................... 419, 420 Vasarely, Victor.............................................. 87 Vasilieff, Nicholas......................................... 383 Venard, Claude........................................... 404 Vezin, Charles............................................. 345 Vincent, Harry Aiken.................................... 332 Wall, William Allen................................ 244, 312 Warhol, Andy......................................... 88, 149 Warren, Harold Broadfield........................... 333 Way, John................................................... 414 Webb, Todd................................................ 120 Webber, Wesley Elbridge.................... 237, 250 Wegman, William................................. 150, 151 Wei Letang.................................................. 414 Wesselmann, Tom................................... 89, 90 Whistler, James Abbott McNeill................43–54 Whorf, John........................................ 315, 320 Wiedemann, Guillermo................................ 427 Wiles, Irving Ramsay................................... 236 Wilson, John................................................. 91 Wood, Grant................................................. 55 Young, John................................................ 146 Yvaral.................................................. 419, 420 Zox, Larry.................................................... 407

Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot. 2. All property is sold â&#x20AC;&#x153;as is,â&#x20AC;? and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. 3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. Any bidder that plans on spending in excess of $100,000 should make arrangements with the accounting department at least five (5) days in advance of the sale, as a deposit may be required to participate. 4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and the purchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days of the date of sale. Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than three (3) days from the date of sale. If any property has not been removed within three (3) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc., may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the three days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser. 5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases. 6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaserâ&#x20AC;&#x2122;s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. Sales in Massachusetts, Florida, New York, and Maine are subject to the respective current sales taxes. Dealers, museums, and other qualifying parties may be exempt from sales tax upon submission of proper documentation. 10. A premium equal to 25% of the final bid price up to and including $250,000, plus 20% of the final bid price from $250,001 up to and including $3,000,000, plus 12% of the final bid price from $3,000,001 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 December 11, 2019

197

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20th Century Design

Discovery Auctions

Dan Ayer

Carly Babione

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20thcentury@skinnerinc.com

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John Deighton

508.970.3253

508.970.3202

American & European Paintings & Prints

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Robin S.R. Starr

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Elizabeth C. Haff

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Brianna Lovensheimer

508.970.3203

Stephen L. Fletcher

Karen M. Keane Andrew Payne Ruth Kennedy Sudduth

Executive Management President/Chief Executive Officer Karen M. Keane

Chief Financial Officer Kristina Sutton, CPA

Executive Vice President

paintings@skinnerinc.com 508.970.3206

Historic Arms & Militaria Joel Bohy

American Furniture & Decorative Arts

militaria@skinnerinc.com

Stephen L. Fletcher

508.970.3215

Chris Barber Christopher D. Fox americana@skinnerinc.com 508.970.3200

Jewelry Kaitlin Shinnick John Colasacco Gloria Liebermann

American Indian & Ethnographic Art

Selena Shabot

Michael Evans

jewelry@skinnerinc.com

indian@skinnerinc.com

617.874.4313

Stephen L. Fletcher

508.970.3254

Managing Director

Antique Motor Vehicles

Kerry Shrives

Jane D. Prentiss

judaica@skinnerinc.com

antiquemotorvehicles@skinnerinc.com

508.970.3256

Judaica

Marie Keep

508.970.3253

Senior Vice Presidents

Musical Instruments

Marie Keep

Asian Works of Art

Adam Tober

Kerry Shrives

Judith Dowling

music@skinnerinc.com

Stuart G. Slavid

Helen Eagles

508.970.3216

Suhyung Kim

Vice Presidents

asian@skinnerinc.com 508.970.3263

Eric Jones Gloria Lieberman

Oriental Rugs & Carpets Lawrence Kearney rugs@skinnerinc.com

Books & Manuscripts

Jane D. Prentiss

books@skinnerinc.com

Robin S.R. Starr

508.970.3293

508.970.3247

Photographs photographs@skinnerinc.com

Ceramics Regional Offices

ceramics@skinnerinc.com

Florida:

508.970.3203

305.503.4423 florida@skinnerinc.com

Maine and Northern New England: Elizabeth Y. Turner 207.517.8389 eturner@skinnerinc.com

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

Silver Stuart G. Slavid silver@skinnerinc.com

Clocks, Watches & Scientific Instruments

508.970.3203

Jonathan Dowling clocks@skinnerinc.com 508.970.3201

Wines & Spirits Marie Keep Joseph Hyman

Coins & Currency

Anna Ward

Kyle Johnson

finewines@skinnerinc.com

coins@skinnerinc.com 508.970.3191

198

508.970.3264

Stuart G. Slavid

508.970.3296

Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services

Exhibitions & Property Boston:

LaGina Austin

Jeffrey R. Antkowiak

Christine E. Finn

Mia Cesar

Rachel Kingsley

Kristina M. Harrison

Alison Ritacco

Mireille Lyall

508.970.3299

Cheryl Richards Photography

Julia M. Dry Catherine Cawley Susan Janowsky Hannah Marks

Penina Seigel Valerie Worth

Consignment Services

Receptionist Olivia Joy

Tara Lima

617.350.5400

Carol Zeigler

Skinner Online

508.970.3204

Kerry Shrives

Marlborough:

Florentina Gutierrez

Accounting William Madden

Judie Ochsner

Warehouse

Nicole Nicas Rovner

Frederic Trottier

Valerie Worth

508.970.3209 Samantha Heighton

508.970.3266 online@skinnerinc.com 508.970.3279

Receptionist William Debordes-Jackson

Absentee & Telephone Bidding

Catalog Sales

Boston: 617.874.4318

508.970.3000

Transportation Eric Jones

Marlborough: 508.970.3211

508.970.3229

Discovery: 508.970.3208

Auctioneers Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr

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

Florida 305.503.4423 New York 212.787.1113

199

Absentee Bid Form Sale Title

Sale Date

First Time Bidder?

YES

Customer #

Name (Please Print)

Business Name

Address City

Phone #

Alternate #

check if change in address

State

Zip Code email

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

Lot #

Date

Description

Bid confirmation via email?

YES

Bid Price

FOR OFFICE USE Marlborough

Boston

Phone

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

Fax

Mail

Person

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

Employee:

American & European Works of Art | Skinner Auction 3338B