american & european paintings & prints
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American & European Paintings & PrintsSale 2493 January 29, 2010 Boston
SKINNERA
AUCTION 2493
PREVIEW
Tel: 617.874.4318Fax: 617.350.5429
Online: www.skinnerinc.com
GENERAL INQUIRIES
617.350.5400
COVER: 608; FRONTISPIECE: 605; BACK COVER: 620
Robin S. R. StarrDepartment Director508.970.3259
Kathy Wong508.970.3297
American & European Paintings & Prints
SPECIALISTS IN CHARGE
American & European Paintings & Prints Department - 508.970.3206
General Inquiries: paintings@skinnerinc.com
Elizabeth C. Haff - 508.970.3258
Wednesday, January 27, 2010 12 to 5 p.m.Thursday, January 28, 2010 12 to 7 p.m.
Friday, January 29, 2010 9 to 10:30 a.m.
Friday, January 29, 2010Prints & Photography at 12 noonPaintings & Sculpture at 4 p.m.
63 Park PlazaBoston, Massachusetts
ABSENTEE BIDDING
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TABLE OF CONTENTS
1 Auction & Specialist Information
2 Web Site & Online Bidding
4 Provenance
6 Event Announcement
7 Prints & Photography - Lots 1-296
111 Paintings & Sculpture - Lots 301-698
390 Glossary of Terms
391 Artist Index
395 Conditions of Sale
396 Company Directors & Specialty Departments
397 Administrative Staff & Client Services
398 Absentee Bid Form
399 Map & Driving Directions
400 Catalogue Subscription Form
Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 395 of this catalogue for the fullterms and conditions governing your purchase.
Copyright © Skinner, Inc. 2010All rights reserved
Collection of Melvin B. Nessel, Boston, Massachusetts
Lots: 76, 81, 168, 256, 265, 572, 574, 595, 603, 609, 612, 614-616, 618-620, 624, 626-631, 633, 636, 638, 645, 669, 673
Melvin B. Nessel was a longtime Boston resident and founder of the Fenton Shoe Corporation of Cambridge, Massachusetts. Nessel traveled toEurope extensively in the 1960s and 1970s, particularly Italy, to develop the company’s import trade. It was during this decade that he acquiredmany works by notable Italian modernists such as Arnaldo Pomodoro and Ettore Colla, frequenting galleries in Rome and Florence. In hislifetime, Nessel was a major supporter of several Boston institutions such as Brandeis University, Massachusetts General Hospital, the Museum ofFine Arts, Boston, and the Dana Farber Cancer Institute. Nessel also made a substantial gift of eighty-one works from his American modern andcontemporary collection, including a Protractor series work by Frank Stella, to the Norton Museum of Art in Palm Beach, Florida.
Estate of Eleanor Kanegis Levin, East Gloucester, Massachusetts
Lots: 1-3, 46, 123-126, 130, 165, 177-180, 203, 248, 249
Eleanor Kanegis Levin was the co-owner of the Kanegis Gallery in Boston with her first husband Sidney Kanegis from 1955 to the mid-1970s,which was influential in representing Boston modernists.1 She also managed Retina Gallery in Cambridge from 1968 to 1971, which specializedin optical and kinetic works by such artists as Anni and Josef Albers and Victor Vasarely.2 A practicing modernist artist herself, she studied at theSchool of the Museum of Fine Arts Boston and in her later years, maintained a studio and art gallery in East Gloucester called “TheGuild/Sacred Cod”.
1. Lafo, Rachel Rosenfield, Painting in Boston, 1950-2000, Amherst: University of Massachusetts Press, 2002, p. 204.2. Lawrence, J.M., “Eleanor K. Levin, 82, artist, gallery owner” [obituary], Boston Globe, June 10, 2008.
Estate of Anna Eleanor Braman Grasso, Essex, Connecticut
Lots: 210, 269, 569, 571, 605, 611
Anna Eleanor Braman was raised on Long Island and Old Chatham in the Hudson River Valley, attended Vassar College in the late 1940s, and in1951, married Dr. Thomas Arthur McGraw, a graduate of Yale and Cornell Universities. The newlyweds spent their first married year in NorthCarolina, but subsequently lived in New York City for over a decade, until Dr. McGraw’s passing in 1966. During this time, the McGraws wereardent gallery-goers, and Ms. Braman was active in the art scene as a reviewer for a Manhattan publication called “Park East.” Ms. Bramancontinued to collect with her second husband Mr. Graham H.R. Jenkins of Connecticut, and her last husband of eighteen years, Dr. Thomas A.Grasso of Connecticut, the widower of Connecticut’s first woman governor Ella Tambussi Grasso. In her middle to late age, she promoted theartistic and literary life of her community in Essex, Connecticut as the owner of the Clipper Ship Bookshop and member of the Connecticut RiverMuseum.
Estate of N. David Scotti, Providence, Rhode Island
Lots: 101-112, 320, 337, 338, 339, 341, 358, 374, 387, 391, 392, 394, 395, 397, 445, 492, 514, 526, 534-536, 550, 558, 562, 566, 581
N. David (Nino) Scotti was a lifelong antiques collector and enthusiast, as well as a Southern New England history aficionado. Scotti, born andraised in Providence, first began attending auctions with his mother in his teens. In his twenties, he co-founded a company in downtownProvidence that became Associated Appraisers Inc., an estate auctioneer.1 In the company’s last thirty years, Scotti was the primary owner andmanager as well as principal auctioneer. He was active in Providence’s cultural scene, and was an avid supporter of societies such as the HopeClub, the Turk’s Head Club, the Providence Art Club, and the Providence Athenaeum.
1. Providence Journal, “N. David Scotti” [obituary], August 26, 2008.
Provenance
Session IPrints & PhotographyLots 1-296
to be sold Friday, January 29th, 2010 at 12 noon
SKINNER presents a
Fine Art Gallery WalkPresented by Robin Starr, Director of Skinner’s Paintings Department
Thursday, January 28, 2010
5:30 p.m. Reception/6:00 p.m. Gallery Walk
63 Park PlazaBoston, MA
R.S.V.P. 617.350.5400Reservations are Limited
Gallery Walk held in conjunction with a preview of Skinner’sJanuary 29th auction of American & European Paintings & Prints
1.Anni Albers (German, 1899-1994)
Lot of Five Images: A, 1968, edition of 50; B, 1968, editionof 50; two impressions of Camino Real, 1967-69, edition of90; and F, 1969, edition of 60. Each signed and dated “AnniAlbers...” in pencil l.r. and titled and numbered in pencil l.l.Color screenprints on paper, image sizes to 22 x 18 3/4 in.(55.8 x 47.5 cm), unmatted, unframed.Condition: Margins over 3 inches.
$1,000-1,500
2.Pierre Alechinsky (Belgian, b. 1927)
Figure, 1953, edition of 15. Numbered, signed, dated, anddedicated “11/15 Alechinsky/’53 a Madame Franck...” inpencil beneath the image, identified on a label from theNielsen Gallery, Boston, on the reverse. Aquatint andetching on paper, plate size 5 x 7 in. (12.5 x 17.5 cm),framed.Condition: Toning, not examined out of frame.
$200-300
3.Pierre Alechinsky (Belgian, b. 1927)
Facteur Rhésus, 1967, edition of 75 (Rivière 342).Numbered and signed “43/75 Alechinsky” in pencil l.c.(within the image), annotated on the mat. Aquatint in red,green, and black on paper, plate size 20 3/4 x 27 1/8 in.(52.5 x 68.8 cm), matted, unframed.Condition: Narrow margins, minute nicks, creases and tearsto corner l.r. (just affecting the plate mark).
$700-900
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4.American School, 20th Century
The White Slave, 1911. Identified within the matrix. Colorlithographic poster on paper, sheet size 27 x 36 3/4 in. (68.5x 93.3 cm), unmatted, unframed.Condition: Mounted on paper backed with linen (tostabilize/repair tears, losses, and/or creases), minor handlingcreases.
$300-500
5.Niels Yde Andersen (Danish/American, 1888-1952)
Lot of Four Harbor Scenes: Sailing with the Setting Sun,1935, edition of 4; Ship at the Pier; Dock View with Tugs;and Near the Hold. The first signed and dated“NYAndersen 35” in pencil l.r. and numbered “2/4” in pencill.l., the other three unsigned. Etchings on paper, plate sizesto 12 x 9 7/8 in. (30.4 x 25.0 cm), unmatted, unframed.Condition: Most edges deckled, unobtrusive soiling, nicks,tears and creases to some edges, additional handling marksand/or creases.
$250-350
6.Niels Yde Andersen (Danish/American, 1888-1952)
Lot of Four Images of Factory Workers: Smelting;Unloading the Cars; Masonry; and Working the Pulleys.All unsigned. Etchings on paper, plate sizes to 8 3/8 x 7 5/8in. (21.2 x 19.3 cm), unmatted, unframed.Condition: Most edges deckled, unobtrusive soiling,unobtrusive handling marks and/or creases, losses tomargins on Unloading.
$300-500
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7.Niels Yde Andersen (Danish/American, 1888-1952)
Lot of Four Genre Scenes: Horse Power and Industry; SleighRide; Out of the Barn; and The Stone Breaker. All unsigned.Etchings on paper, plate sizes to 9 7/8 x 7 in. (25.0 x 17.5 cm),unmatted, unframed.Condition: Most edges deckled, unobtrusive soiling, minor handlingmarks and/or creases.
$200-300
8.Niels Yde Andersen (Danish/American, 1888-1952)
Lot of Three Images of Factory Workers: Charcoal Man, 1936,edition of 12; Valve Repair; and Construction According to Plan.The first signed and dated “NYAndersen - 36” in pencil l.r. and titledand inscribed in pencil l.l., the other two unsigned. Etchings onpaper, plate sizes approximately 10 x 12 in. (25.5 x 30.5 cm),unmatted, unframed.Condition: Most edges deckled, unobtrusive soiling, nicks, tears andcreases to some edges, additional handling marks and/or creases.
$250-350
9.Niels Yde Andersen (Danish/American, 1888-1952)
Lot of Three Images of Factory Workers: All Together Now; ShiftWorkers; and At the Pits, 1935, edition of 12. The last signed anddated “NYAndersen, 35” in pencil l.r. and numbered “2/12” in pencill.l., the other two unsigned. Etchings on paper, plate sizes to 14 x 93/4 in. (35.5 x 24.7 cm), unmatted, unframed.Condition: Most edges deckled, unobtrusive soiling, nicks, tears andcreases to some edges, additional handling marks and/or creases.
$250-350
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10.Stanley Anderson (British, 1884-1966)
The National Gallery, edition of 109. Signed “Stanley Anderson” inink l.c., signed in the plate, titled in ink l.l., inscribed “Edition 109proofs.” in ink l.r., identified on a label affixed inside the mat. Etchingon paper, plate size 8 7/8 x 11 3/8 in. (22.4 x 28.7 cm), matted,unframed.Condition: Margins over 2 inches, subtle staining to upper corners.
$300-500
11.Richard Anuszkiewicz (American, b. 1930)
Triangulated Orange, 1977-78, edition of 50, printed by EditionsLassiter-Meisel, New York. Signed, numbered, and dated“ANUSZKIEWICZ 32/50 1977” in pencil (within the image) l.r.,stamped “© RICHARD ANUSZKIEWICZ” and “ELM” (the printer’smonogram) on the reverse, inscribed “23” on the reverse. Colorscreenprint on paper mounted onto board, image/support size 84 x48 in. (213.4 x 121.3 cm), unframed.Condition: Surface grime, rubs, and losses.
$500-700
12.John Taylor Arms (American, 1887-1953)
Saint Paul Alpes Maritimes, 1927, final state of two, edition of 259(Fletcher, 201). Signed and dated “John Taylor Arms - 1927” inpencil l.r., titled, signed, and dated in the plate. Etching on paper,plate size 7 1/2 x 11 1/2 in. (18.9 x 29.2 cm), framed.Condition: Mat burn, unobtrusive toning, not examined out of frame.
$300-500
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13.Milton Avery (American, 1885-1965)
Hen, 1954, edition of 25 (Lunn, 57). Signed and dated “Milton Avery1954” in pencil l.r., numbered “18/25” in pencil l.l. Identified on labelsfrom The Alpha Gallery, Boston, and the David Barnett Gallery,Milwaukee, on the reverse. Woodcut on paper, image size 12 x 9 5/8in. (30.2 x 24.3 cm), framed.Condition: Rippling, not examined out of frame.
$1,500-2,000
14.Leonard Baskin (American, 1922-2000)
View of Worcester, 1953, edition of 20 (Fern & O’Sullivan, 240).Signed “Baskin” in pencil l.r., inscribed “artists proof” in pencil l.l.Woodcut on paper, image size 9 7/8 x 8 5/8 in. (25.0 x 21.8 cm),framed.Condition: Toning, mat burn, not examined out of frame.
$300-500
15.Leonard Baskin (American, 1922-2000)
The Cry, 1960, edition of 300 issued by the New York GraphicsSociety. Signed Leonard Baskin” in pencil l.r., titled and numbered“...131/300” in pencil l.l. Woodcut on paper, image size 14 3/4 x 121/4 in. (37.3 x 31.0 cm), framed.Condition: Not examined out of frame.
$300-500
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16.Leonard Baskin (American, 1922-2000)
Lot of Three Portraits: William Morris, Camille Corot, andJacques Gamelin, from LAUS PICTORUM, 1969, total edition of525 (Fern & O’Sullivan; 416, 538 & 541). Each signed “Baskin” inpencil l.r. and numbered “123/175” in pencil l.l. Woodcuts on paper,image sizes to 7 1/4 x 4 5/8 in. (18.3 x 11.7 cm), unmatted,unframed.Condition: Minor soiling, minor folds to several margins at corners.
$200-250
17.Leonard Baskin (American, 1922-2000)
The Moby Dick Suite, 1970, edition of 200 (Fern & O’Sullivan, 569-577). Each signed “Baskin” in pencil l.r. and numbered “49/200” inpencil l.l. Lithographs (some in color) on paper, sheet sizes to 23 x17 in. (58.2 x 43.0 cm), presented in the original portfolio, unmatted,unframed.Condition: Good.
$500-700
18.Leonard Baskin (American, 1922-2000)
Hidatsa Medicine Man, 1972, edition of 160 (Fern & O’Sullivan,610). Signed “Baskin” in pencil l.r., numbered “124/160” in pencil l.l.,titled and dated in the matrix, dry stamp l.l. Lithograph on paper,image size 32 1/4 x 22 1/2 in. (81.8 x 57.0 cm), unmatted, unframed.Condition: Very minor handling creases.
$500-700
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19.Leonard Baskin (American, 1922-2000)
Pedro Cajete, 1972, edition of 160 (Fern & O’Sullivan, 611). Signed“Baskin” in pencil l.r., numbered “146/160” in pencil l.l., titled anddated in the matrix, dry stamp l.l. Lithograph on paper, image size 301/2 x 22 1/2 in. (77.3 x 57.0 cm), unmatted, unframed.Condition: Very minor handling creases.
$500-700
20.Leonard Baskin (American, 1922-2000)
Sharp Nose, 1972, edition of 160 (Fern & O’Sullivan, 612). Signed“Baskin” in pencil l.r., numbered “29/160” in pencil l.l., titled anddated in the matrix, dry stamp l.l. Lithograph on paper, image size 321/4 x 21 in. (81.8 x 53.2 cm), unmatted, unframed.Condition: Minor handling creases.
$500-700
21.Leonard Baskin (American, 1922-2000)
Sitting Bull, 1972, edition of 160 (Fern & O’Sullivan, 613). Signed“Baskin” in pencil l.r., numbered “69/160” in pencil l.l., dry stamp l.l.Lithograph on paper, image size 29 1/4 x 21 1/2 in. (74.2 x 54.5 cm),unmatted, unframed.Condition: Very minor handling creases.
$500-700
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22.Leonard Baskin (American, 1922-2000)
Swift Dog, 1972, edition of 160 (Fern & O’Sullivan, 615). Signed“Baskin” in pencil l.r., numbered “64/160” in pencil l.l., titled anddated in the matrix, dry stamp l.l. Lithograph on paper, image size 313/4 x 21 in. (80.5 x 53.4 cm), unmatted, unframed.Condition: Very minor handling creases.
$500-700
23.George Wesley Bellows (American, 1882-1925)
Study of Mary, 1923, edition of 50 (Mason, M.132). Signed “Geo.Bellows” in pencil l.r., signed “Bolton Brown imp.” in pencil l.l., titled inpencil l.c. Lithograph on paper, image size 11 3/8 x 10 in. (28.7 x25.4 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
24.George Wesley Bellows (American, 1882-1925)
Married Couple, 1923, edition of 44 (Mason, M.141). Signed “Geo.Bellows” in pencil l.r., signed “Bolton Brown imp.” in pencil l.l., titled inpencil l.c. Lithograph on paper, image size 9 3/4 x 7 1/4 in. (24.6 x18.3 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
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25.Frank Weston Benson (American, 1862-1951)
Wild Geese, 1917, published state, edition of 152 (Paff, 112).Signed “FrankWBenson.” in pencil l.l., numbered “44” in pencil l.r.Etching on laid paper with armorial watermark, plate size 6 3/4 x 103/4 in. (17.3 x 27.3 cm), matted, unframed.Condition: Margins 2 1/4 inches or more with deckled edges, toning,pale foxing, annotations to lower edge.
$400-600
26.Frank Weston Benson (American, 1862-1951)
Canoeman, 1919, published state, edition of 150 (Paff, 161). Signed“FrankWBenson.” in pencil l.l. Etching on laid paper, plate size 7 7/8x 6 in. (20.0 x 15.2 cm), matted, unframed.Condition: Margins 1 3/4 inches or more with deckled edges,annotations to lower edge.
$800-1,200
27.Frank Weston Benson (American, 1862-1951)
Over Sunk Marsh, 1920, published state, edition of 150 (Paff, 188).Signed “FrankWBenson.” in pencil l.l. Drypoint on paper, plate size 6x 7 3/4 in. (15.1 x 19.5 cm), framed.Condition: Gentle rippling, not examined out of frame.
$300-500
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28.Frank Weston Benson (American, 1862-1951)
Ducks at Play, 1923, published state, edition of 150 (Paff, 217).Signed “FrankWBenson.” in pencil l.l., initialed and dated in the plate.Drypoint on paper, plate size 10 3/4 x 13 3/4 in. (27.3 x 34.8 cm),framed.Condition: Unobtrusive mat burn, handling creases (some effectingthe image), rippling, not examined out of frame.
$1,000-1,500
29.Frank Weston Benson (American, 1862-1951)
Geese Over a Marsh, 1924, published state, edition of 150 (Paff,233). Signed “FrankWBenson.” in pencil l.l. Etching on laid paperwith “ENGLAND” watermark, plate size 7 7/8 x 9 3/4 in. (20.0 x 24.7cm), matted, unframed.Condition: Margins over 3/4 inches with two deckled edges, soilingto margins (primarily at corners), annotations to lower edge.
$500-700
30.Frank Weston Benson (American, 1862-1951)
Flying Brant, 1925, published state, edition of 150 (Paff, 241).Signed “FrankWBenson.” in pencil l.l. Drypoint on laid paper, platesize 4 3/4 x 6 7/8 in. (12.0 x 17.3 cm), matted, unframed.Condition: Margins 1 inch or more with two deckled edges,annotations to lower edge.
$400-600
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31.Frank Weston Benson (American, 1862-1951)
Pointer Dog, 1925, published state, edition of 150 (Paff, 251).Signed “FrankWBenson.” in pencil l.l., initialed and dated in the plate.Etching on paper, plate size 5 7/8 x 7 3/4 in. (14.8 x 19.5 cm),framed.Condition: Subtle mat burn, gentle rippling, fox mark c.l., notexamined out of frame.
$800-1,200
32.Frank Weston Benson (American, 1862-1951)
In Dropping Flight, 1926, published state, edition of 134 (Paff, 255).Signed “FrankWBenson-” in pencil l.l. Drypoint on paper, plate size10 7/8 x 13 3/4 in. (27.5 x 34.8 cm), framed.Condition: Scattered pale foxing/staining, pale mat staining, notexamined out of frame.
$500-700
33.Thomas Hart Benton (American, 1889-1975)
Tom Keefer, from the SWAMP WATER Series, 1941, edition of 100(Fath, 51). Dedicated and signed “To Charles E. McCarthy fromThomas H. Benton” in pencil beneath the image, signed in the matrix.Lithograph on paper, image size 8 1/4 x 6 3/8 in. (20.8 x 16.0 cm),framed.Condition: Margins over 1 1/2 inches, not examined out of frame.
$1,000-1,500
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34.Thomas Hart Benton (American, 1889-1975)
Jessie Wick, from the SWAMP WATER Series, 1941, edition of 100(Fath, 53). Dedicated and signed “To Charles E. McCarthy fromThomas H. Benton” in pencil beneath the image, signed in the matrix.Lithograph on paper, image size 9 7/8 x 6 1/2 in. (25.0 x 16.3 cm),framed.Condition: Margins over 1 1/2 inches, several small pale fox marks,not examined out of frame.
$1,000-1,500
35.Thomas Hart Benton (American, 1889-1975)
Island Hay, 1945, edition of 250, published by Associated AmericanArtists (Fath, 68). Signed “Benton” in pencil l.r. and in the matrix.Lithograph on paper, image size 10 x 12 1/2 in. (25.3 x 31.8 cm),matted, unframed.Condition: Margins approximately 1 inch, toning.
$1,000-1,500
36.Edouard Alexandre Bernard (French, 1879-1950)
Ascot Cycles. Signed and identified in the matrix. Color lithographicposter, image size 47 1/4 x 34 3/4 in. (119.8 x 88.2 cm), framed.Condition: Vertical and horizontal creases, minor tears (mostprobably repaired), unobtrusive toning, not examined out of frame.
$800-1,200
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37.Carroll Thayer Berry (American, 1886-1978)
White and Weatherworn - Maine Coast, 1960, edition possibly of300 (Dearborn, 121). Signed “Carroll Thayer Berry imp” in pencil l.r.,signed in the block, titled in pencil l.l. Chiaroscuro woodcut in blackand tan on paper, image size 11 x 12 1/2 in. (27.7 x 31.5 cm),framed.Condition: Unobtrusive toning, rippling, not examined out of frame.
N.B. A copy of Elwyn Dearborn’s The Down East Printmaker: CarrollThayer Berry (Down East Books: Camden, Maine, 1983)accompanies the lot.
$400-600
38.Isabel Bishop (American, 1902-1988)
Noon Hour, 1935, published by Associated American Artists 1946,edition of 250 (Teller, 18). Signed “Isabel Bishop” in pencil l.r.,identified on a label from AAA accompanying the lot. Etching onpaper, plate size 7 x 4 3/4 in. (17.5 x 11.9 cm), matted, unframed.Condition: Margins 2 inches or more, toning.
$400-600
39.Richard Evett Bishop (American, 1887-1975)
Federal Duck Stamp Design, 1936. Signed “RichardEBishop” inpencil l.r., signed in the plate, titled in pencil l.l. Etching on paper,plate size 5 x 8 1/8 in. (12.5 x 20.4 cm), framed together with a duckstamp.Condition: Toning, not examined out of frame.
$300-500
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40.Edmund Blampied (British, 1886-1966)
The Weary Cart Horse, 1926, edition of 100. Signed “E.Blampied”in pencil l.c., numbered “90/100” in pencil l.l., signed and dated in theplate. Etching on paper, plate size 7 3/4 x 11 in. (19.8 x 27.9 cm),framed.Condition: Mat burn, several fox marks, subtle rippling, not examinedout of frame.
$250-350
41.Edmund Blampied (British, 1886-1966)
Night in the Stable, edition of 100. Signed “E.Blampied” in pencill.c., numbered “11/100” in pencil l.r. Etching and drypoint on paper,plate size 10 x 12 1/8 in. (25.4 x 30.5 cm), framed.Condition: Subtle mat burn and rippling, not examined out of frame.
$400-600
42.After Georges Braque (French, 1882-1963)
Lot of Two Still Lifes: Verre et pichet, color lithograph (Maeght,1009); and Pommes, collotype. The former signed in pencil l.r., thelatter signed in the matrix and numbered “58/300” in pencil l.l. Imagesizes to 8 x 12 in. (20.3 x 30.5 cm), framed.Condition: Toning, fading to former, not examined out of frames.
$500-700
42A.After Georges Braque (French, 1882-1963)
Le paquet de tabac, 1914, edition of 150 (Maeght, 1048). Colorlithograph on paper, image size 13 1/2 17 5/8 in. (34.2 x 44.6 cm),framed.Condition: Laid down, margins 3/8 inch, central vertical crease.
$200-250
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43.Claude Buckle (British, 1905-c. 1973)
New Brighton & Wallasey. Identified within the matrix. Colorlithographic poster on paper, image size 37 1/8 x 47 1/4 in. (94.4 x120.1 cm), framed.Condition: Laid down or mounted (with areas ofbubbling/disadhesion), margins just over 1 inch, minor nicks andtears to edges, subtle toning, not examined out of frame.
$1,000-1,500
44.David Young Cameron (Scottish, 1865-1945)
Lot of Six Landscape Views from the COMPLETE ANGLER, 1902(Rinder 334, 335, 337, 338, 348 & 350). Four initialed in the plates.Etchings on paper, plate sizes approximately 3 1/2 x 6 in. (9.0 x 15.0cm), one matted, all unframed.Condition: Most margins approximately 1/2 inch, some with staining,toning, and/or pinholes to margins.
$300-350
45.Alois Carigiet (Swiss, 1902-1985)
Lot of Two Horse Subjects: Beim Gaden, 1969, edition of 300; andFalkner zu Pferd, 1970, edition of 200. Both signed and dated “A.Carigiet...” in pencil l.r. and numbered in pencil l.l. Color lithographson paper, image sizes to 24 x 17 1/2 in. (61.0 x 44.4 cm), framed.Condition: Subtle rippling and soiling, not examined out of frames.
$200-300
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46.Marc Chagall (Russian/French, 1887-1985)
Elijah and the Widow of Sarepta, from BIBLE, 1956, edition of 275plus proofs (Cramer, 29). Signed in the plate, identified on a labelfrom the Retina Gallery, Boston, on the reverse. Etching on paper,plate size 11 1/4 x 9 1/2 in. (28.4 x 24.0 cm), framed.Condition: Margins over 1/2 inch, not examined out of frame.
$500-700
47.Marc Chagall (Russian/French, 1887-1985)
David, portant la tête de Goliath, plate 64 from BIBLE, 1956,edition of 275 plus proofs (Cramer, 29). Unsigned. Etching andaquatint on paper, plate size 12 3/8 x 9 3/8 in. (31.3 x 23.7 cm),framed.Condition: Unobtrusive mat burn, not examined out of frame.
$400-600
48.Marc Chagall (Russian/French, 1887-1985)
Lot of Three Volumes: THE LITHOGRAPHS OF MARC CHAGALL,volumes II, III, and IV, by Fernand Mourlot et al., published by AndreSauret, 1963, 1969, and 1974, respectively, each with the originalcolor lithographs intact. 13 x 10 in. (33.0 x 25.4 cm), with jacketsand slip covers, cloth bound.Condition: Wear and ink annotations to slip covers.
$3,000-5,000
48
46
47
49.Edgar Chahine (French, 1874-1947)
Demoiselle au tennis, 1899, edition of approximately 70 (Tabanelli,32). Signed “Edgar Chahine” in umber ink l.l., titled in pencil l.c.,identified on an exhibition label (see below) on the reverse. Drypointon paper, plate size 15 x 6 in. (38.1 x 15.2 cm), framed.Condition: Margins 1/2 inch or more, rub to image l.l., subtle toning,not examined out of frame.
Exhibitions: Images of Women: 19th Century French Prints, at theUtah Museum of Fine Arts, University of Utah, January 8–February19, 1978.
$800-1,200
50.Samuel V. Chamberlain (American, 1895-1975)
The Blacksmith Shop, edition of 100 plus proofs (Chamberlain &Kingsland, 3). Signed “Samuel Chamberlain” in pencil l.r., numbered“21/100” in pencil l.l. Etching on paper, plate size 8 7/8 x 11 1/8 in.(22.5 x 28.2 cm), matted, unframed.Condition: Margins 1 1/2 inches or more with deckled edges, subtletoning, annotations to lower margin, brown paper tape to sidemargins.
Provenance: Through the family of the artist.$150-200
51.Samuel V. Chamberlain (American, 1895-1975)
Amalfi, edition of 100 (Chamberlain & Kingsland, 8). Signed “SamuelChamberlain” in pencil l.r., numbered “87/100” in pencil l.l. Etchingon paper, plate size 7 x 7 in. (17.7 x 17.5 cm), matted, unframed.Condition: Margins over 1 3/4 inches with deckled edges, subtletoning, annotations to lower margin.
Provenance: Through the family of the artist.$150-200
51
49
50
52.Samuel V. Chamberlain (American, 1895-1975)
Church of Saint Ayoul - Provins, 1924-28, edition of 68 plus proofs(Chamberlain & Kingsland, 11). Signed “Samuel Chamberlain” inpencil l.r., inscribed “epreuve d’artiste” in pencil l.l. Etching on paper,plate size 5 7/8 x 7 3/4 in. (14.7 x 19.7 cm), matted, unframed.Condition: Margins 1 1/2 inches or more with two deckled edges,annotations to lower margin.
Provenance: Through the family of the artist.$150-200
53.Samuel V. Chamberlain (American, 1895-1975)
The Church at Sezanne, c. 1925 (Chamberlain & Kingsland, 12).Signed “Samuel Chamberlain” in pencil l.r., numbered “68/100” inpencil l.l. Etching on paper, plate size 7 3/4 x 3 7/8 in. (19.5 x 9.7cm), matted, unframed.Condition: Margins over 2 1/2 inches with deckled edges, subtlesoiling or staining to margins, annotations to lower margin.
Provenance: Through the family of the artist.$150-200
54.Samuel V. Chamberlain (American, 1895-1975)
Soaring Steel, proof (Chamberlain & Kingsland, 79). Signed “SamuelChamberlain” in pencil l.r., inscribed “Epreuve d’artiste - I/V” in pencill.l. Etching on paper, plate size 12 1/2 x 9 5/8 in. (31.6 x 24.4 cm),matted, unframed.Condition: Margins over 1/2 inch with two deckled edges, stain tomargin along upper edge, annotations to lower margin.
Provenance: Through the family of the artist.
N.B. The view shows the construction of the Daily News Building inChicago.
$300-350
54
52
53
55.Samuel V. Chamberlain (American, 1895-1975)
Oil, c. 1930, edition of 100, but most destroyed, plus proofs(Chamberlain & Kingsland, 80). Signed “Samuel Chamberlain” inpencil l.r., inscribed “Epreuve d’artiste - Third State 1/2” in pencil l.l.Etching on paper, plate size 9 5/8 x 6 3/4 in. (24.3 x 17.0 cm),matted, unframed.Condition: Margins over 1 inch with deckled edges, annotations tolower margin.
Provenance: Through the family of the artist.$300-350
56.Samuel V. Chamberlain (American, 1895-1975)
Lower Manhattan - Old and New (Chamberlain & Kingsland, 81).Signed “Samuel Chamberlain” in pencil l.r., inscribed “Epreuved’artiste 3rd State 1/2” in pencil l.l. Etching on paper, plate size 9 x 7in. (22.8 x 17.7 cm), matted, unframed.Condition: Margins 1 inch or more with deckled edges, subtle soiling,annotations to lower margin.
Provenance: Through the family of the artist.$300-350
57.Samuel V. Chamberlain (American, 1895-1975)
Boston Fish Pier (Chamberlain & Kingsland, 82). Signed “SamuelChamberlain” in pencil l.r., inscribed “Epreuve d’artiste” in pencil l.l.Etching on paper, plate size 5 5/8 x 8 5/8 in. (14.2 x 21.8 cm),matted, unframed.Condition: Margins 1 inch or more, foxing, staining to edges ofsheet, losses to both upper corners well within the margin,annotations to lower margin.
Provenance: Through the family of the artist.$150-200
57
55
56
58.Samuel V. Chamberlain (American, 1895-1975)
Faneuil Hall - Boston (Chamberlain & Kingsland, 83). Signed“Samuel Chamberlain” in pencil l.r., numbered “44/100” in pencil l.l.Etching on laid paper, plate size 6 1/4 x 9 in. (15.8 x 22.8 cm),matted, unframed.Condition: Margins 1/2 inch or more with deckled lower edge,staining to edges of sheet, foxing, losses and tears to upper cornerswithin margins, annotations to lower margin.
Provenance: Through the family of the artist.$150-200
59.Samuel V. Chamberlain (American, 1895-1975)
Lot of Two Impressions of Mont-Saint-Michel, c. 1940, edition of1500 plus proofs (Chamberlain & Kingsland, 261). Unsigned, oneinscribed “Fourth State I/IV” in pencil l.l., the other inscribed “artist’sproof” in pencil l.l. Etchings on paper, plate size 5 3/8 x 4 5/8 in.(13.5 x 11.7 cm), matted, unframed.Condition: Margins approximately 1 inch, subtle toning, annotationsto lower margins.
Provenance: Through the family of the artist.$200-250
60.Samuel V. Chamberlain (American, 1895-1975)
Lot of Two Impressions of The Steps of Ara Coeli, Rome, c.1940, edition of 1500 plus proofs (Chamberlain & Kingsland, 264).Unsigned, one inscribed “First State III/IV” in pencil l.l., the otherinscribed “Artist’s Proof” in pencil l.l. Etchings on paper, plate size 63/4 x 4 1/2 in. (17.0 x 11.3 cm), matted, unframed.Condition: Margins approximately 1 inch, subtle toning.
Provenance: Through the family of the artist.$200-250
60
58
59
61.Samuel V. Chamberlain (American, 1895-1975)
Summer Shadows, 1940, edition of 300 plus proofs (Chamberlain &Kingsland, 275). Signed “Samuel Chamberlain” in pencil l.r., inscribed“Ed. 300” in pencil l.l. Drypoint on paper, plate size 8 5/8 x 11 1/8 in.(21.8 x 28.2 cm), matted, unframed.Condition: Margins 1 inch or more, annotations to lower margin.
Provenance: Through the family of the artist.
N.B. The view depicts Bank Square in Marblehead, Massachusetts.$200-250
62.Samuel V. Chamberlain (American, 1895-1975)
Harborside, Friendship, Maine (Chamberlain & Kingsland, 276).Signed “Samuel Chamberlain/N.G.C.” by Narcissa GellatlyChamberlain in pencil l.r., inscribed “ed. 300” in pencil l.l. Drypoint onpaper, plate size 8 1/2 x 12 3/4 in. (21.5 x 32.0 cm), matted,unframed.Condition: Margins over 1 inch with deckled edges, annotations tolower and upper margins, stain to corner of margin l.l.
Provenance: Through the family of the artist.$150-200
63.Giorgio de Chirico (Italian, 1888-1978)
Castore, from I CAVALLI, 1948, edition of 94 (Vastano, 125).Signed “G. de Chirico” in pencil l.r., numbered “5/94” in pencil l.l.,signed in the matrix. Lithograph in black and cream on paper withFabriano watermarks, image size 19 x 12 1/2 in. (48.2 x 31.6 cm),framed.Condition: Margins over 3 inches, subtle toning or staining to edges,unobtrusive handling creases, not examined out of frame.
$800-1,200
63
61
62
65
64
66
64.Giorgio de Chirico (Italian, 1888-1978)
Narciso Ippofilo, from I CAVALLI, 1948, edition of 94(Vastano, 131). Signed "G. de Chirico" in pencil l.r.,numbered "5/94" in pencil l.l., signed in the matrix. Colorlithograph on paper with Fabriano watermarks, image size 113/8 x 17 1/4 in. (28.8 x 43.7 cm), framed.Condition: Margins over 3 inches, nicks/losses to upperedge, subtle toning or staining to edges, unobtrusivehandling creases, not examined out of frame.
$800-1,200
65.Giorgio de Chirico (Italian, 1888-1978)
I figli dell’Arconte, from I CAVALLI, 1948, edition of 94(Vastano, 132). Signed “G. de Chirico” in pencil l.r.,numbered “5/94” in pencil l.l., signed in the matrix.Lithograph in black and cream on paper with Fabrianowatermarks, image size 11 1/2 x 17 1/8 in. (29.2 x 43.3 cm),framed.Condition: Margins over 3 inches, nicks/losses to upperedge, subtle toning or staining to edges, unobtrusivehandling creases, not examined out of frame.
$800-1,200
66.Giorgio de Chirico (Italian, 1888-1978)
Ippolito, from I CAVALLI, 1948, edition of 94 (Vastano, 133).Signed “G. de Chirico” in pencil l.r., numbered “5/94” inpencil l.l., signed in the matrix. Lithograph in black and blueon paper with Fabriano watermarks, image size 11 3/8 x 171/4 in. (28.8 x 43.6 cm), framed.Condition: Margins over 3 inches, unobtrusive toning,unobtrusive handling creases, not examined out of frame.
$800-1,200
67.Roland Clark (American, 1874-1957)
Pintail. Signed “Roland Clark” in pencil l.r. Drypoint and etching onpaper, plate size 11 3/4 x 8 7/8 in. (29.8 x 22.5 cm), framed.Condition: Margins over 2 inches, laid down at edges, but withrippling to the image, annotations to lower edge.
$150-200
68.Antoni Clavé (Spanish, 1913-2005)
Profile Head, edition of 50. Signed “Clavé” in pencil l.r., numbered“1/50” in pencil l.l. Lithograph in black and tan on paper, image size28 x 20 in. (71.1 x 50.8 cm), framed.Condition: Subtle toning and mat burn, not examined out of frame.
$300-500
69.James Coignard (French, 1925-2008)
Presence, 1986, edition of 75. Signed “J. Coignard” in pencil l.r.,numbered “25/75” in pencil l.l., identified on labels on the reverse.Color aquatint with carborundum and collage on paper, image size 34x 27 in. (86.3 x 68.5 cm), framed.Condition: Subtle rippling, not examined out of frame.
$300-500
6867
69
70.James Coignard (French, 1925-2008)
Espace dynamique bleu, 1989, edition of 95. Numbered andsigned “6/95 J. Coignard” in pencil l.r., identified on labels on thereverse. Color carborundum on paper, image/sheet size 20 1/4 x 253/4 in. (51.5 x 65.3 cm), framed.Condition: Subtle rippling, not examined out of frame.
$300-350
71.James Coignard (French, 1925-2008)
Architecture, 1991, edition of 85. Signed “J. Coignard” in pencil l.r.,numbered “79/85” in pencil l.l., identified on labels on the reverse.Color carborundum on paper, image size 28 x 23 3/4 in. (71.0 x 60.2cm), framed.Condition: Subtle rippling, creases to edge of lower margin, notexamined out of frame.
$300-500
72.Lovis Corinth (German, 1858-1925)
Krönung Heinrich V, plate 30 from SHAKESPEARE VISIONEN,1917-18, published in GANYMEDE (Schwarz, 390). Unsigned,Ganymede dry stamp l.l. Drypoint on laid paper with partialwatermark, plate size 6 x 10 1/4 in. (15.3 x 26.0 cm), matted,unframed.Condition: Margins over 1 inch with deckled edges.
$250-350
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70
71
73.Alan Horton Crane (American, 1901-1969)
Lot of Two Landscapes: Winter Memory, edition of 40;and Harbor Fog, edition of 50. Both signed “Alan Crane” inpencil l.r. and titled and inscribed in pencil l.l. Lithographs onpaper, image sizes approximately 10 x 13 3/4 in. (25.4 x34.8 cm), unmatted, unframed.Condition: Margins approximately 1 inch, unobtrusive toningand staining.
$200-250
74.John Steuart Curry (American, 1897-1946)
Stallion and Jack Fighting, 1943, edition of 250(Czestochowski, C-39). Signed “John Steuart Curry” inpencil l.r., initialed and dated in the matrix. Lithograph onpaper, image size 11 3/4 x 15 3/8 in. (29.8 x 39.0 cm),framed.Condition: Not examined out of frame.
$1,000-1,500
75.John Steuart Curry (American, 1897-1946)
Sanctuary, alternatively titled Flood Relief, 1944, edition of250, published by Associated American Artists(Czestochowski, C-41). Signed “John Steuart Curry” inpencil l.r., initialed and dated in the matrix. Lithograph onpaper, image size 11 3/4 x 15 3/4 in. (29.8 x 40.0 cm),matted, unframed.Condition: Margins 3/4 inches or more with deckled edges,toning.
$700-900
75
73
74
76.Salvador Dalí (Spanish, 1904-1989)
Begonia, from FLORDALI, 1968, total edition of 400 plus proofs(Löpsinger & Michler, 233). Signed “Dali” in pencil l.r., numbered“XXIII/XXV” in pencil l.l., signed within the plate. Etching with drypointand pochoir on paper, plate size 22 7/8 x 15 1/4 in. (55.2 x 38.8 cm),framed.Condition: Not examined out of frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$500-700
77.Salvador Dalí (Spanish, 1904-1989)
L’Aéroplane, from HOMMAGE A LEONARDO DA VINCI(AMERICAN INVENTIONS), 1975, edition of 450 plus proofs(Löpsinger & Michler, 810). Signed “Dalí” in pencil l.r., numbered“75/450” in pencil l.l. Drypoint and pochoir on paper, plate size 141/4 x 19 7/8 in. (36.3 x 50.5 cm), framed.Condition: Not examined out of frame.
$300-500
78.Adolf Arthur Dehn (American, 1895-1968)
Circus, 1942, edition of 30 or more (Lumsdaine & O’Sullivan, 336).Signed and dated “Adolf Dehn 1942” in pencil l.r., titled in pencil l.c.,inscribed “30 prints” in pencil l.l. Lithograph on paper, image size 123/4 x 17 1/4 in. (32.0 x 43.5 cm), framed.Condition: Toning, pale foxing, not examined out of frame.
$300-500
78
76
77
79.Jane Leone Dickson (American, b. 1952)
Lot of Three Works: Globe Hotel Bar, Woman on Stairs, andBurlesque, all 1984, editions of 45. Each signed and dated “JaneDickson ‘84” in pencil l.r. and numbered “10/45” in pencil l.l. Coloraquatints on paper, plate sizes 29 1/2 x 16 7/8 in. (74.8 x 42.8 cm),all matted, the last framed.Condition: Good, the last not examined out of frame.
$1,000-1,500
80.Jim Dine (American, b. 1935)
Plate Four, from RACHEL COHEN’S FLAGS, STATE I, 1979(D’Oench & Feinberg, 41) Inscribed, dated, and signed “Trial prooffor Nardo from Jim 1979 Jim Dine” in pencil beneath the image.Drypoint on paper, plate size 15 1/2 x 21 3/4 in. (39.3 x 55.2 cm),framed.Condition: Margins over 2 3/4 inches with deckled edges, subtlecockling, not examined out of frame.
$800-1,200
81.Lazzaro Donati (Italian, b. 1926)
Garden Sculpture, 1966, edition of 50. Signed and dated“LAZZARO DONATI 66” in pencil l.l., numbered “6/50” in pencil l.r.Color lithograph on paper, image size 12 1/4 x 16 1/2 in. (31.1 x 41.9cm), framed.Condition: Not examined out of frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$150-250
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79
80
82.Otis Dozier (American, 1904-1987)
Crows in Melon Patch, 1939, edition of 30. Signed anddated “Otis Dozier ‘39” in pencil l.r., titled and numbered“...6/30” in pencil l.l. Lithograph on paper, image size 9 3/4x 12 in. (24.5 x 30.4 cm), framed.Condition: Not examined out of frame.
$200-250
83.Otis Dozier (American, 1904-1987)
Lot of Two Landscapes: Two Deer, 1942, edition of 20;and Morning Country, 1942, edition of 20. Both signedand dated “Otis Dozier ‘42” in pencil l.r., and titled andnumbered in pencil l.l. Lithographs on paper, image sizesapproximately 13 1/2 x 10 in. (34.0 x 25.5 cm), framed.Condition: Not examined out of frames.
$200-250
84.Jean Dubuffet (French, 1901-1985)
Banque de L’Hourloupe cartes à jouer et à tirer, 1967,edition of 350 plus proofs, published by Editions Alecto,London. Identified and numbered “210” on the interior of thebox. Color screenprints on cardboard, 9 7/8 x 6 1/2 in.(25.0 x 16.4 cm), presented in the original portfolio box.Condition: Minor wear.
$500-700
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82
83
85.Etienne Duperac (French, 1520-1604)
Hunter in a Landscape. Signed in the plate. Etching on paper,plate size 7 1/2 x 12 3/4 in. (19.0 x 32.3 cm), framed.Condition: Trimmed to or just within the plate mark, subtle ripplingand toning, not examined out of frame.
$300-350
86.Albrecht Dürer (German, 1471-1528)
The Last Judgment, from the SMALL PASSION, 1511 (Bartsch 52;Meder, 161; Hollstein 161b). Monogrammed in the block, with texton the reverse. Woodcut on paper, image size 5 x 3 3/4 in. (12.5 x9.5 cm), framed.Condition: Thread margins, rippling, small tear to corner (justeffecting image) l.l., not examined out of frame.
$300-500
87.Max Ernst (German, 1891-1976)
Sign for a School for Pirates, 1965, edition of 125 (Spies &Leppien, A12). Signed “max ernst” in pencil l.r., numbered “72/125”in pencil l.l., titled within the matrix. Color photo-lithograph on BFKRives paper with partial watermark, image size 23 3/4 x 19 3/8 in.(60.3 x 49.0 cm), unmatted, unframed.Condition: Margins 1 inch or more with two deckled edges, subtlesurface rubs to image, minor creases to margins near corners.
$200-250
87
85
86
88.Lyonel Feininger (German/American, 1871-1956)
Off the Coast, 1951, second state of two, edition of 250 plus proofspublished for the Cleveland Print Club (Prasse L14). Signed “LyonelFeininger” in pencil l.r. Lithograph on paper, image size 9 1/4 x 141/2 in. (23.5 x 36.8 cm), framed.Condition: Not examined out of frame.
$1,500-2,000
89.Erna Fenkohl (Belgian, 1882-1975)
Lot of Four Still Lifes with Flowers and Insects. Each signed“Erna Fenkohl” in pencil l.r. and inscribed “Orig. Handdruck” in pencill.l. Color woodcuts on paper, image sizes 5 1/2 x 5 1/2 in. (13.8 x13.8 cm), framed.Condition: Subtle toning, not examined out of frames.
$600-800
90.Ernest Fiene (American, 1894-1965)
The Little Church Around the Corner. Signed “Ernest Fiene” inpencil l.r., identified on a label on the reverse. Lithograph on paper,image size 9 1/2 x 12 1/8 in. (24.0 x 30.6 cm), framed.Condition: Subtle rippling, not examined out of frame.
$300-500
90
88
89
91.Sam Francis (American, 1923-1994)
Senza Titolo I, 1987, edition of 58, published by 2RC Edizioni d’Arte,Rome (Lembark, I.87). Signed “Sam Francis” in pencil l.r., numbered“43/58” in pencil l.l. Color etching and aquatint on paper, plate size34 5/8 x 39 1/8 in. (87.8 x 99.3 cm), framed.Condition: Not examined out of frame.
Provenance: The Harvard Coop Gallery, Cambridge, Massachusetts,1988; to a private collector.
$4,000-6,000
91
92.Helen Frankenthaler (American, b. 1928)
Broome Street at Night, 1987, edition of 68. Signed and dated“Frankenthaler ‘67” in pencil l.r., numbered “54/68” in pencil l.l. Coloretching and aquatint on paper, plate size 27 x 28 1/4 in. (68.5 x 71.5cm), framed.Condition: Margins 2 1/2 inches or more, not examined out of frame.
Provenance: The Harvard Coop Gallery, Cambridge, Massachusetts,1987; to a private collector.
$2,000-2,500
93.French School, 19th/20th Century
Apéritif Bacchus. Identified within the matrix. Color lithographicposter on paper, sheet size 62 x 46 3/8 in. (157.5 x 117.7 cm),unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairtears and creases), toning, minor surface rubs, handling creases.
$400-600
94.French School, 19th/20th Century
La Mora y Manzano. Identified within the matrix. Color lithographicposter on paper, sheet size 55 3/4 x 39 1/4 in. (141.5 x 99.5 cm),unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairtears and creases), minor rubs to image, subtle toning, minorhandling creases.
$500-70094
92 93
95.French School, 19th/20th Century
Cycles Omnium. Signed “Emile Vidal” and identified within thematrix. Color lithographic poster on paper, sheet size 49 1/4 x 36 in.(125.0 x 91.3 cm), unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairolder tears and creases), creases and tears, toning, staining, handlingcreases.
$400-600
96.French School, 20th Century
Remoncourt la Reine des Vosges. Identified “...J. Hirsch lith...”within the matrix. Color lithographic poster on paper, sheet size 48 x35 1/2 in. (121.8 x 90.0 cm), unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairtears and/or creases), pale staining and foxing, minor handlingcreases.
$500-700
97.French School, 19th/20th Century
Scala C’est Dégoutant!! Identified within the matrix. Colorlithographic poster on paper, sheet size 44 1/8 x 33 3/4 in. (112.2 x85.5.0 cm), unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairminor creases and minor tears), toning, minor handling creases.
$500-700
97
95 96
98.Wanda Gag (American, 1893-1946)
Christmas Eve I, 1927 (Winnan, 53). Identified“GREETINGS FROM THE HOUSE OF WEYHE 1927...” in thetext within the matrix. Lithograph on paper, image size 5 1/4x 6 7/8 in. (13.3 x 17.3 cm), framed.Condition: Subtle toning, not examined out of frame.
$200-250
99.Sears Gallagher (American, 1869-1955)
Lot of Three Views: Rocks and Crashing Surf; The OldMill; and Wild Cherry Elder. Each signed “Sears Gallagher”in pencil l.c., the last identified on a label from Doll &Richards, Inc., Boston, on the reverse. Etchings on paper,plate sizes to 5 7/8 x 8 7/8 in. (14.8 x 22.4 cm), matted, thelast framed.Condition: The last not examined out of frame.
$300-500
100.Sears Gallagher (American, 1869-1955)
Lot of Three Views: Pickerel Pond; Grassy Dunes; andAcross the Pond. Each signed “Sears Gallagher” in pencill.l. Drypoints on paper, plate sizes to 6 3/4 x 8 3/4 in. (17.3x 22.3 cm), matted, unframed.Condition: Margins 1 inch or more.
$250-350
100
98
99
101.Eliza Draper Gardiner (American, 1871-1955)
On the Boat, edition of 30. Signed and numbered “Eliza D. Gardiner1/30” in pencil l.l. (within the image) and l.r., titled in pencil l.c.,identified on labels from the Print Club of Philadelphia and TheWichita Art Association on the reverse. Color woodcut on laid graypaper, image size 10 1/2 x 12 3/8 in. (26.5 x 31.3 cm), matted,unframed.Condition: Margins 1 inch or more with two deckled edges, subtletoning, annotations in the artist’s hand verso.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$400-600
102.Eliza Draper Gardiner (American, 1871-1955)
Feeding the Geese. Unsigned. Color woodcut on paper, imagesize 9 1/2 x 7 3/8 in. (24.0 x 18.5 cm), unmatted, unframed.Condition: Margins 1/2 inch or more, foxing (primarily to uppermargin).
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
103.Eliza Draper Gardiner (American, 1871-1955)
Ginny + Lucky, edition of 50. Signed and numbered “Eliza D.Gardiner 5/50” in pencil l.l., titled in pencil l.c. Woodcut on laid paper,image size 8 x 6 1/2 in. (20.3 x 16.5 cm), matted, unframed.Condition: Margins 1/4 inch or more.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
103
101 102
104.Eliza Draper Gardiner (American, 1871-1955)
Arrangement in Gray and Black. Unsigned. Woodcut on paper,image size 8 1/2 x 7 1/2 in. (21.5 x 19.0 cm), unmatted, unframed.Condition: Margins 1 inch or more with two deckled edges, subtletoning, annotations and pinholes to upper margin.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$200-250
105.Eliza Draper Gardiner (American, 1871-1955)
Boy with Cat, edition of 50. Signed and numbered “Eliza D.Gardiner 28/50” in pencil u.r. (within the image). Color woodcut onlaid gray paper, image size 10 x 7 1/2 in. (25.4 x 19.1 cm), matted,unframed.Condition: Upper and right margins trimmed to image, pale foxing(visible almost exclusively in remaining margins).
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
106.Eliza Draper Gardiner (American, 1871-1955)
Tansy, edition of approximately 20. Signed and numbered “Eliza D.Gardiner 3/19” in pencil l.l. (within the image), numbered “3/20” inpencil l.r. (within the image), titled on the mat. Color woodcut onpaper, image size 8 x 10 3/4 in. (20.3 x 27.3 cm), matted, unframed.Condition: Margins 1/4 inch or more, subtle toning.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
106
104 105
107.Eliza Draper Gardiner (American, 1871-1955)
Baby and Mother, c. 1937, edition of 50. Signed and numbered“Eliza D. Gardiner 3/50” in pencil l.l., titled on the mat. Colorwoodcut on laid paper, image size 10 1/2 x 6 1/2 in. (26.5 x 16.5cm), matted, unframed.Condition: Margins 1 inch or more with deckled lower edge, subtletoning and/or soiling.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$400-600
108.Eliza Draper Gardiner (American, 1871-1955)
Candle Light, edition of 10. Signed and numbered “Eliza D.Gardiner-1/10” in pencil l.l., titled on the mat. Color woodcut onpaper, image size 11 7/8 x 7 1/4 in. (30.0 x 18.3 cm), matted,unframed.Condition: Margins approximately 1/4 inch, several tiny fox marks.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
109.Eliza Draper Gardiner (American, 1871-1955)
The Turtle, edition of 25. Signed “Eliza D. Gardiner” in pencil (withinthe image) l.l. and signed and numbered “Eliza D. Gardiner 9/25” inpencil l.r., titled in pencil l.c., identified on labels from the Print Club ofPhiladelphia and the New England Print Association on the reverse.Color woodcut on paper, image size 12 1/2 x 9 1/2 in. (31.6 x 24.0cm), matted, unframed.Condition: Margins 1 inch or more with three deckled edges, subtletoning.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$400-600
109
107
108
110.Eliza Draper Gardiner (American, 1871-1955)
Lot of Eight Scenes: Provincetown, edition of 25; Apponaug, R.I.,edition of 25; Boy with Goose; Dories at Low Tide; The GardenShed; The Toy Boat; A Quiet Corner; and Waiting on the Dock.The first two signed, titled, and numbered “Eliza D. Gardiner...1/25” inpencil beneath the image, the rest unsigned. Etchings on variouspapers, plate sizes to 8 x 5 in. (20.2 x 12.6 cm), unmatted, unframed.Condition: Unobtrusive toning and/or soiling, some margins withpinholes to edges, some edges deckled.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$800-1,200
111.Eliza Draper Gardiner (American, 1871-1955)
The Forest Nunns, c. 1939, edition of 50. Signed and numbered“Eliza D. Gardiner 1/50” in pencil l.l., titled on the mat, identified on alabel from the Armour Gallery, Providence, Rhode Island, on thereverse. Lithograph on Rives paper with watermark, image size 8 7/8x 6 1/4 in. (22.4 x 15.6 cm), matted, unframed.Condition: Deckled edges to three sides, several fox marks tomargins.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$200-250
112.Eliza Draper Gardiner (American, 1871-1955)
Gone Fishing, edition of 25. Unsigned, numbered “19/25” in pencill.l. Woodcut on fine paper, image size 6 3/4 x 8 1/8 in. (17.0 x 20.5cm), unmatted, unframed.Condition: Subtle toning, crease to corner or margin u.l.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$200-250
112
110111
113.Eliza Draper Gardiner (American, 1871-1955)
Waiting by the Window, c. 1937. Signed “Eliza D. Gardiner” inpencil l.l., dedicated “To E. Cook with love ‘37” in pencil l.r.Lithograph on paper, image size 7 1/2 x 6 in. (19.0 x 15.2 cm),framed.Condition: Subtle toning and rippling, not examined out of frame.
$300-500
114.Albert Gleizes (French, 1881-1953)
Rue animée, 1914. Signed and dated “AGleizes 1914” in pencil l.r.,signed and dated in the plate, inscribed “épreuve d’artist” in pencil l.l.Etching on paper, plate size 8 7/8 x 6 3/4 in. (22.5 x 17.0 cm),matted, unframed.Condition: Margins 1 3/4 inches or more, minor soiling.
$5,000-7,000
115.Albert Gold (American, 1916-1972)
The Horse Cart, 1947. Signed and dated “Albert Gold ‘47” in pencill.r. Color monotype on paper, image size 12 x 15 3/4 in. (30.5 x 40.0cm), framed.Condition: Not examined out of frame.
$200-300
115
113 114
116.Stephen Gooden (British, 1892-1955)
The Satyrs, 1937. Inscribed, signed, and dated “109 . 81 StephenGooden 1937” in pencil beneath the image, identified on label affixedinside the mat. Engraving on paper, circular format, plate diameter 61/4 in. (15.7 cm), matted, unframed.Condition: Margins over 1 1/2 inches with two deckled edges, subtletoning.
$200-250
117.R.C. Gorman (American, 1932-2005)
Beauty Way, 1990, edition of 225 plus proofs. Signed and dated“R.C. Gorman 1990” in pencil (within the image) l.l., inscribed “A.P. 9”in pencil (within the image) l.r., artist’s dry stamp l.l., “HOUSTON” drystamp l.r. Color screenprint on paper, image/sheet size 37 x 31 in.(94.0 x 78.5 cm), framed.Condition: Deckled edges, not examined out of frame.
$800-1,200
118.Gordon Hope Grant (American, 1875-1962)
Lot of Four Views: First Snow; Shadow of the Dock; Return ofthe Fishing Boat; and The Salt Bark - Gloucester. Each signed“Gordon Grant” in pencil l.r. Lithographs on paper, image sizesapproximately 9 x 12 in. (22.8 x 30.4 cm), three matted, all unframed.Condition: Some with unobtrusive toning, margins 3/4 inches ormore.
$200-250
118
116
117
119.Frederick Landseer Maur Griggs (British, 1876-1938)
Sellenger, 1917, fourth state of six (Comstock, 18). Signed “F.L.Griggs” in pencil l.r., signed and dated in the plate, titled in pencil l.l.Etching on paper, plate size 5 x 6 3/4 in. (12.5 x 17.0 cm), framed.Condition: Unobtrusive toning, not examined out of frame.
$200-250
120.Yozo Hamaguchi (Japanese, 1909-2000)
Gypsy, 1954, edition of 50 (M. Gallery, 32). Signed “hamaguchi” inpencil l.r., numbered “31/50” in pencil l.l. Mezzotint and aquatint onpaper, plate size 11 3/4 x 11 3/4 in. (29.7 x 29.7 cm), framed.Condition: Subtle toning and rippling, not examined out of frame.
$800-1,200
121.Yozo Hamaguchi (Japanese, 1909-2000)
Mud Snails, 1960, edition of 50 (M. Gallery, 73). Signed“hamaguchi” in pencil l.r., numbered “9 50” in pencil l.l. Colormezzotint on paper, plate size 4 x 3 1/8 in. (10.1 x 7.8 cm), framed.Condition: Unobtrusive mat burn and toning, not examined out offrame.
$400-600
121
119
120
122.Yozo Hamaguchi (Japanese, 1909-2000)
Black Cherries, 1964, edition of 50 (M. Gallery, 50). Signed“hamaguchi” in pencil l.r., numbered “36/50” in pencil l.l. Colormezzotint on paper, plate size 7 3/4 x 9 5/8 in. (19.5 x 24.4 cm),framed.Condition: Subtle toning and rippling, not examined out of frame.
$400-600
123.Hans Hartung (German, 1904-1989)
L 71, 1958, edition of 35. Signed “Hartung” in pencil l.r., numbered“11/35” in pencil l.l., annotated on the reverse. Lithograph on Archespaper with watermark, image size 20 3/4 x 29 in. (52.5 x 73.4 cm),unmatted, unframed.Condition: Deckled edges, subtle staining and toning, unpressedcreases to some corners.
$500-700
124.Hans Hartung (German, 1904-1989)
L 100, 1963, edition of 75. Signed “Hartung” in pencil l.r., numbered“26/75” in pencil l.l., dry stamp from Erker Presse, St. Gallen, l.l.,annotated on the reverse. Lithograph on BFK Rives paper withwatermark, image size 20 3/4 x 17 in. (52.6 x 43.0 cm), unmatted,unframed.Condition: Margins 2 1/2 inches or more with deckled edges, subtlestaining.
$500-700
124
122
123
125.Hans Hartung (German, 1904-1989)
L 109, 1963, edition of 75. Signed “Hartung” in pencil l.r., numbered“28/75” in pencil l.l., dry stamp from Erker Presse, St. Gallen, l.l.,annotated on the reverse. Lithograph in brown on BFK Rives paperwith watermark, image size 22 5/8 x 14 3/4 in. (57.4 x 37.4 cm),unmatted, unframed.Condition: Margins over 3 inches with deckled edges, subtle stainingand/or soiling, thinning to corner u.r. on verso, minor nicks/creases todeckles.
$500-700
126.Hans Hartung (German, 1904-1989)
L 124, 1967, edition of 75. Numbered and signed “28/75 Hartung”in pencil l.l., dry stamp from Erker Presse, St. Gallen, l.l., annotatedon the reverse. Lithograph on BFK Rives paper with watermark,image size 18 1/4 x 25 in. (46.3 x 63.4 cm), unmatted, unframed.Condition: Margins over 2 inches with deckled edges, subtlestaining, minor nicks/handling creases to edges (primarily at corners).
$500-700
127.Joseph Hecht (Polish/British, 1891-1951)
Reclining Nude and Two Palms, edition of 30. Signed “JosephHecht” in pencil l.r., numbered “17=30” in pencil l.l. Etching anddrypoint on paper, plate size 9 3/4 x 8 1/8 in. (24.6 x 20.5 cm),matted, unframed.Condition: Margins 1 1/2 inches or more, handling marks andcreases to margins, hinged at upper corners, subtle soiling, inkannotations to l.r. corner.
$150-200
128.No lot.
127
125
126
129.Erich Heckel (German, 1883-1970)
Bildnis E. H., 1917 (Dube, 306). Signed and dated “Erich Heckel17” in pencil l.r. Woodcut on paper, image size 14 1/4 x 11 3/4 in.(36.2 x 29.8 cm), framed.Condition: Margins 1 inch or more, horizontal crease into image(some with very subtle breaks to paper fibers), unobtrusive toning,pale staining to image.
$1,000-1,500
130.Dame Barbara Hepworth (British, 1903-1975)
Two Marble Forms (Mykonos), 1969, edition of 30. Signed“Barbara Hepworth” in pencil l.r., numbered “...23/30” in pencil l.l.,Curwen Studio dry stamp l.l., identified as “Blue Streak...” oninformation affixed to the reverse. Lithograph in blue, gray, and blackon paper, image size 29 x 19 in. (73.5 x 48.2 cm), framed.Condition: Minor soiling to margins, not examined out of frame.
$500-700
130
129
131.Irwin D. Hoffman (American, 1901-1989)
Cigarette Underground. Signed “Irwin D. Hoffman Imp.” in pencill.r., titled and dedicated “...to Maestro Max Jacobs with best wishes”in pencil l.l. Etching on paper, plate size 10 7/8 x 7 7/8 in. (27.5 x19.8 cm), framed (without glass).Condition: Toning, subtle rippling, not examined out of frame.
$400-600
132.Lester George Hornby (American, 1882-1956)
Lot of Three European Landscapes: Le rond point, Paris;Seicheprey, 1918; and Bezaudun. Each initialed and titled withinthe plate, and with artist’s stamp l.l. Etchings on paper, plate sizes to7 x 9 7/8 in. (17.8 x 25.2 cm), matted, unframed.Condition: Margins 2 inches or more, scattered foxing (almostexclusively to margins).
$250-300
133.Lester George Hornby (American, 1882-1956)
Lot of Three City Views: By the Bridge; Les beaux choux; andFishing Along the Seine. The second initialed and titled within theplate, the last two with artist’s stamp l.l. Etchings on paper, platesizes to 7 3/8 x 8 5/8 in. (18.8 x 21.9 cm), matted, unframed.Condition: Margins 1/2 inch or more, toning to Bridge.
$250-300
133
131
132
134.Alfred Heber Hutty (American, 1877-1954)
The Quiet Harbor. Signed “Alfred Hutty” in pencil l.r.Etching on paper, plate size 6 3/8 x 7 3/8 in. (16.3 x 18.8cm), framed.Condition: Subtle toning, not examined out of frame.
$200-250
135.Philip Kappel (American, 1901-1981)
Lot of Two Views: Lobsterman at Dawn and Chatham Bar- Cape Cod. Both signed “Philip Kappel” in pencil l.r. andtitled in pencil l.l. Aquatints on paper, plate sizes to 7 3/4 x 97/8 in. (19.7 x 25.2 cm), the latter matted, both unframed.Condition: Margins over 2 inches.
$250-350
136.Philip Kappel (American, 1901-1981)
Lot of Three Connecticut Views: Winter Tracery - NewMilford Green; Sugar Maples in Spring; and SundayMorning - New Milford Green. Each signed “Philip Kappel”in pencil l.r. and titled in pencil l.l. Etchings with drypoint onpaper, plate sizes to 9 1/8 x 12 1/8 in. (23.2 x 30.9 cm),unmatted, unframed.Condition: Margins over 1 inch, minor handling creases.
$250-350
136
134
135
137.Philip Kappel (American, 1901-1981)
Lot of Three Seafaring Views: Lifting Fog - Down East; Shootingthe Sun; and Marine Pathway. Each signed “Philip Kappel” inpencil l.r. and titled in pencil l.l. Etchings with drypoint on paper, platesizes to 7 1/4 x 9 3/8 in. (18.4 x 23.8 cm), the last two matted, allunframed.Condition: Margins over 1 inch, staining to edges of Pathway.
$250-300
138.Luigi Kasimir (Austrian, 1881-1962)
Klosterneuberg, 1912 (H. Weiss, 32). Signed “Luigi Kasimir” inpencil l.r., numbered “...4/100” in pencil l.l., remarque in the plate l.l.Color etching with aquatint on paper, plate size 18 1/8 x 23 1/2 in.(46.0 x 59.7 cm), framed.Condition: Subtle toning, not examined out of frame.
$300-500
139.Luigi Kasimir (Austrian, 1881-1962)
Lot of Two Views: Bad Gastein, Kirche (Main Street), 1943,possibly a later printing; and Bad Gastein, Winter (H. Weiss, 92 &95). Signed “Luigi Kasimir” in pencil l.c. and l.r., respectively. Coloretchings with aquatint on paper, plate sizes approximately 19 x 131/2 in. (48.5 x 34.3 cm), framed.Condition: Staining (primarily to former), not examined out of frames.
$400-600
137
138
139
140.Luigi Kasimir (Austrian, 1881-1962)
Cortina d’Ampezzo, 1925, edition of 250 (Weiss, 414). Signed“Luigi Kasimir” in pencil l.r., identified and dated in the plate,numbered “220/250” in pencil l.l. Color etching and aquatint onpaper, plate size 15 5/8 x 21 1/8 in. (39.5 x 53.4 cm), framed.Condition: Subtle toning, gentle rippling, not examined out of frame.
$300-500
141.Marguerite Kirmse (American, 1885-1954)
Down in Dixie/Two Pointers in a Landscape. Signed “MargueriteKirmse” in pencil l.r., titled in pencil l.l. Etching on paper, plate size 7x 10 3/4 in. (17.5 x 27.2 cm), framed.Condition: Subtle toning and mat burn, not examined out of frame.
$300-500
142.Lot of Two Dog Prints:
Marguerite Kirmse (American, 1885-1954), Stymied; and CharlesM. Weissman (American, fl. 1933-1934), When Do We Eat, editionof 50. Both signed in pencil l.r. and titled in pencil l.l., the latteridentified on a label from the artist’s studio. Etchings on paper, platesizes to 9 1/4 x 11 3/8 in. (23.4 x 28.8 cm), framed.Condition: Mat burn, scattered foxing (primarily to Stymied), notexamined out of frames.
$400-600
142
141
140
143.Moïse Kisling (French, 1891-1953)
Head of a Woman, edition of 100. Signed “Kisling” in pencil l.r.,numbered “70/100” in pencil l.l. Lithograph on paper, image size 161/4 x 13 3/4 in. (41.2 x 34.8 cm), framed.Condition: Staining, toning, foxing, not examined out of frame.
$500-700
144.Sacha Kolin (American, 1911-1981)
Lots of Two Compositions: Untitled, 1954; and Untitled withCrescent Moon, 1955. Both signed and dated “KOLIN...” in pencill.r. Woodcuts on Mulberry paper or similar, image sizes to 8 7/8 x 117/8 in. (22.4 x 30.0 cm), matted, unframed.Condition: Margins 1 1/2 inches or more.
$500-700
145.Kalman Kubinyi (American, 1906-1973)
Canal Rotterdam. Signed “Kalman Kubinyi” in pencil l.r., titled inpencil l.l. Etching and aquatint on paper, plate size 8 7/8 x 6 3/4 in.(22.4 x 17.0 cm), framed.Condition: Subtle toning, rippling, not examined out of frame.
$200-250
145
143 144
146.Gustave Leheutre (French, 1861-1932)
Le pont de Bonnemort à La Rochelle (1re planche), c. 1910, firststate of three (Delteil, 85). Signed “G. Leheutre” in pencil l.r.,inscribed “8imp/no 8” and “1v etat” in pencil beneath the image, drystamp from Sagot, Paris, l.r. Drypoint on paper, plate size 7 5/8 x 107/8 in. (19.4 x 27.5 cm), framed.Condition: Subtle toning, several pinpoint fox marks, not examinedout of frame.
$150-200
147.Leonard Lehrer (American, b. 1935)
Lot of Three Garden Views: Formal Garden; Formal Garden,1966, edition of 15; and Vizcaya, 1969, edition of 50. Each signed,titled, and numbered or inscribed in pencil beneath the images.Etchings on paper, plate sizes to 11 3/4 x 8 3/4 in. (29.8 x 22.3 cm),framed.Condition: Toning/staining to the first, not examined out of frames.
$250-300
148.Leonard Lehrer (American, b. 1935)
Tepotzotlan, 1973, edition of 25 plus proofs (Tamarind, 73-670).Inscribed, titled, signed, and dated “Trial proof... Leonard Lehrer1973” in pencil (within the image) l.c. Lithograph on paper,image/sheet size 30 x 22 in. (76.2 x 55.8 cm), framed.Condition: Unobtrusive foxing and toning, not examined out of frame.
$200-250
148
146 147
149.Leonard Lehrer (American, b. 1935)
Lazienki Park, 1973, edition of 25 plus proofs (Tamarind,73-727).Signed and dated “Leonard Lehrer 1973” in pencil l.r., titled in pencill.c., numbered “4/25” in pencil l.l., dry stamp from the TamarindInstitute, Albuquerque, l.l., dry stamp l.r. Lithograph on paper, imagesize 27 x 19 1/4 in. (68.5 x 48.8 cm), framed.Condition: Not examined out of frame.
$200-250
150.Clare Veronica Hope Leighton (Anglo/American, 1901-1988)
Landing, from the LUMBER CAMP SERIES, 1931, edition of 130(BPL, 195). Unsigned, inscribed “P” in pencil l.l. Wood engraving onpaper, image size 8 1/4 x 12 3/8 in. (20.8 x 31.4 cm), unmatted,unframed.Condition: Margins over 1 1/2 inches.
Provenance: Through printer Harold McGrath.$300-500
151.Jack Levine (American, b. 1915)
Judas Maccabeus, 1963-64, edition of 100 plus proofs (Prescott,15). Signed “JLevine” in pencil l.r., numbered “18/100” in pencil l.l.Etching on chine collé, plate size 9 3/4 x 7 3/4 in. (24.6 x 19.5 cm),framed.Condition: Unobtrusive toning, mat burn, not examined out of frame.
$200-250
151
149
150
152.Jack Levine (American, b. 1915)
Self-Portrait with Muse, 1966, edition of 100 plus proofs (Prescott,37). Signed “JLevine” in pencil l.r., inscribed “Trial Proof” in pencil l.l.Mezzotint in green on Rives paper with watermark, plate size 10 x 123/4 in. (25.4 x 32.3 cm), matted, unframed.Condition: Margins over 3 1/2 inches with deckled edges, gentlecockling, minor handling marks and creases to margins, annotationsverso.
$200-250
153.Jack Levine (American, b. 1915)
Image from the DREIGROSCHENFILM Suite, 1967, edition of 100plus proofs. Signed “JLevine” in pencil l.r., numbered “92/100” inpencil l.l. Soft-ground etching in green on Rives paper withwatermark, plate size 11 3/4 x 8 7/8 in. (29.8 x 22.5 cm), unmatted,unframed.Condition: Margins over 2 1/2 inches with deckled edges to twosides, gentle soiling to margins, crease to corner of margin u.r.
$150-200
154.Jack Levine (American, b. 1915)
The Art Lover, 1967, edition of 100 plus proofs (Prescott, 46).Signed “JLevine” in pencil l.r., numbered “24/100” in pencil l.l. Colorlithograph on Arches cream paper with watermark, image size 22 1/4x 17 1/2 in. (56.4 x 44.4 cm), unmatted, unframed.Condition: Margins approximately 1 inch with deckled edges to twosides, gentle rippling, annotations verso.
$250-300
154
152
153
155.Jack Levine (American, b. 1915)
Sacrifice of Isaac, 1974, edition of 100 plus proofs (Prescott, 60).Signed “JLevine” in pencil l.r., numbered “11/100” in pencil l.l., drystamp l.r. Etching with drypoint and engraving on Arches creampaper with watermark, image size 13 3/4 x 10 3/4 in. (34.8 x 27.3cm), unmatted, unframed.Condition: Margins 2 inches or more with deckled edges, subtletoning.
$200-250
156.Jack Levine (American, b. 1915)
Pygmalion, 1977, edition of 100 plus proofs (Prescott, 62). Signed“JLevine” in pencil l.r., numbered “14/100” in pencil l.l., dry stamp l.l.Lithograph on BFK Rives paper with watermark, image size 19 5/8 x12 3/4 in. (49.8 x 32.3 cm), unmatted, unframed.Condition: Margins 4 inches or more with deckled edges.
$200-250
157.Martin Lewis (American, 1881-1962)
Which Way?, 1932, edition of 50 plus 3 proof (McCarron, 99).Signed “Martin Lewis-” in pencil l.r., inscribed “to Mister Edmund B.from Martin L./Mar 40 With better wishes than I can tell-” in pencil l.l.Aquatint on paper, plate size 10 3/8 x 15 7/8 in. (26.3 x 40.2 cm),framed.Condition: Margins over 1 1/2 inches, toning, staining, glue residueto margins, very subtle rubs to image u.r., white cloth tape to upperedge on verso, adhered to facing mat at corner l.l.
$3,000-5,000
157
155
156
158.Roy Lichtenstein (American, 1923-1997)
As I Opened Fire.../A Triptych, 1966 (Corlett, app. 5). Unsigned,identified in the matrix and on the reverse. Offset color lithographs onpaper, each sheet measures 25 1/8 x 20 7/8 in. (63.7 x 52.9 cm),unmatted, unframed.Condition: Minor handling marks and creases.
$700-900
159.Elyse Ashe Lord (British, 1900-1971)
Tiger Lily with Her Fan, edition of 75. Signed “Elyse Ashe Lord.” inpencil l.r., numbered “18/75” in pencil l.l. Etching with stencil color onpaper, plate size 10 1/4 x 7 in. (25.9 x 17.5 cm), framed.Condition: Toning, not examined out of frame.
$200-300
160.Elyse Ashe Lord (British, 1900-1971)
Mother and Daughter Under the Blossoms, edition of 75. Signed“Elyse Ashe Lord” in pencil l.r., numbered “66/75” in pencil l.l.Etching with stencil color on paper, plate size 12 7/8 x 11 1/8 in.(32.5 x 28.2 cm), framed.Condition: Toning, not examined out of frame.
$300-500
160
158
159
161.Elyse Ashe Lord (British, 1900-1971)
The Dance, edition of 85. Signed “Elyse Lord” in pencil l.r.,numbered “83/85” in pencil l.l., identified on a label from ArthurAckermann & Son, Inc., New York, on the reverse. Etching anddrypoint with stencil color on paper, plate size 11 x 8 1/4 in. (27.8 x20.8 cm), framed.Condition: Subtle toning and rippling, not examined out of frame.
$250-350
162.Elyse Ashe Lord (British, 1900-1971)
By the Berry Bush. Signed “Elyse Lord” in pencil l.r. Etching withdrypoint and stencil color on paper, plate size 5 5/8 x 5 7/8 in. (14.3 x14.9 cm), framed.Condition: Not examined out of frame.
$250-300
163.Elyse Ashe Lord (British, 1900-1971)
Two Figures in a Landscape, edition of 75. Signed “Elyse Lord” inpencil l.r., numbered “44/75” in pencil l.l. Etching with drypoint andstencil color on paper, plate size 18 1/4 x 13 7/8 in. (46.4 x 35.3 cm),framed.Condition: Subtle toning, not examined out of frame.
$350-550
163
161 162
164.Galerie Maeght, editor (French, 20th Century)
Lot of Fifteen Issues of DERRIERE LE MIROIR, featuring Braque,Calder, Chagall, Giacometti, Kandinsky, Kelly, Miró, and others,spanning 1948 to 1965. Each measures 15 x 11 in. (38.1 x 27.9cm).Condition: Very minor wear, soiling and/or handling nicks.
$1,000-1,500
165.Galerie Maeght, editor (French, 20th Century)
Lot of Seven Issues of DERRIERE LE MIROIR, featuring Calder,Kelly, and Miró, spanning 1961 to 1968. Each measures 15 x 11 in.(38.1 x 27.9 cm).Condition: Minor wear, soiling and/or handling nicks.
$700-900
166.Boris Margo (American, b. 1902)
Lot of Thirteen Prints: THE MONTHS Portfolio,1949, edition of 20. Each signed and dated “BorisMargo 49” in pencil l.r., and titled and numbered“...16/20” in pencil l.l. Color cellocuts on paper, sheetsizes 20 5/8 x 25 5/8 in. (52.3 x 65.0 cm), matted,unframed.Condition: Some with minor handling marks and/orcreases.
$2,000-3,000
165
164
166
167.Boris Margo (American, b. 1902)
Lot of Four Prints: She, 1962, proof edition; She #2, 1962, editionof 25; Comet, edition of 25; and Message, 1964, proof edition.Each signed “Boris Margo...” in pencil l.r., and titled and numbered orinscribed in pencil l.l. Cellocuts with embossing on paper, sheet sizesto 22 1/4 x 30 in. (56.0 x 76.2 cm), unmatted, unframed.Condition: Some with handling marks and/or creases.
$700-900
168.Marino Marini (Italian, 1901-1980)
Acrobata, 1956, edition of 50 (Guastalla & Schulz-Hoffman, L65).Signed “MARINO” in pencil l.r., numbered “4/50” in pencil l.l.Lithograph in orange and black on paper, image size 24 x 18 5/8 in.(61.0 x 47.4 cm), framed.Condition: Deckled edges, subtle toning, not examined out of frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$2,000-3,000
169.John Stockton De Martelly (American, 1903-1980)
Economic Discussion, 1937, edition of 200. Signed “John S. deMartelly” in pencil l.r. Lithograph on paper, image size 10 7/8 x 8 3/4in. (27.5 x 32.3 cm), framed.Condition: Unobtrusive toning, not examined out of frame.
$300-500
168167
169
170.Henri Matisse (French, 1869-1954)
Nu pour Cleveland, 1932, edition of 250 published for the ClevelandPrint Club (Duthuit, 233). Signed and numbered “Henri Matisse133/250” in pencil l.r., identified on a label from The Print Club,Cleveland, Ohio, on the reverse. Etching on chine collé, plate size 141/2 x 11 3/8 in. (36.8 x 28.9 cm), framed.Condition: Subtle toning, minor disadhesion of chine at corner u.r.,supporting sheet with deckled edges to three sides, glued to backingmat along upper edge.
$3,000-5,000
171.Naoko Matsubara (Japanese/Canadian, fl. 1960-present)
Boston Public Library. Inscribed, titled, and signed “Artist’sProof...Naoko Matsubara” in pencil beneath the image. Woodcut onmulberry paper, image size 12 1/4 x 17 3/8 in. (31.0 x 44.0 cm),unmatted, unframed.Condition: Margins over 2 1/2 inches, several pale fox marks, minorcreases to edges of sheet.
$150-200
172.L. Matthey (French, 19th/20th Century)
Favor. Signed “L. Matthey” and identified within the matrix. Colorlithographic poster on paper, sheet size 61 1/2 x 46 in. (156.2 x116.6 x 100.8 cm), unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairtears and creases), unobtrusive toning and foxing, surface rubs,handling creases.
$800-1,200
172
170
171
173.James McBey (British, 1883-1959)
Encampment in the Sinai, 1917-19. Signed “James McBey” in inkl.r., numbered “XXXIX” in ink l.l., signed, identified, and dated in theplate. Etching on paper, plate size 7 x 13 in. (17.6 x 32.8 cm),framed.Condition: Subtle toning and staining, gentle rippling, not examineout of frame.
$300-500
174.Davis Paul Meltzer (American, 20th Century)
Lot of Three Prints: Icarus, edition of 25; Isaiah, edition of 50; andJeremiah, edition of 50. Each signed “...Meltzer” in pencil l.r., titledin pencil l.c. or l.l., and numbered in pencil l.l. Lithographs on paper,image sizes to 17 3/8 x 12 1/4 in. (44.2 x 31.1 cm), framed.Condition: Not examined out of frames.
$700-900
175.Peter Winslow Milton (American, b. 1930)
Child’s Play, 1966, edition of 75. Signed and dated “PWMilton ‘66”in pencil l.r., titled in pencil l.c., numbered “27/75” in pencil l.l.Etching with engraving on paper, plate size 23 x 35 3/4 in. (58.3 x90.6 cm), framed.Condition: Subtle toning, not examined out of frame.
$300-500
175
173
174
176.Joan Miró (Spanish, 1893-1983)
Lot of Two Images from CAHIERS D’ART, 1934 (Dupin, 14 & 15).Unsigned. Color pochoir on paper, image/sheet sizes 12 1/8 x 9 1/2in. (30.6 x 24.0 cm), framed.Condition: Not examined out of frames.
$4,000-6,000
177.Joan Miró (Spanish, 1893-1983)
Image from FLUX DE L’AIMANT, 1964, edition of 75 (Dupin 372).Initialed “M.” in pencil l.r., numbered “41/75” in pencil l.l. Drypoint onpaper, sight size 18 1/2 x 21 3/4 in. (47.0 x 55.0 cm), framed.Condition: Scattered fox marks, not examined out of frame.
$1,000-1,500
176
177
178.Joan Miró (Spanish, 1893-1983)
Lot of Four Images from FLUX DE L’AIMANT, 1964, edition of 75(Dupin 374, 375, 376, and 383). Each initialed “M.” in pencil l.r. andnumbered “41/75” in pencil l.l. Drypoints (the last with color aquatint)on BFK Rives paper with watermark, sheet sizes 19 x 23 in. (48.2 x58.3 cm), presented in the original portfolio together with the text andcolophon.Condition: Minor handling marks and/or creases.
$2,000-3,000
179.Joan Miró (Spanish, 1893-1983)
Image from FLUX DE L’AIMANT, 1964, edition of 75. (Dupin 377).Initialed “M.” in pencil l.r., numbered “41/75” in pencil l.l., identified ona label from Retina, Boston, Massachusetts, on the reverse. Drypointin black with aquatint in yellow on paper, sight size 18 1/2 x 22 3/8in. (47.0 x 56.7 cm), framed.Condition: Subtle rippling, not examined out of frame.
$1,500-2,500
178
179
180.Joan Miró (Spanish, 1893-1983)
Two Images from SANS LE SOLEIL, MALGRE LESAUTRES ASTRES, IL FERAIT NUIT, 1965, edition of75 plus proofs (Dupin 400 & 401). Signed “Miró” inpencil on the accompanying colophon page. Aquatints(the framed one with color) on laid paper with“ORIGINAL a la MAIN” watermark, sheet sizes to 13 x10 in. (33.0 x 25.5 cm), one framed.Condition: Minor handling marks and/or creases,stains to some corners.
N.B. The lot is accompanied by the colophon pageand some additional text from the portfolio.
$300-500
181.After Joan Miró (Spanish, 1893-1983)
Composition sur fond vert, 1950, edition of 400,printed and published by Maeght, Paris (Maeght,1703). Signed and dated “Miró. 1950” in pencil l.r.,numbered “228/400” in pencil l.l. Color lithograph onArches paper with watermark, image size 13 5/8 x 183/8 in. (46.4 x 34.6 cm), framed.Condition: Margins over 2 1/2 inches with two decklededges, toning, staining, tear to lower margin, loss tocorner of margin u.l., not examined out of frame.
$300-500
182.Joan Miró (Spanish, 1893-1983)
Ceramiques monumentales de Miró et Artigas, fromDERRIERE LE MIROIR, deluxe hardcover edition, 13Juin, 1963, number 88, edition of 150. Signed “Miró”in pencil on colophon page. 15 x 11 in. (38.1 x 27.9cm), with slip cover.Condition: Very minor wear to slip cover.
$1,000-1,500
182
180
181
183.Henry Moore (British, 1898-1986)
Eight Reclining Figures with Architectural Background, 1963,edition of 65 (Cramer et al., 44). Signed and dated “Moore 63.” inpencil l.r., numbered 23/65” in pencil l.l., identified on an exhibitionlabel (see below) on the reverse. Color lithograph on paper, imagesize 17 x 13 in. (43.2 x 33.0 cm), framed.Condition: Toning, mat burn, not examined out of frame.
Exhibitions: Henry Moore, DeCordova Museum, Lincoln,Massachusetts, January 22–February 19, 1967.
$1,000-1,500
184.Thomas Sidney Moran (American, 1837-1926), After AndrewFisher Bunner (American, 1841-1897)
Venice, 1887, published in 1889 by Radthe Lauckner & Co., NewYork, probably the final state of four (Morand & Friese, 64). Signed“T.Moran.” in pencil l.r. and “A.F. Bunner.” in pencil l.l., signed in theplate, remarque in the plate l.r., identified in publication text u.l.Etching on paper, sight size 21 3/4 x 30 1/4 in. (55.3 x 76.8 cm),framed.Condition: Rippling, subtle toning, not examined out of frame.
$300-500
185.Malcolm Morley (British, b. 1931)
Wind Surfers, 1987, edition of 56, published by Gemini G.E.L.Numbered and signed “15/56 Malcolm Morley” in pencil l.l., identifiedon a label from the Kristina Wasserman Gallery, Providence, on thereverse. Color lithograph on paper, image size 20 x 28 1/2 in. (50.8 x72.0 cm), framed.Condition: Not examined out of frame.
$800-1,200
185
183
184
186.John J. A. Murphy (American, 1888-1967)
Sprinters, 1930. Signed “JohnJAMurphy” in pencil l.r. Woodcut oncream paper, image size 11 1/8 x 13 1/8 in. (218.2 x 33.2 cm),matted, unframed.Condition: Margins 2 3/4 inches or more with deckled edges, tear tolower edge.
$800-1,200
187.Elizabeth Murray (American, 1940-2007)
Blue Body, 1986-87, edition of 70 plus proofs, published by ULAE(Krakow, 16). Numbered, signed, and dated “12/70 Elizabeth Murray86-87” in pencil l.l., publisher’s dry stamp l.c. Color lithograph withetching, drypoint, and aquatint on paper, image/sheet size 48 x 311/2 in. (121.8 x 79.9 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
188.Elizabeth Murray (American, 1940-2007)
Undoing, 1989-90, edition of 60 plus proofs, published by ULAE(Krakow, 24). Unsigned on the face, publisher’s dry stamp l.c. Colorlithograph with etching, drypoint, and aquatint on shaped paper,image/sheet size 28 x 22 3/4 in. (71.0 x 57.7 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
188
186
187
189.Louise Berliawsky Nevelson (American, 1899-1988)
Nightleaf, 1969, edition of 150 plus proofs, published by PaceEditions (Baro, 121). Identified and numbered “122/150” on labelsfrom The Pace Gallery, New York, and identified on a label fromRichard L. Eagan Fine Arts, New York, on the reverse. OpaquePlexiglas construction in shadow box, 13 1/4 x 13 1/4 in. (33.5 x33.5 cm).Condition: Minor soiling.
$3,000-5,000
190.William Nicholson (British, 1872-1949)
Lot of Eight Images: Lambs, Resting Ewes, and Six Images fromAN ALPHABET: C is for Countess; E is for Earl; H for Huntsman;M for Milkmaid; T for Trumpeter; and W for Waitress. Mostidentified within the matrix. Color lithograph on paper, sight sizes to 93/4 x 7 1/2 in. (24.6 x 19.2 cm), framed.Condition: Toning, not examined out of frames.
Provenance: From the collection of Frank Cook Adams, Boston,Massachusetts.
$150-200
191.William Nicholson (British, 1872-1949)
Lot of Twelve Portraits of British Notable Politicians and Figures:Miss Fotheringay and Captain Costigan; Krishna Mulvaney; andTen Images from TWELVE PORTRAITS: H.M. The Queen, H.R.H.The Prince of Wales, Prince Bismarck, The Archbishop ofCanterbury, W.E. Gladstone, Sir Henry Hawkins, Sir Henry Irving,Rudyard Kipling, Cecil Rhodes, and Lord Roberts. Each identifiedwithin the matrix. Color lithograph on paper, image sizes to 13 1/2 x10 3/4 in. (34.2 x 27.3 cm), all except Gladstone framed.Condition: Toning, not examined out of frames.
Provenance: From the collection of Frank Cook Adams, Boston,Massachusetts.
$150-200
191
189
190
192.Ann Nooney (American, 1900-c. 1970)
Small Town. Signed “Ann Nooney” in pencil l.r., titled in pencil l.c.,stamped “FEDERAL ART PROJECT NYC WPA” l.l. Color lithographon paper, image size 11 7/8 x 14 1/4 in. (30.0 x 36.0 cm), framed.Condition: Toning, mat burn, rippling, not examined out of frame.
$400-600
193.Eugène Ogé (French, 1861-1936)
L’Astrolin. Signed “Ogé” and identified within the matrix. Colorlithographic poster on paper, sheet size 59 1/4 x 39 3/4 in. (151.8 x100.8 cm), unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairtears and creases), minor toning, surface rubs, handling creases.
$500-700
194.Pablo Esteban O’Higgins (Mexican/American, 1904-1983)
Mercado en Cuautla, 1946, edition of 250. Signed “Pablo Higgins”in pencil l.r. Color lithograph on paper, image size 11 1/2 x 14 in.(29.2 x 35.6 cm), matted, unframed.Condition: Margins 2 inches or more, unobtrusive toning, minor nicksand creases to very corners.
$200-250
194
192
193
195.Jean de Paléologue, known as Pal (American, 1855-1942)
Grand Magasins Dufayel, c. 1900. Identified within the matrix.Color lithographic poster on paper, sheet size 60 x 45 3/4 in. (152.4 x116.2 cm), unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repairtears, and creases), retouch, subtle toning, handling creases.
$400-600
196.Max Papart (French, 1911-1994)
Oval Acrobat, 1986, edition of 125. Signed “Max Papart” in pencil(within the image) l.r., numbered “74/125” in pencil (within the image)l.l., identified on a label on the reverse. Color lithograph withembossing on paper, image/sheet size 30 x 42 in. (76.2 x 106.5 cm),framed.Condition: Subtle rippling, not examined out of frame.
$200-300
197.Max Papart (French, 1911-1994)
Le Voyageur, 1987, edition of 95. Signed “Max Papart” in pencil(within the image) l.r., numbered “64/95” in pencil (within the image)l.l., identified on a label on the reverse. Color aquatint withcarborundum and embossing on paper, image/sheet size 30 1/4 x 23in. (76.7 x 58.4 cm), framed.Condition: Subtle rippling, not examined out of frame.
$200-300
197
195
196
198.Max Papart (French, 1911-1994)
Japanese Birds, 1990, edition of 125. Numbered and signed“13/125 Max Papart-” in pencil (within the image) l.l., identified on alabel on the reverse. Color lithograph on paper, image/sheet size 231/2 x 45 in. (59.5 x 114.2 cm), framed.Condition: Subtle rippling, not examined out of frame.
$200-300
199.Philip Herschel Paradise (American, 1905-1997)
Lot of Two Figure Studies: Tomas and Maria, both published byAssociated American Artists. Both signed “Phil Paradise” in pencill.c. and in the matrix, both with dry stamp l.l. and identified on AAAlabel on the reverse. Lithographs on paper, image sizesapproximately 8 3/4 x 5 1/2 in. (22.0 x 14.0 cm), framed.Condition: Unobtrusive toning, not examined out of frames.
$250-350
200.Judy Pfaff (British, b. 1946)
Yoyogi II, 1985, edition of 75. Signed “J Pfaff” in pencil l.r., titled andnumbered “...75/75” in pencil l.l. Color woodcut on paper, image size30 1/2 x 34 3/4 in. (77.4 x 88.2 cm), framed.Condition: Rippling, not examined out of frame.
Provenance: The Harvard Coop Gallery, Cambridge, Massachusetts,1988; to a private collector.
$1,200-1,800
200
198
199
201.Pablo Picasso (Spanish, 1881-1973)
Le Picador II, from A LOS TOROS AVEC PICASSO, 1961 (Bloch,1017). Dated (twice) in the matrix. Color lithograph on paper, imagesize 8 1/8 x 10 1/2 in. (20.5 x 26.5 cm), framed.Condition: Mat burn, not examined out of frame.
$300-500
202.Max Pollak (Czech/Austrian, 1886-c. 1970)
New York, Devision [sic] Street, edition of 100. Signed “MaxPollak” in pencil l.r., titled in pencil l.l., numbered “30/100” in pencill.c. Etching with drypoint on paper, plate size 8 7/8 x 8 in. (22.5 x20.3 cm), framed.Condition: Prevalent toning, not examined out of frame.
$100-150
203.Odilon Redon (French, 1840-1916)
Et partout ce sont des colonnes de basalte...La lumière tombedes voûtes, from TENTATION DE SAINT-ANTOINE (TROISÈMESERIE), 1896 (Mellerio, 136). Unsigned. Lithograph on paper, imagesize 9 1/2 x 7 3/8 in. (24.0 x 18.8 cm), framed.Condition: Several fox marks, areas of staining or foxing aroundlower corners (into image, but visible primarily in the margins),rippling, not examined out of frame.
$400-600
203
201
202
204.Rembrandt van Rijn (Dutch, 1606-1669)
Beggar Man and Woman Conversing, 1639, a later 18th centuryimpression (Hind, 7; Bartsch/Hollstein, 164). Initialed and dated in theplate. Etching on paper, plate size 3 x 2 5/8 in. (7.6 x 6.7 cm),framed.Condition: Margins approximately 1/4 inch, subtle rippling, notexamined out of frame.
$300-500
205.Walter Dubois Richards (American, b. 1907)
Lot of Six Views: Old Willow at Mead Park; God’s Acre; NewCanaan, God’s Acre; New Canaan II; Christmas Eve, NewCanaan, edition of 50; Greens Ledge As I Remember It; andStrawberry Festival. Each signed “Walter Dubois Richards” in pencill.r. and titled in pencil l.l. Lithographs on paper, image sizes to 20 x15 3/4 in. (50.8 x 40.0 cm), framed.Condition: Subtle mat burn, not examined out of frames.
$600-800
206.Auguste Rodin (French, 1840-1917)
Victor Hugo de face, 1885, published 1889 in the Gazette desBeaux Arts, fifth state of seven (Delteil, 7). Identified in the plate.Drypoint on laid paper, plate size 8 7/8 x 6 1/8 in. (22.2 x 15.6 cm),matted, unframed.Condition: Margins 1 inch or more with a deckled right edge, subtletoning.
$200-250206
204 205
207.James Rosenquist (American, b. 1933)
Red Pyramid, 1978, edition of 41 plus proofs (Glenn, 155). Signedand dated “James Rosenquist 1978” in pencil l.r., inscribed and titled“presentation proof for Nardo...” in pencil l.l. Color lithograph onpaper, image/sheet size 22 3/4 x 44 3/8 in. (57.8 x 112.5 cm),framed.Condition: Deckled edges, not examined out of frame.
$800-1,200
208.Susan Rothenberg (American, b. 1945)
Untitled (Hartford), 1980, edition of 23 plus proofs, published by theartist and the Hartford Art School (Maxwell, 12). Signed and dated“S. Rothenberg 1980” in pencil l.r., inscribed “HAS I” in pencil l.l.Lithograph on paper, image size 31 1/8 x 27 1/4 in. (79.0 x 69.0 cm),unmatted, unframed.Condition: Margins over 1 inch with deckled edges, minor handlingmarks, several pinpoint fox marks and toning near edges.
$300-500
209.Susan Rothenberg (American, b. 1945)
Untitled, 1983, edition of 35 plus proofs (Maxwell, 14). Signed anddated “S. Rothenberg 83” in pencil l.r., numbered “23/35” in pencil l.l.Etching and aquatint on paper, plate size 25 1/2 x 21 5/8 in. (64.6 x54.8 cm), framed.Condition: Not examined out of frame.
$300-500
209
207
208
210.Georges Rouault (French, 1871-1958)
Suaire, c. 1925 (cf. Wofsy, 82). Signed in the matrix. Color photo-lithograph on paper, image size 23 1/4 x 17 3/4 in. (59.0 x 45.0 cm),framed.Condition: Margins approximately 1 inch, toning, scattered moldgrowth.
Provenance: Estate of Anna Eleanor Roosevelt (née Braman) Grasso,Essex, Connecticut.
$500-700
211.Georges Rouault (French, 1871-1958)
Pédagogue, from RÉINCARNATIONS DU PÈRE UBU, published1932 (Wofsy, 294). Initialed within the plate, stamped “VENTE DEPARAITRE” in red l.l. Etching and aquatint on paper, plate size 12 x 73/8 in. (30.5 x 18.5 cm), framed.Condition: Rippling, not examined out of frame.
$250-350
212.David Row (American, b. 1949)
Untitled VI, 1992. Numbered, signed, and dated “1/1 David Row92” in pencil l.r., identified on a label from Betsy Senior ContemporaryPrints, New York, on the reverse. Monotype on paper, image size 61/4 x 8 5/8 in. (15.7 x 21.7 cm), framed.Condition: Margins 3 1/2 inches or more with deckled edges, notexamined out of frame.
$400-600
212
211210
213.Bengt Rumert (Scandinavian, 20th Century)
Tunneln, 1934. Identified in the matrix. Color lithographic poster onpaper, image/sheet size 39 1/4 x 27 1/4 in. (99.5 x 69.0 cm),unmatted, unframed.Condition: Mounted on paper backed with linen (to stabilize/repaircreases and minor tears), minor handling creases.
$500-700
214.Anne Ryan (American, 1889-1954)
New Bird, edition of 50. Titled, numbered, and signed “...17/50 ARyan” in white chalk or similar beneath the image. Color lithographon black paper, image size 4 1/4 x 3 1/8 in. (10.9 x 7.9 cm), framed.Condition: Not examined out of frame.
$250-350
215.Kiyoshi Saito (Japanese, 1907-1992)
Pagoda Beyond the Trees. Signed “Kiyoshi Saito” in white (withinthe image) l.l. and with chop mark. Color woodcut on paper, sightsize 14 1/2 x 20 1/2 in. (36.7 x 52.0 cm), framed.Condition: Not examined out of frame.
$400-600
215
213214
216.Kiyoshi Saito (Japanese, 1907-1992)
Village Road in Winter. Signed “Kiyoshi Saito” in pencil (within theimage) l.l. and with chop mark. Color woodcut on paper, image size10 1/8 x 15 5/8 in. (25.5 x 39.5 cm), framed.Condition: Subtle toning, not examined out of frame.
$250-350
217.Erhard Schön (German, 1491-1542)
Portrait of Albrecht Dürer in Profile, 1527, third edition (Bartsch156; Meder, p. 240; Hollstein (Dürer school), 32). Monogrammed anddated in the block. Woodcut of laid paper with double-headed eaglewatermark, image size 11 5/8 x 10 1/8 in. (29.4 x 25.5 cm), framed.Condition: Trimmed to or just into the border, several small repairsalong top of sheet, three creases (visible almost exclusively on verso),rippling, small tear to corner.
$400-600
218.Richard Serra (American, b. 1939)
Hreppholar IV, 1991, edition of 35 plus proofs, published by GeminiG.E.L. (Berswordt-Wallrabe, 77). Numbered, signed, and dated“16/35 R Serra 91” in pencil u.r., dry stamped with copyright mark,artist's initials, date, and Gemini mark u.r. Lift ground and aquatint onpaper, image/sheet size 31 1/4 x 39 5/8 in. (79.4 x 100.7 cm),framed (without glass).Condition: Minute handling creases to points of the corners.
$4,000-5,000
218
216
217
219.Gino Severini (Italian, 1883-1966)
Nature mort du compas, edition of 125. Signed in the matrix,stamped “Kamberg Collection” on the reverse. Color pochoir onpaper, image size 13 x 8 1/4 in. (33.0 x 21.0 cm), framed.Condition: Margins over 1 1/2 inches, mat burn.
$300-500
220.José María Sicilia (Spanish, b. 1954)
Lot of Two Works: Fleur rouge VI and Fleur rouge VII, both 1988,editions of 25. Both signed and dated “Sicilia 88” in pencil l.r., titledin pencil l.c., and numbered in pencil l.l. Color woodcuts on paper,image size 44 1/2 x 17 in. (112.8 x 43.2 cm), framed.Condition: Not examined out of frames.
$1,200-1,800
221.Tavik Frantisek Simon (Czech, 1877-1942)
Lot of Two Views: The Market, 1912; and Rainy Day, Arc deTriomphe. Both signed “T.F. Simon” (the latter in pencil) l.r. Coloretching with aquatint on paper, sight sizes to 15 1/2 x 11 1/2 in. (39.3x 29.2 cm), framed.Condition: Toning, not examined out of frames.
$300-500221
219
220
222.David Alfaro Siqueiros (Mexican, 1896-1974)
Portrait Head, 1941, edition of 50. Signed and dated in the matrix,inscribed “TRIAL PROOF - ED. 50” in pencil l.l. Lithograph on paper,image size 17 x 14 in. (43.0 x 35.5 cm), matted, unframed.Condition: Mat burn, masking tape to edges on verso.
$200-250
223.Pierre Soulages (French, b. 1919)
Eau-forte no. 7, 1957, edition of 100 (Rivière, VII). Signed“Soulages” in pencil l.r., numbered “13/100” in pencil l.l. Coloretching with aquatint and carborundum on BFK Rives paper withwatermark, plate size 21 1/4 x 15 1/4 in. (54.0 x 38.1 cm), framed.Condition: Margins over 1 1/2 inches with deckled lower edge, matburn, staining and toning, glue to facing mat in upper margin, nicksand tape to edges.
$700-900
224.Raphael Soyer (American, 1899-1987)
Three Portraits: Standing Figure, The Hair Bow, and Self-portraitwith Vignette, each editions of 150. Each signed “Raphael Soyer” inpencil l.r. and numbered “71/150” in pencil l.l. Color lithographs onpaper with small figural watermark, image sizes to 20 x 15 1/2 in.(50.8 x 39.3 cm), unmatted, unframed.Condition: Margins over 2 inches with two deckled edges each,minor creases near some corners.
$300-350
224
222 223
225.Raphael Soyer (American, 1899-1987)
Two Images of Motherhood: Mother and Child, 1967, total editionof 175 (Gettings, 102); and At the Pier, edition of 150. Both signed“Raphael Soyer” in pencil l.r. and numbered “71/150” in pencil l.l.Color lithographs on paper with small figural watermark, image sizesto 16 1/2 x 10 1/2 in. (41.8 x 26.6 cm), unmatted, unframed.Condition: Margins over 2 inches with two deckled edges each,minor creases near some corners.
$250-300
226.Raphael Soyer (American, 1899-1987)
Temptation, edition of 150. Signed “Raphael Soyer” in pencil l.r.,numbered “27/150” in pencil l.l., BSA dry stamp l.r. Color lithographon paper, image size 22 1/2 x 16 3/4 in. (57.0 x 42.5 cm), unmatted,unframed.Condition: Margins over 1 inch with two deckled edges, minorcreases near some corners.
$200-250
227.Raphael Soyer (American, 1899-1987)
Dancing at the Social, edition of 150. Signed “Raphael Soyer” inpencil l.r. and numbered “71/150” in pencil l.l. Color lithograph onpaper with small figural watermark, image size 19 5/8 x 15 7/8 in.(49.8 x 40.3 cm), unmatted, unframed.Condition: Margins over 2 inches with two deckled edges, minorcreases near some corners.
$200-250
227
225 226
228.Pat Steir (American, b. 1938)
Sunflower, 1986, edition of 100. Numbered, signed, and dated“24/100 Pat Steir 1986” in pencil l.r., inscribed in pencil l.l., chopmark l.l. Color woodcut on paper, image size 23 1/2 x 36 in. (59.6 x91.4 cm), framed.Condition: Margins over 3/4 inches, not examined out of frame.
Provenance: The Harvard Coop Gallery, Cambridge, Massachusetts,1988; to a private collector.
$1,500-2,500
229.Andrew Stevovich (American, b. 1948)
Lot of Three Images: Smokers #1, 1981, edition of 25; Susan,1985, edition of 50; and Ardent Suitor, 1987, edition of 100. Eachsigned and dated “Andrew Stevovich 19...” in pencil l.r., titled in pencill.c., numbered in pencil l.l. Etchings on paper, plate sizes to 8 x 91/2 in. (20.3 x 24.0 cm), unmatted, unframed.Condition: Margins over 1 3/4 inches with deckled edges.
$200-250
230.Andrew Stevovich (American, b. 1948)
Carnival, 1985, edition of 70. Signed and dated “Andrew. Stevovich1985” in pencil l.r., titled in pencil l.c., numbered “42/70” in pencil l.l.,dry stamp l.r. Color woodcut on cream paper, image size 9 1/4 x 147/8 in. (23.4 x 37.5 cm), unmatted, unframed.Condition: Margins 1 1/4 inches or more with two deckled edges,minor handling creases to margins, nicks/creases to deckling.
$250-300
230
228 229
231.Andrew Stevovich (American, b. 1948)
Zig Zag, 1986, edition of 80. Signed and dated “Andrew. Stevovich1986” in pencil l.r., titled in pencil l.c., numbered “39/80” in pencil l.l.,dry stamp l.r. Color woodcut on cream paper, image size 11 1/2 x17 in. (29.2 x 43.0 cm), unmatted, unframed.Condition: Margins 2 inches or more with deckled edges,unobtrusive handling creases to margins, nicks/creases to deckling.
$250-300
232.Andrew Stevovich (American, b. 1948)
Lot of Two Images: Fortune Teller, 1987, edition of 50; andHandsome Eddie, 1990, edition of 75. Both signed and dated“Andrew Stevovich 19...” in pencil l.r., titled in pencil l.c., numbered inpencil l.l. Etchings with aquatint on paper (Fortune on chine collé,Eddie on BFK Rives), plate sizes to 7 x 5 3/8 in. (17.7 x 13.5 cm),unmatted, unframed.Condition: Margins 3 inches or more, both with two deckled edges,stain to upper margin of Eddie.
$200-250
233.Andrew Stevovich (American, b. 1948)
The Recital, 1989, edition of 100. Signed and dated “AndrewStevovich 1989” in pencil l.r., titled in pencil l.c., numbered “2/100” inpencil l.l. Aquatint on paper, plate size 12 1/2 x 12 1/2 in. (31.6 x31.6 cm), unmatted, unframed.Condition: Margins approximately 2 1/2 inches with deckled edges,minor handling creases to margins (primarily at l.l. corner).
$200-250
233
231 232
234.Andrew Stevovich (American, b. 1948)
Lucky Linda, 1989, edition of 80. Signed and dated “AndrewStevovich 1989” in pencil l.r., titled in pencil l.c., numbered “2/80” inpencil l.l. Aquatint on BFK Rives paper with watermark, plate size 9 x12 in. (22.8 x 30.2 cm), unmatted, unframed.Condition: Margins approximately 3 inches with two deckled edges,minor handling creases to margins (primarily at u.l. corner).
$200-250
235.Carol Summers (American, b. 1925)
Lot of Four Works: Arab’s Tent, 1963 edition of 200 plus proofs(Summers, 54); Sonoma, 1977, edition of 100 plus proofs (Summers,143); Delta, 1982, edition of 150 (Summers, 174); and SummerPasture, 1987, edition of 150 (Summers, 199). Each signed “CarolSummers” in pencil within the image and titled and numbered inpencil within the image. Color woodcuts on paper, image/sheet sizesto 29 3/4 x 23 3/4 in. (75.5 x 60.3 cm), unmatted, unframed.Condition: Minor handling marks and creases, nicks to edges(primarily to corners), unobtrusive staining to some near corners.
$700-900
236.Carol Summers (American, b. 1925)
Lot of Three Works: Strbske Pleso, alternatively titled High Tatras,1969, edition of 100 plus proofs (Summers, 96); Tantric Landscape,1971, edition of 75 (Summers, 106); and India, edition of 75. Eachsigned “Carol Summers” in pencil within the image and titled andnumbered or inscribed in pencil within the image. Color woodcuts onpaper, image/sheet sizes approximately 37 1/2 x 24 1/2 in. (95.0 x62.0 cm), unmatted, unframed.Condition: Minor handling marks and creases, nicks to edges (all ofthese primarily to corners).
$800-1,200
236
234
235
237.Carol Summers (American, b. 1925)
Lot of Two Works: High Tatras, 1969, edition of 100 (Summers, 96);and Ravenna’s Palace Burning, 1984, edition of 125 (Summers,183). Both signed “Carol Summers” in pencil within the image andtitled and numbered in pencil within the image. Color woodcuts onpaper, image/sheet sizes approximately 24 1/2 x 37 1/2 in. (62.0 x95.0 cm), unmatted, unframed.Condition: Minor handling marks and creases, nicks to edges (all ofthese primarily to corners).
$600-800
238.Carol Summers (American, b. 1925)
Lot of Two Works: Nightfall, 1974, edition of 75 (Summers, 119);and Narrows, proof outside of the edition of 75 (Summers, 136).Both signed “Carol Summers” in pencil within the image and titledand numbered or inscribed in pencil within the image. Colorwoodcuts on paper, image/sheet sizes approximately 37 x 37 in.(94.0 x 94.0 cm), unmatted, unframed.Condition: Minor handling marks and creases (creases moreprevalent to Nightfall), nicks to edges, subtle staining.
$700-900
239.Carol Summers (American, b. 1925)
Lot of Three Works: Narrows, proof outside of the edition of 75(Summers, 136); and two impressions of Flowering Landscape,1988, edition of 100. Each signed “Carol Summers” in pencil withinthe image and titled and numbered or inscribed in pencil within theimage. Color woodcuts on paper, image/sheet sizes approximately37 x 37 in. (94.0 x 94.0 cm), unmatted, unframed.Condition: Minor handling marks and creases, nicks to edges, subtlestaining.
$800-1,200
239
237
238
240.Carol Summers (American, b. 1925)
Sunset at Sea, edition of 75. Signed “Carol Summers” in pencilwithin the image u.r., titled and numbered “72/75...” in pencil withinthe image u.l. Color woodcut on paper, image/sheet size 36 x 49 in.(91.4 x 124.5 cm), unmatted, unframed.Condition: Minor handling marks and creases, nicks and creases toedges (the latter primarily to corners), hinging/residue on the reverse.
$500-700
241.Carol Summers (American, b. 1925)
Storm Over Mt. Meru, edition of 75. Signed “Carol Summers” inpencil within the image l.r., titled and numbered “32/75...” in pencilwithin the image l.l. Color woodcut on paper, image/sheet size 371/4 x 47 3/4 in. (94.4 x 121.2 cm), unmatted, unframed.Condition: Minor handling marks and creases, nicks and creases toedges.
$400-600
242.Chin Sung (Taiwanese, b. 1932)
Lot of Two Images: Les oiseaux #2, 1969, edition of 100; andInfinity IIe, 1969, edition of 100. Both signed and dated “CHINSUNG ‘69” in pencil l.r., numbered in pencil beneath the image, bothtitled in pencil. Woodcuts in red and black on paper, image sizes to17 1/2 x 9 1/2 in. (44.3 x 24.0 cm), matted, unframed.Condition: Margins 2 inches or more, tape to edge on verso ofInfinity.
$400-600
242
240
241
243.Théo Tobiasse (Israeli/French, b. 1927)
Fleur de Cantique, 1980. Signed “Theo Tobiasse” in pencil l.r.,numbered “CIV/CXXXV” in pencil l.l. Color lithograph on paper, imagesize 37 x 26 3/4 in. (93.8 x 67.8 cm), framed.Condition: Not examined out of frame.
$300-500
244.Théo Tobiasse (Israeli/French, b. 1927)
Rebecca, from LES MERES BIBLIQUE, 1984, edition of 125.Signed “Theo Tobiasse” in pencil l.r., numbered “78/126” in pencil l.l.Color lithograph on paper, image size 39 1/2 x 27 in. (100.3 x 68.5cm), framed.Condition: Not examined out of frame.
$300-500
245.Théo Tobiasse (Israeli/French, b. 1927)
Rachel, from LES MERES BIBLIQUE, 1984, edition of 125. Signed“Theo Tobiasse” in pencil l.r., numbered “78/126” in pencil l.l. Colorlithograph on paper, image size 39 x 27 in. (99.0 x 68.5 cm), framed.Condition: Not examined out of frame.
$300-500
245
243 244
246.Théo Tobiasse (Israeli/French, b. 1927)
La bas vers Canaan, 1991, edition of 200. Signed “Theo Tobiasse”in pencil l.r., numbered “54/200” in pencil l.l. Color lithograph onpaper, image size 29 x 20 3/4 in. (73.5 x 52.5 cm), framed.Condition: Not examined out of frame.
$300-500
247.Henri de Toulouse-Lautrec (French, 1864-1901)
Yvette Guilbert, from LE CAFE CONCERT, 1893, total edition of550 (Adriani, 17). Monogrammed within the matrix. Lithograph inolive on paper, image size 10 x 8 1/8 in. (25.4 x 20.7 cm), framed.Condition: Subtle toning, not examined out of frame.
$700-900
248.Jacques Villon (French, 1875-1963)
Le cheval, 1921, from a later (1947) edition (Ginestet-Pouillon, E295).Signed and dated in the plate, identified on a fragmentary label fromthe Retina Gallery, Boston, on the reverse. Etching on paper, platesize 3 x 5 in. (7.5 x 12.7 cm), framed.Condition: Margins 1 inch or more, foxing, not examined out offrame.
$500-700
248
246247
249.Edouard Vuillard (French, 1868-1940)
Album d’estampes originales, 1899, the first state of three (Roger-Marx, 47). Titled within the matrix. Lithograph in brown, ochre, andgreen on paper, image size 23 1/2 x 18 in. (59.5 x 45.7 cm), matted,unframed.Condition: Thread margins, scattered foxing and staining.
$1,000-1,500
250.Lynd Kendall Ward (American, 1905-1985)
American Petroleum Institute, c. 1945. Unsigned, identified ininformation affixed to the reverse. Wood engraving on paper, imagesize 8 x 9 3/8 in. (20.3 x 23.7 cm), matted, unframed.Condition: Margins approximately 1/4 inch.
$600-800
251.Andy Warhol (American, 1928-1987)
Cow, 1966 (Feldman & Schellmann, II.11). Signed in the matrix.Color screenprint on wallpaper, image size 46 x 28 1/8 in. (116.5 x71.3 cm), unmatted, unframed.Condition: Minor handling mark and creases.
$1,500-2,000
251
249
250
252.Stow Wengenroth (American, 1906-1978)
Old Ships, 1937, edition of 65 (Stuckey, 71). Signed“Stow Wengenroth” in pencil l.r., inscribed “Ed/65” inpencil l.l. Lithograph on paper, image size 8 3/4 x 153/4 in. (22.2 x 40.0 cm), framed.Condition: Toning, not examined out of frame.
$300-500
253.Stow Wengenroth (American, 1906-1978)
Sunnyside - Tarrytown, New York, 1959, edition of 50(Stuckey, 253). Signed “Stow Wengenroth” in pencil l.r.Lithograph on paper, image size 8 5/8 x 15 7/8 in. (21.8x 40.3 cm), framed.Condition: Subtle toning and mat burn, not examinedout of frame.
N.B. Sunnyside was the home of writer WashingtonIrving.
$300-500
254.Stow Wengenroth (American, 1906-1978)
Forest Ferns, 1969, edition of 60 (Stuckey, 323).Signed “Stow Wengenroth” in pencil l.r., inscribed“Ed/60” in pencil l.l. Lithograph on paper, image size 9x 15 3/8 in. (22.7 x 39.0 cm), framed.Condition: Subtle toning and rippling, not examined outof frame.
$300-500
254
252
253
255.Stow Wengenroth (American, 1906-1978)
Inner Harbor, 1970, edition of 50 (Stuckey, 329). Signed “StowWengenroth” in pencil l.r., inscribed “Ed/50” in pencil l.l. Lithographon paper, image size 14 3/4 x 11 in. (37.5 x 27.9 cm), framed.Condition: Not examined out of frame.
$400-600
256.Tom Wesselmann (American, 1931-2004)
Cut Out Nude, from 11 POP ARTISTS, 1965, edition of 200.Signed “Wesselmann” in pencil (on the over-mount) l.r., numbered“133/200” in pencil (on the over-mount) l.l. Color screenprint on vinyl,image size approximately 8 x 16 1/8 in. (20.3 x 41.0 cm), framed.Condition: Not examined out of frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$5,000-7,000
255
256
257.James Abbott McNeill Whistler (American, 1834-1903)
Fumette, final state of four (Kennedy, 13). Signed and with publisherin the plate. Etching on chine collé, plate size 6 3/8 x 4 1/4 in. (16.2x 10.8 cm), matted, unframed.Condition: Margins 1 inch or more, thin spots to margins (primarily tothe upper margin and all away from the image), subtle toning.
$400-600
258.James Abbott McNeill Whistler (American, 1834-1903)
Street at Saverne, fourth state of five (Kennedy, 19). Signed andwith publisher in the plate. Etching on paper, plate size 8 1/8 x 6 1/4in. (20.7 x 15.9 cm), matted, unframed.Condition: Margins over 1 inch, foxing (more visible to verso), gentlerippling, subtle toning.
$600-800
259.James Abbott McNeill Whistler (American, 1834-1903)
La vieille aux loques, 1858, final state of three, possibly a laterimpression (Kennedy, 21). Signed and dated in the plate, identifiedon a label from the Vincent Price Collection on the reverse. Etchingon laid paper, plate size 8 1/8 x 5 7/8 in. (20.5 x 14.8 cm), framed.Condition: Subtle toning, margins over 1 inch.
$700-900
259
257 258
260.James Abbott McNeill Whistler (American, 1834-1903)
The Title to the French Set (Whistler Sketching), 1858 (Kennedy,25). Signed and identified in the plate, collector’s stamp l.l. Etchingon chine collé, plate size 4 1/2 x 5 3/4 in. (11.4 x 14.5 cm), matted,unframed.Condition: Annotation to supporting sheet along lower edge, chinedisadhering along left edge.
$300-500
261.James Abbott McNeill Whistler (American, 1834-1903)
Billingsgate, 1859, probably the final state of eight (Kennedy, 47).Signed and dated in the plate. Etching on laid paper with partialwatermark, plate size 5 7/8 x 8 7/8 in. (15.0 x 22.5 cm), matted,unframed.Condition: Margins over 1 inch with deckled edges, unobtrusivelylight struck, stain prevalent to edges and verso, pinpoint fox marks,nicks and tiny deformations to upper margin.
$800-1,200
262.James Abbott McNeill Whistler (American, 1834-1903)
Reading, 1879 and 1887, the final state of four, probably from thepublished edition for NOTES (Chicago, 17). Monogrammed in thematrix. Lithograph on gray chine collé, image size 6 1/8 x 5 in. (15.6x 12.7 cm), matted, unframed.Condition: Margins over 3 inches, pale stain to image l.l., unobtrusivesoiling to supporting sheet.
$500-700
262
260
261
263.James Abbott McNeill Whistler (American, 1834-1903)
The Doctor, 1894, the “small sheet” edition of approximately 3,000,published in THE PAGEANT (Chicago, 110). Unsigned. Lithographon paper, image size 7 x 5 1/8 in. (17.8 x 13.0 cm), matted,unframed.Condition: Margins over 1 inch, subtle soiling.
$400-600
264.Robert Wilson (American, b. 1941)
Medea, Plate 20, 1984, edition of 18. Signed and dated “Ro... ‘84”in pencil l.r., numbered “17/18” in pencil l.l., identified on a label fromthe Alpha Gallery, Boston, on the reverse. Lithograph in colors onpaper, image size 25 1/4 x 33 3/4 in. (64.0 x 85.5 cm), framed.Condition: Not examined out of frame.
$300-500
263
264
265.Jack Youngerman (American, b. 1926)
Untitled, 1966, edition of 30. Initialed and dated “JY 66” in pencil l.r.,numbered “10/30” in pencil l.l. Embossing on paper, plate size 321/4 x 24 in. (82.0 x 61.0 cm), framed.Condition: Pale staining to image l.r., handling creases, not examinedout of frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$300-500
266.Ossip Zadkine (Russian/French, 1890-1967)
La conversation, edition of 120. Signed “O. Zadkine” in pencil l.r.,numbered “55/120” in pencil l.l. Color lithograph on paper, imagesize 23 3/4 x 16 in. (60.3 x 40.5 cm), framed.Condition: Subtle toning and mat burn, not examine out of frame.
$400-600
267.-268.No lots.
265
266
Photography
269.Henri Cartier-Bresson (French, 1908-2004)
The Decisive Moment, published by Simon and Schuster, New York,1952, first edition. Pictorial boards designed by Henri Matisse,containing reproductions of 126 photographs, with separatepamphlet of captions inserted, folio.Condition: Spine sunned and toned, hinges slightly weak, smudging.
Provenance: Estate of Anna Eleanor Roosevelt (neé Braman) Grasso,Essex, Connecticut.
$400-600
270.Harold Eugene Edgerton (American, 1903-1990)
Dove in Flight. Signed “HAROLD EDGERTON” in pencil on thereverse. Gelatin silver print, image size 6 3/8 x 8 3/8 in. (16.2 x 21.2cm), unframed.Condition: Subtle toning.
Provenance: From the artist to the family of the present owner.$1,000-1,500
271.Harold Eugene Edgerton (American, 1903-1990)
Left Handed Drive. Titled and signed”...H. Edgerton” in pencilverso, stamped verso. Gelatin silver print, image size 7 x 10 1/2 in.(17.8 x 26.6 cm), unframed.Condition: Minute loss c.r., minor scattered craquelure l.r.
Provenance: From the artist to the family of the present owner.$1,000-1,500
272.Harold Eugene Edgerton (American, 1903-1990)
Milk Drop Coronet. Signed and inscribed “For Jean HaroldEdgerton 1975” in ink (within the image) l.r. Color photograph,image/sheet size 9 7/8 x 8 in. (25.0 x 20.3 cm), unmatted, unframed.Condition: Good.
Provenance: From the artist to the family of the present owner.$3,000-5,000
269
271
270
272
273.Harold Eugene Edgerton (American, 1903-1990)
Bullethole. Unsigned, stamped “H.E. EDGERTON APR 18 1963M.I.T. CAMBRIDGE - MASS” on the reverse. Gelatin silver print,image/sheet size 10 x 8 in. (25.4 x 20.3 cm), unmatted, unframed.Condition: Good.
Provenance: From the artist to the family of the present owner.$1,000-1,500
274.Harold Eugene Edgerton (American, 1903-1990)
Portrait of Edward Kennedy and Harold Edgerton. Unsigned.Gelatin silver print, image size 7 1/2 x 9 1/2 in. (19.0 x 24.0 cm),unmatted, unframed.Condition: Good.
Provenance: From the artist to the family of the present owner.$800-1,200
275.Harold Eugene Edgerton (American, 1903-1990)
Lot of Two Images of Golf Balls Hit by Drivers. One signed andinscribed “HAROLD EDGERTON” and “The golf ball elongates as itleaves the club.” in pencil on the reverse. Gelatin silver print, imagesizes 7 3/8 x 9 1/2 in. (18.7 x 24.0 cm), unmatted, unframed.Condition: Good.
Provenance: From the artist to the family of the present owner.$1,000-1,500
274
273
275
276.Harold Eugene Edgerton (American, 1903-1990)
Gussie Moran Serves, c. 1939. Titled, inscribed, and signed“...HAROLD EDGERTON” in ink within the image. Photographicposter, sheet size 45 x 34 3/4 in. (114.3 x 88.2 cm), unmatted,unframed.Condition: Folded (with some paper losses and/or holes), staining,nicks to edges.
Provenance: From the artist to the family of the present owner.$400-600
277.Harold Eugene Edgerton (American, 1903-1990)
Golf Ball and Iron. Signed “HAROLD EDGERTON” in pencil on thereverse. Gelatin silver print, image size 12 1/8 x 9 5/8 in. (30.6 x 24.4cm), unmatted, unframed.Condition: Good.
Provenance: From the artist to the family of the present owner.$400-600
278.Harold Eugene Edgerton (American, 1903-1990)
Card Cut by Bullet. Signed “HAROLD EDGERTON MIT” in pencil onthe reverse. Gelatin silver print, image size 9 1/8 x 12 7/8 in. (23.0 x32.5 cm), unmatted, unframed.Condition: Good.
Provenance: From the artist to the family of the present owner.$1,000-1,500
278
276277
279.Walker Evans (American, 1903-1975)
Minstrel Showbill, 1936, probably a later impression. Signed“Walker Evans” in pencil (on mount) l.r., inscribed “P” in pencil (onmount) l.l. Gelatin silver print, image/sheet size 15 1/2 x 11 7/8 in.(39.0 x 30.0 cm), unmatted, unframed.Condition: Minor soiling to mount.
$5,000-7,000
280.Frank Jay Haynes (American, 1853-1921)
Grand Canyon. Unsigned, identified on artist’s label affixed to thebacking. Albumen print, sheet size 17 1/8 x 22 in. (43.5 x 55.9 cm),framed.Condition: Mounted, subtle fading, gentle surface rubs, nick/loss tolower edge (not effecting the image).
$600-800
281.Lewis Wickes Hine (American, 1874-1940)
A Madonna of the Tenement, 1904. Artist’s stamp on the reverse,titled and dated in pencil on the reverse. Gelatin silver print, sheetsize 7 x 5 in. (17.8 x 12.7 cm), framed.Condition: Subtle toning, not examined out of frame.
$1,000-1,500
279
280
281
282.John S. Johnston (British/American, born c. 1839-1899)
Lot of Five Yachting Images: Columbia, 1899; Columbia,1899; Shamrock; 21-Footers at Start, 1894; and Norota.Unsigned, identified within the matrix. Albumen prints onpaper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm),unframed.Condition: Minor wear/nicks to edges, subtle toning, mildrippling.
$600-800
283.John S. Johnston (British/American, born c. 1839-1899)
Lot of Five Yachting Images: Columbia & Shamrock,1899; Shamrock, 1899; Columbia, 1899; El Heirie, 1896;and Fidelio. Unsigned, each identified within the matrix.Albumen prints on paper, approximate sizes 6 1/2 x 8 1/4 in.(16.5 x 21.0 cm), unframed.Condition: Minor wear/nicks to edges, subtle toning, mildrippling.
$700-900
284.John S. Johnston (British/American, born c. 1839-1899)
Lot of Five Yachting Images: Columbia & Shamrock,1899; Columbia & Shamrock, 1899; Columbia, 1899;Fidelio; and Kit. Unsigned, each identified within the matrix.Albumen prints on paper, approximate sizes 6 1/2 x 8 1/4 in.(16.5 x 21.0 cm), unframed.Condition: Minor wear/nicks to edges, subtle toning, mildrippling.
$800-1,200
284
282
283
285.George Platt Lynes (American, 1907-1955)
Lot of Two Images of Dance, Probably from Ballet Errante orOrpheus. Unsigned, both inscribed on the reverse. Gelatin silverprints, sheet sizes to 10 x 8 in. (25.4 x 20.3 cm), matted, unframed.Condition: Minor wear to corners.
$800-1,200
286.Duane Michals (American, b. 1932)
A Letter From My Father, 1960-75, edition of 25. Inscribed, signed,and numbered “...Duane Michals 4/25” in ink surrounding the image.Gelatin silver print annotated with ink, sheet size 8 x 10 in. (20.3 x25.4 cm), framed.Condition: Subtle curling or rippling, not examined out of frame.
$200-300
287.Nicholas Nixon (American, b. 1947)
Still Life with Apples, 1987, edition of 50. Signed “NICHOLASNIXON” in pencil on the reverse, inscribed, dated, and numbered“Cambridge 1987 8/50” in pencil on the reverse. Gelatin silver print,image/sheet size 8 x 10 in. (20.3 x 25.4 cm), matted, unframed.Condition: Good.
$600-800
287
285
286
288.Aaron Siskind (American, 1903-1991)
Lafayette Theater, Harlem, c. 1937, probably a laterprinting. Titled, dated, and signed “...Aaron Siskind” inpencil on the reverse. Gelatin silver print, image size 113/4 x 8 1/2 in. (29.8 x 21.5 cm), unmatted, unframed.Condition: Good.
$1,500-2,500
289.Aaron Siskind (American, 1903-1991)
Louise 28, 1974. Titled, dated, and signed “...AaronSiskind” in pencil on the reverse. Gelatin silver print,image size 10 1/8 x 9 7/8 in. (25.5 x 25.0 cm), unmatted,unframed.Condition: Good.
$2,000-3,000
288
289
290.Aaron Siskind (American, 1903-1991)
Morocco 328, 1982. Titled, dated, and signed“...Aaron Siskind” in pencil on the reverse. Gelatinsilver print, image size 8 3/4 x 9 1/8 in. (22.0 x 23.0cm), unmatted, unframed.Condition: Good.
$1,500-2,500
291.Aaron Siskind (American, 1903-1991)
Morocco 167, 1982. Titled, dated, and signed“...Aaron Siskind” in pencil on the reverse. Gelatinsilver print, image size 9 3/8 x 9 in. (23.7 x 22.7 cm),unmatted, unframed.Condition: Good.
$1,500-2,500
290
291
292.Bradford Washburn (American, 1900-2007)
After The Storm: Climbers on the East Ridge. Signed“Bradford Washburn” in pencil on the reverse. Gelatin silverprint, image size 17 3/4 x 22 1/8 in. (45.0 x 56.2 cm),unmatted, unframed.Condition: Good.
$1,500-2,000
293.Bradford Washburn (American, 1900-2007)
Mt. Huntington, North Face, Alaska. Signed “BradfordWashburn” in pencil on the reverse. Gelatin silver print,image size 17 1/2 x 22 5/8 in. (44.4 x 57.4 cm), unmatted,unframed.Condition: Good.
$1,500-2,000
294.Bradford Washburn (American, 1900-2007)
Barnard Glacier, Mt. Natazhat, Alaska Yukon Frontier.Signed “Bradford Washburn” in pencil on the reverse.Gelatin silver print, image size 17 1/4 x 22 1/4 in. (43.7 x56.3 cm), unmatted, unframed.Condition: Good.
$1,500-2,000
294
292
293
295.Bradford Washburn (American, 1900-2007)
Snow Drifts. Signed “Bradford Washburn” in pencil on the reverse.Gelatin silver print, image size 17 1/2 x 22 3/4 in. (44.4 x 57.5 cm),unmatted, unframed.Condition: Good.
$1,500-2,000
296.Bradford Washburn (American, 1900-2007)
Summit of the Matterhorn, 1958. Signed “Bradford Washburn” inpencil on the reverse. Gelatin silver print, image size 17 5/8 x 22 1/4in. (44.5 x 56.4 cm), unmatted, unframed.Condition: Good.
$1,500-2,000
End of Session I
295
296
Session IIPaintings & SculptureLots 301-698
to be sold Friday, January 29th, 2010 at 4 p.m.
300.Manner of Jan Breughel the Younger (Flemish, 1601-1678)
Jacob Wrestling the AngelUnsigned, inscribed “O.../Breughel/N...i” on the reverse of the panel.Oil on panel, 6 9/16 x 8 in. (16.7 x 20.4 cm), framed.Condition: Surface irregularities, abrasions and losses, discolored varnish, panelbowed, craquelure.
$1,000-1,500
300
301.School of Abraham van Beyeren (Dutch, 1620-1690)
Still Life with Crab, Fruit, Bread, and Wine Glass on aDraped TableUnsigned, inscribed "ABRAHAM VAN BEYEREN" on amodern label on the reverse.Oil on cradled panel, 21 1/2 x 16 5/8 in. (55.2 x 42.2 cm),framed.Condition: Varnish inconsistencies, surface irregularities,retouch, vertical crack to center of panel, pentimenti in u.r.quadrant.
$400-600
302.Italian School, 18th Century
Flora with an Abundance of Fruit and GameUnsigned.Oil on canvas, 21 3/4 x 15 1/2 in. (55.2 x 39.4 cm), unframed.Condition: Trimmed tacking margins, punctures, lined,punctures, scattered retouch, losses, craquelure.
$1,000-1,500
301
302
303.Attributed to Melchior d’Hondecoeter (Dutch, 1636-1695)
A Mallard, Two Cockerels, and Ducklings in a LandscapeSigned or inscribed “M d hondecoeter” l.c.Oil on canvas, 30 x 28 1/4 in. (76.2 x 71.8 cm), framed.Condition: Lined, retouch, patch reinforcements, varnishinconsistencies, craquelure.
$8,000-10,000
303
304.Italian School, 18th/19th Century Style
View of Figures in a Classical LandscapeUnsigned, inscribed indistinctly on a partial label and with alabel from Eben Smith, Boston, on the reverse.Oil on board, 11 1/2 x 19 in. (29.2 x 48.3 cm), framed.Condition: Craquelure, lifting, surface grime, minorlosses/abrasions, skinning, subtle varnish inconsistencies,subtle bowing to board.
$1,000-1,500
305.Manner of David Teniers the Younger (Flemish, 1610-1690)
Lot of Two Tavern ScenesOne with indistinct monogram signature and date “...1784” l.r.Oil on canvas, 10 1/2 x 12 3/4 in. (26.6 x 32.4 cm), framed.Condition: Retouch, craquelure with lifting, abrasions, surfacegrime.
$2,200-2,800
305
304
306.Dutch School, 17th Century Style
Peasant Dance Before a TavernUnsigned.Oil on canvas, 28 5/8 x 26 3/16 in. (72.8 x 66.5 cm), framed.Condition: Lined, retouch, surface grime.
Provenance: Through the estate of Norton Asner, Baltimore,Maryland.
$800-1,200
306
307.Italian School, 18th/19th Century Style
Figure Study of Male Nude with StaffUnsigned.Sepia ink on paper, sheet size 8 3/4 x 6 3/4 in. (22.2 x 17.1 cm),framed.Condition: Trimmed sheet, foxing, losses.
$400-600
308.German School, 18th Century Style
Mary Magdalene in the WildernessUnsigned.Oil on copper, 3 7/8 x 2 7/8 in. (9.8 x 7.3 cm), framed.Condition: Mounted to linen-covered mat, losses, retouch, surfaceabrasions.
$800-1,200
308
307
309.Manner of Francesco Bianchi Bonavita (Italian, 1593-1658)
The Sacrifice of IsaacUnsigned, inscribed “Allori (Cristofano), Ecole Florentine, 1577-1621”on the reverse.Oil on canvas, 32 3/4 x 25 1/2 in. (83.2 x 64.8 cm), framed.Condition: Lined, retouch, craquelure with cupping, losses, surfacegrime.
N.B. This composition is related to a work of the same subject in theformer Scuole Leopoldine, in Florence.
$2,000-4,000
310.Neopolitan School, 17th Century Style
Christ Crowned with ThornsUnsigned.Oil on canvas, 29 1/2 x 24 1/4 in. (74.9 x 61.6 cm), framed.Condition: Lined, retouch, varnish inconsistencies, surface grime,craquelure.
$1,000-1,500
309
310
311.Continental School, 17th/18th Century
Figure StudiesInitialed u.r., ink sketch of a horse verso.Ink, washes, and varnishes on laid paper, with single fleur-de-liswatermark, 12 1/2 x 7 5/8 in. (31.6 x 19.3 cm), framed.Condition: Scattered foxing, toning, creasing, worn along edges,nicked along bottom edge.
$700-900
312.Spanish or Spanish Colonial School, 18th Century Style
Portrait of the Virgin of GuadalupeInscribed “VERA EFFIGIES/B.[Beatae]V.[Virginis] MARIAE QUAM S.[Sanctus] LUCAS PINXT...” l.c.Oil on canvas mounted to board, 10 3/4 x 7 1/4 in. (27.3 x 18.4 cm),framed.Condition: Abrasions/losses, retouch, craquelure.
$700-900
312
311
313.Spanish School, 16th Century Style
Ecco HomoUnsigned.Oil on panel, 14 1/8 x 9 1/4 in. (35.9 x 23.5 cm), framed.Condition: Restored vertical split to panel, finecraquelure.
Provenance: Purportedly acquired in Spain, then bydescent to the present owner.
$2,000-3,000
314.Italian School, 18th/19th Century
Madonna and Child Seated on a CloudUnsigned, indistinctly inscribed u.l., stamped“RESIDENTIA...” on the reverse.Sepia ink on laid paper, sheet size 8 1/4 x 6 3/4 in. (21.0x 17.1 cm), framed.Condition: Taped to window mat, trimmed sheet, foxing,losses.
$400-600
313
314
314A
314A.Joseph Blackburn (Anglo/American, c. 1700-1780)
Portrait of Colonel Benjamin Pollard (1696-1756)Unsigned, identified on a partial label affixed to the reverse.Oil on canvas, 33 1/2 x 26 in. (85.1 x 66.0 cm), framed.Condition: Craquelure, lined, retouch.
N.B. The sitter descended from a Boston military family. Following inthe footsteps of his grandfather William Pollard, who was a 17th-century member of the Ancient and Honorable Artillery Company ofMassachusetts, Benjamin Pollard became the fourth sergeant of theArtillery Company in 1726. His uncle Edward Winslow was a sheriffof Suffolk County, and Pollard assumed his position for thirteen years,until 1756.1
1. Oliver Ayer Roberts, History of the Military Company of the Massachusetts, nowcalled the Ancient and Honorable Artillery Company of Massachusetts: 1637-1888,(New York: A. Mudge & Son), 1895, p. 424.
$12,000-15,000
315.British School, 18th/19th Century
Portrait of a GentlemanUnsigned.Oil on canvas, 29 1/4 x 22 3/4 in. (74.3 x 57.8 cm), framed.Condition: Lined, losses, surface grime, varnish inconsistencies, withpossible retouch and craquelure.
$1,200-1,800
316.British School, 18th Century
Portrait of a Gentleman in a Red Cloak, Decorated with an Orderof NobilityUnsigned, partial label “Venable’s/...Washington 9, D.C.” on thereverse of the frame.Oil on canvas, 22 3/8 x 16 1/2 in. (56.8 x 42.0 cm), framed.Condition: Retouch, craquelure, paint loss.
$1,000-2,000
315
316
317.Continental School, 18th Century Style
Portrait of a Woman in BrocadeUnsigned.Oil on canvas, 28 1/2 x 23 1/2 in. (72.4 x 59.7 cm), in an oval frame.Condition: Lined, retouch, varnish inconsistencies, craquelure.
$1,500-2,000
318.John Watson Gordon (Scottish, 1788-1864)
Portrait of Miss Elizabeth Mack, also known as Mrs. ThomasHenderson of Press Castle, EdinburghSigned or inscribed “Mrs. Thomas Henderson/Painted by WatsonGordon Edinburgh” and identified on a label on the reverse.Oil on canvas, 50 1/4 x 40 1/4 in. (127.6 x 102.2 cm), in a periodframe.Condition: Retouch, surface grime, retouch, canvas deformations,craquelure.
$5,000-7,000
317
318
318A.Attributed to Bernardo Strozzi (Italian, 1581-1644)
Kopf einer Frau in mittleren JahrenUnsigned, wax seal on the stretcher.Oil on canvas, 21 1/2 x 16 1/2 in. (54.6 x 41.9 cm), framed.Condition: Lined, craquelure, retouch, losses/abrasions.
Provenance: Collection Eugen Platky, Leipzig, Germany, c. 1918,then by descent to the present owner.
Literature: Hermann Voss, “Die Samnlung Platky in Leipzig” inZeitschrift für bildende Kunst, October-November, 1918, p. 28.
$10,000-15,000
318A
318B.Alex de Andreis (British, 1880-1929)
Portrait of a CavalierSigned “A. de Andreis” l.r., identified on a presentation plaque.Oil on canvas, 28 3/4 x 24 in. (73.0 x 61.0 cm), framed.Condition: Craquelure, minor surface grime.
$800-1,200
318B
318C.Continental School, 17th Century Style
Portrait of a Man Holding LorgnetteUnsigned, inscribed “Kneller” on the reverse.Oil on panel, 20 1/4 x 15 1/2 in. (51.5 x 40.0 cm), framed.Condition: Scattered retouch, minor losses (primarily near edges),areas of possible skinning, fine craquelure.
$600-800
319.Continental School, 18th Century
Lot of Two Drawings for PunchinelloUnsigned.Ink and wash on laid paper, approximate sizes to 7 x 4 3/4 in. (17.7 x12.0 cm), in a common frame.Condition: One with tiny hole, both with foxing and toning, bothaffixed to window mat with tape.
$500-700
318C
319
319A.James Wells Champney (American, 1843-1903)
Dreams of LoveSigned “J Wells Champney” l.r.Pastel on paper, sight size 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm),framed.Condition: Not examined out of frame.
$800-1,200
320.Sydney Richmond Burleigh (American, 1853-1931)
Portrait of a Seated OdalisqueSigned “S.R. Burleigh” l.l.Watercolor on paper, sight size 4 3/4 x 2 3/4 in. (12.1 x 7.0 cm),framed.Condition: Not examined out of frame.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
321.School of Narcisse Virgile Diaz de la Peña (French, 1807-1876)
Woman with Cupid in a Woodland ClearingIndistinctly monogrammed l.l., identified on a presentation plaque.Oil on canvas mounted to paper/board, 10 1/2 x 8 in. (26.7 x 20.3cm), framed.Condition: Surface grime, craquelure.
$1,200-1,800
320
319A
321
322.After Mark Matveevich Antokolsky (Russian, 1843-1902)
Nathan the Wise (Natan Mudryi)/A Posthumous CastingSigned or inscribed “M.M. ANTOKOLSKY” in Cyrillic l.r. and “L.A ©1927” l.l.Bronze with a brown patina, height 9 1/4 in. (23.5 cm), on a greenstone base.Condition: Felt adhered to the bottom, surface inconsistencies/surface grime.
Provenance: By family descent from the artist to his nephew LouisAntoville, Queens, New York, thence to Sol [Solomon] W. Antovilleand Sylvia Hepner Antoville, Manhattan, New York, thence by familydescent to private collection, Massachusetts.
$8,000-12,000
322A.Nathaniel Sichel (Germany, 1843-1907)
Portrait of an Oriental BeautySigned “N. Sichel.” u.r.Oil on canvas, 25 1/2 x 19 3/4 in. (49.5 x 50.2 cm), framed.Condition: Craquelure, patch reinforcements, surface grime, retouch.
$2,000-4,000
322
322A
323.Adolphe Charles Edouard Steinheil (French, 1850-1908)
The ConnoisseursSigned “A. STEINHEIL” l.l., identified on a presentation plaque.Oil on canvas, 21 3/4 x 18 in. (55.2 x 45.7 cm), framed.Condition: Lined, retouch, skinning, subtle varnish inconsistencies,craquelure.
Provenance: Purchased from Comenos Fine Art, Boston.$10,000-15,000
323
324.Franz (Francis H.) Heinrich (Austrian/American, 1802-1890)
Interior View of the Colonna Palace, RomeSigned “F. Heinrich.” l.r.Watercolor and graphite on paper, sight size 26 1/2 x 39 3/4 in. (67.3x 101.0 cm), framed.Condition: Not examined out of frame.
Provenance: Purchased from Comenos Fine Art, Boston.
N.B. Franz (Francis H.) Heinrich was a painter of genre scenes,architecture, and interiors, born in Nachod, Bohemia, in 1802. Hestudied at the Academy of Vienna from 1819 to 1830. Heinrichtraveled to Italy, Holland, Germany, Switzerland, Belgium, and theUnited States, before establishing himself in Vienna. He was a giftedwatercolorist, and is best known for his elaborate interiors of palacesand churches and for his street views of European cities. TheMuseum of Vienna holds several of his watercolors, including hisportrait and views of Rome and Venice.
$10,000-15,000
324
325.Heinrich Breling (German, 1849-1914)
Quiet PursuitsSigned and dated “H. Breling/1891” u.r.Oil on panel, 9 1/2 x 7 in. (24.1 x 17.8 cm), framed (under glass).Condition: Alligatoring, abrasions, varnish inconsistencies.
$800-1,200
325A.Italian School, 19th Century
Portrait of a RestorerSigned indistinctly l.r.Watercolor and ink on paperboard, 17 x 13 in. (43.2 x 33.0 cm),framed.Condition: Subtle toning.
$800-1,200
325 325A
325B.Oreste Cortazzo (Italian, 1836-1889)
A Corner at the Opera...Signed “Cortazzo” l.l., titled in an inscription on the reverse.Oil on paper/board, 10 x 7 1/4 in. (25.4 x 18.4 cm), framed (underglass).Condition: Minor surface grime, subtle bowing to board, minorabrasions.
$3,000-5,000
325B
326.Continental School, 17th/18th Century Style
An Intimate ConcertUnsigned.Oil on canvas, 44 1/4 x 55 in. (112.4 x 139.7 cm), framed.Condition: Strip lined with patch reinforcement, retouch, scatteredabrasions, losses, craquelure, surface grime.
$1,500-3,500
327.Sir Frank Dicksee, P.R.A. (British, 1853-1928)
The DuetSigned and dated “F. Dicksee. 1897” l.l., with a label from M.Grindley, Liverpool, England, on the stretcher.Oil on canvas, 24 x 33 1/4 in. (61.1 x 84.3 cm), framed.Condition: Retouch, craquelure, small punctures/canvasdeformations, abrasions, surface grime, varnish inconsistencies.
$1,500-2,000
326
327
328.Fr. de Leub (Continental, 19th Century)
The Love LetterSigned and dated “fr De Leub./1866” l.r.Oil on panel, 10 1/4 x 13 5/8 in. (26.0 x 34.6 cm), framed.Condition: Surface grime, craquelure, abrasions, alligatoring.
$2,000-3,000
329.Continental School, 19th Century
Her New LoveMonogram signature “JBach” l.l., identified on a presentation plaque.Oil on canvas, 25 x 37 in. (63.5 x 94.0 cm), framed.Condition: Lined, craquelure, retouch.
$1,800-2,220
329A.Virgilio Tojetti (Italian/American, 1851-1901)
The SwingSigned and dated “V. Tojetti 96” l.l.Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), framed.Condition: Surface grime, minor loss in the u.r. quadrant.
$800-1,200
329
328
329A
329B.Attributed to Robert Farrier (British, 1796-1879)
Possibly a Study for The Recruit or Who’ll Serve the KingUnsigned, a print of this image after Farrier affixed to the reverse,labels including one from Walker’s Galleries Ltd., London, affixed tothe reverse.Oil on board, 11 3/4 x 15 in. (29.8 x 38.1 cm), framed.Condition: Retouch, craquelure.
$5,000-7,000
329B
330.Fabio Cipolla (Italian, 1852-1935)
A Surprise EncounterSigned “F. Cipolla” l.r.Oil on canvas, 17 1/4 x 25 1/2 in. (43.8 x 64.8 cm), framed.Condition: Lined, retouch, abrasions beneath frame liner, craquelure.
Provenance: Purchased from Comenos Fine Art, Boston.$12,000-18,000
330
331.Henry James Johnstone (British, 1835-1907)
Old RoverSigned “H.J. Johnstone” l.l., titled in a later hand on the reverse,inscribed “Rover Johnstone” on the back of the window mat, a labelfrom Thomas Agnew & Sons, London, Manchester, and Liverpool,affixed to the reverse.Watercolor on paper mounted onto board, sight size 7 1/2 x 5 1/2 in.(19.1 x 14.0 cm), framed.Condition: Subtle rippling/mounting bubbles, supporting boardadhered to window mat at edges.
$1,500-2,000
331A.George Henry Boughton (Anglo/American, 1833-1905)
The Little Dutch GirlsInitialed “GHB.” l.l.Conté crayon on paper, sight size 9 7/8 x 8 1/4 in. (25.1 x 21.0 cm),framed.Condition: Toning, not examined out of frame.
$800-1,200
331
331A
332.Felix Schlesinger (German, 1833-1910)
The PetsSigned “F. Schlesinger.” l.l., identified on a presentation plaque.Oil on panel, 11 1/2 x 12 3/4 in. (29.2 x 32.4 cm), framed (within aliner).Condition: Craquelure, subtle varnish inconsistencies.
$8,000-12,000
332
333.Continental School, 19th Century
Night Scene with Street MusiciansUnsigned.Oil on canvas, 16 x 11 in. (40.6 x 27.9 cm), framed in an oblonglunette format.Condition: Lined, retouch, varnish inconsistencies, abrasions, surfacegrime, craquelure.
$3,000-5,000
334.Attributed to Adolphe Piot (French, 1850-1910)
Portrait of a Young Girl with CherriesUnsigned.Oil on canvas, 21 3/8 x 18 in. (54.3 x 45.7 cm), framed in an ovalformat.Condition: Retouch, varnish inconsistencies, surface grime,craquelure.
$1,500-2,000
334A.Continental School, 19th Century
The Boys’ ChoirSigned indistinctly l.r., with a label from the Museum of Fine Arts,Boston, on the reverse.Oil on canvas, 34 1/2 x 24 in. (87.6 x 61.0 cm), framed.Condition: Lined, craquelure, retouch.
$800-1,500
334A
333
334
335.Jan Walraven (Dutch, 1827-1863)
Girl with RabbitsSigned “J. Walraven” l.l. signed, dated, and identified in a paintedlabel “Je suis...est original et peint par moi...Bruxelles 1878 J.Walraven” on the reverse.Oil on panel, 13 3/8 x 10 7/8 in. (34.0 x 27.7 cm), framed.Condition: Patches of craquelure, surface grime.
$1,000-1,500
336.Charles Paul Gruppe (Canadian/American, 1860-1940)
Woman Polishing a KettleSigned “Chas. P. Gruppe” l.l.Oil on canvas, 16 5/8 x 13 3/8 in. (42.2 x 34.2 cm), framed.Condition: Craquelure, surface grime.
$800-1,200
335
336
337.Ernest Guillemer (French, 1839-1913)
The Road HomeSigned “E. Guillemer” l.r., Paris canvas stencil on the reverse.Oil on canvas, 16 1/4 x 13 in. (41.3 x 33.0 cm), in a period frame.Condition: Retouch, craquelure, surface grime.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$4,000-6,000
337A.Henry Müller (American, fl. 1850-1852)
Return to the Mountain Village in WinterSigned, dated, and inscribed “H. Müller N.Y. 51.” l.l.Oil on canvas, 25 1/4 x 30 1/4 in. (64.1 x 76.8 cm), framed.Condition: Lined, retouch, craquelure.
$2,500-3,500
337
337A
338.Alexandre Gabriel Decamps (French, 1803-1860)
Peasant Shacks with ClotheslineSigned “D. C.” l.l., identified on a presentation plaque.Oil on canvas, 11 7/8 x 15 1/2 in. (30.5 x 39.2 cm), framed.Condition: Minor paint loss, abrasions, surface grime.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.
N.B. Alexandre-Gabriel Decamps, an Orientalist, genre, andhistory painter, as well as a sometime caricaturist, was one of thefirst French painters of the 19th century to turn fromNeoclassicism to Romanticism. Born in Paris in 1803, Decampsspent time in the countryside as a youth, and there he developeda love of drawing. His art training was uneven, studying brieflywith Etienne Bouhot and Alexandre-Denis Abel de Pujol, but headmired the works of Rembrandt and Chardin and learnedextensively by studying their palette and use of glazes. Decamps’travels as a young man in the Near East and Asia Minor, as well asItaly, inspired his painting. As a result of his visit to the MiddleEast, he was among the first European artists to represent Biblicalscenes with natural, local backgrounds. While at Smyrna it is saidthat he made sketches enough to provide subject matterthroughout his career as an Orientalist painter. Decamps alsoproduced a number of genre scenes from France and Algeria. Hisexhibition record is extensive, beginning at the Paris Salon of1827, including many prizes, and he was elected an Officer of theFrench Legion of Honor in 1851.
$1,500-2,500
339.Attributed to George William Whitaker (American, 1840-1916)
View with a Figure in a Cobbled AlleyUnsigned, with a partial label inscribed “Near.../Geo. W...er/65W...ster St. ...” on the reverse.Oil on artist board, 12 5/8 x 9 in. (32.1 x 22.9 cm), framed.Condition: Abrasions, surface grime.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.
N.B. Whitaker, who maintained a studio at 65 Westminster Streetin Providence, was the first painting instructor at the Rhode IslandSchool of Design and a founder of the Providence Art Club alongwith Sydney R. Burleigh, Edward M. Bannister, and Charles W.Stetson.
$1,500-2,000
340.Paulus Adriaan Gildemeester (Dutch, 1858-1930)
Cottages on the RiverbankSigned “P. A. Gildemeester” l.r.Oil on canvas, 14 x 20 1/2 in. (35.6 x 52.1 cm), unframed.Condition: Scattered retouch, extremely fine craquelure, mildsurface grime.
$1,200-1,800
340
338
339
341.Nicolas Toussaint Charlet (French, 1792-1845)
Napoleon’s Return from ElbaSigned “Charlet” l.l., inscribed on the stretcher.Oil on canvas, 9 1/4 x 12 1/2 in. (23.5 x 31.8 cm), framed.Condition: Craquelure, surface grime, retouch.
Provenance: Sotheby’s London, Wednesday, November 16, 1994,lot 171; through to the estate of N. David Scotti, Providence, RhodeIsland.
$800-1,200
342.Italian School, 19th Century
Arcadian Landscape with Figures by a FountainUnsigned.Oil on panel, 19 x 16 in. (48.3 x 40.6 cm), framed.Condition: Vertical splits to panel, losses/abrasion, varnishinconsistencies.
$800-1,200
341
342
343.Robert Léopold Leprince (French, 1800-1847)
Le Retour du TroupeauSigned “Leopold Leprince 183-...,” identified on a presentationplaque and on a label from Kurt Schon, New Orleans, on thestretcher.Oil on canvas, 15 x 18 1/4 in. (38.1 x 46.4 cm), framed.Condition: Lined, craquelure, retouch.
$2,000-3,000
343A.Jacques Willem van Blarenberghe (Dutch, 1679-1742)
Lot of Two Works of Campaigns of Louis XIV: An Encampmentwith Troops and Camp Scene Beside a StreamUnsigned, identified on labels affixed to the backing.Gouache on paper mounted to paper/board, sheet sizes to 7 x 815/16 in. (17.8 x 22.7 cm), framed.Condition: Possibly trimmed sheets, minor surface grime, abrasions.
Provenance: Mr. Eliot Wadsworth (Assistant Secretary of the Treasuryunder President Harding), Boston, Massachusetts; then by descentwithin the family.
$3,000-5,000
343
343A
343B.Michelangelo Meucci (Italian, 1840-1890)
Lot of Three Trompe l’Oeil Bird StudiesEach signed and inscribed “-M. Meucci- Firenze-...” and dated“-1875-” or “-1876-” l.c.Oil on panel, oval formats, 8 1/2 x 6 3/4 in. (21.6 x 17.1 cm), twoframed, one unframed.Condition: Surface grime.
$1,500-2,500
344.William Cruickshank (British, 1848-1922)
Still Life with Bird and NestSigned “W. Cruickshank” l.r.Watercolor with gouache on paper, sight size 9 x 12 in. (22.9 x 30.5cm), matted, unframed.Condition: Sandwiched between mats, subtle rippling to paper, lightscattered staining/soiling.
$300-500
345.Continental School, 19th Century
Chickens and Ducklings in a LandscapeSigned “A-Franchin” l.l.Oil on canvas, 31 1/4 x 58 1/4 in. (79.4 x 148.0 cm), framed.Condition: Minor retouch, subtle surface grime, fine scatteredcraquelure.
$3,000-5,000
345
344343B
346.Alexis Kreyder (French, 1839-1912)
Landscape with Grapes on the VineSigned and dated “A. Kreyder 83.” l.l., inscribed “Maison Merlin/PaulDenis Succr/Paris...” in a canvas stencil on the reverse.Oil on canvas, 38 1/4 x 30 1/2 in. (97.2 x 77.5 cm), framed.Condition: Craquelure, minor surface grime.
$4,000-6,000
346
347.William Weekes (British, 1856-1909)
Darby and JoanMonogram signature “WWeekes.” l.l., titled and inscribed“...WWeekes” in pencil on the reverse.Oil on artist board, 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm), framed.Condition: Subtle varnish inconsistencies, abrasions beneath theframe liner.
$2,500-3,500
348.Attributed to Benjamin Barker (British, 1776-1838)
Cattle in a Mountainous LandscapeSigned “B Barker” l.l.Oil on canvas, 11 1/2 x 16 in. (29.2 x 40.6 cm), framed.Condition: Tear in l.r. quadrant, craquelure, retouch, varnishinconsistencies.
$1,200-1,800
347
348
349.John Frederick Herring, Jr. (British, 1815-1907)
Horses in a FarmyardSigned “J.F. Herring” l.l., identified on a label from Richard Green FinePaintings, London, on the reverse.Oil on panel, 6 5/8 x 8 1/2 in. (16.8 x 21.6 cm), framed.Condition: Minor surface grime.
Provenance: Purchased from Richard Green, London, 1975, thenthrough to the present collector.
Literature: Richard Green, Annual Exhibition of Sporting Paintings,1975, no. 41 (illus.), p. 86.
$3,000-5,000
349A.James Lees Bilbie (British, d. 1945)
Figures by a Country CottageSigned “Jas. L. Bilbie” l.l.Oil on canvas mounted to fiberboard, 14 1/4 x 21 1/4 in. (36.2 x 54.2cm), framed.Condition: Retouch, surface grime, craquelure.
$800-1,200
349
349A
350.William R.C. Watson (British, d. 1921)
By Loch Tay-PerthshireSigned and dated “W. Watson 1916” l.r., titled and signed “...WmWatson” on the reverse, a label from Wunderly Bros. Fine Art,Pittsburgh, affixed to the reverse.Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), in a period frame (underglass).Condition: Retouch, varnish inconsistencies, possible areas of bloomin the varnish layer, not examined out of frame.
$3,000-5,000
350A.Alice Blair Thomas (American, 1857-1945)
Shepherd Leading His Flock Through the PassSigned and dated “Alice Blair Thomas 1901.” l.r.Oil on artist board, 18 x 24 in. (45.7 x 61.0 cm), framed.Condition: Losses, flaking, surface grime, abrasions, craquelure.
$1,000-1,500
350
350A
351.Bryant Chapin (American, 1859-1927)
Loch Lomond/A View of ScotlandSigned, titled, and dated “BRYANT CHAPIN...1915.” l.l., identified ona label affixed to the reverse.Oil on canvas, 18 x 28 in. (45.7 x 71.1 cm), framed.Condition: Extremely mild scattered craquelure.
Provenance: From the collection of the Fuller Museum of Art,Brockton, Massachusetts.
$1,500-2,000
352.Alfred Fontville de Breanski (British, 1877-1955)
Snowden from Pen-y Gwryd, N. WalesSigned “A de Breanski Jun.” l.r., titled and signed “...A de BreanskiJun” on the reverse, identified on a presentation plaque.Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), framed.Condition: Scattered retouch, craquelure with lifting, minor scatteredlosses.
$1,200-1,800
352
351
353.Robert Salmon (Anglo/American, 1775-1844)
Ailsa Craig/A Firth of Clyde, Scotland, ViewSigned, inscribed, and dated “No. 818/Painted by R. Salmon/1835”on the reverse.Oil on panel, 10 x 12 1/2 in. (25.4 x 31.7 cm), framed.Condition: Fine craquelure, minor retouch.
Provenance: Mr. Henry Channing Rivers, Northeast Harbor, Maine,by family descent to a private New England collection.
Literature: John Wilmerding, Robert Salmon: Painter of Ship & Shore,Boston: Peabody Museum of Salem and Boston Public Library, 1971,p. 95.
N.B. Robert Salmon, an English-born marine artist, spent his earlyyears painting in England and Scotland, including the ports andshipbuilding centers of Liverpool and Greenock. His style was basedon the older English marine artists, themselves influenced by the
Dutch. In 1828 Salmon immigrated to the U.S., settling in Bostonwhere he established a successful career painting ship portraits andcoastal views. Salmon had a great impact on the direction ofAmerican marine painting. Using precise foreground detail anddevoting a large area of the composition to the atmospheric effects ofthe light-filled sky, Salmon’s works foreshadowed the Luminist style ofFitz Henry Lane. Salmon left Boston in 1842, returning to Britain,perhaps to the Scottish coast. In a catalogue of Robert Salmon’sPictures 1828-1840, which is reproduced as Appendix A of JohnWilmerding’s monograph on Salmon, the artist lists two paintings hemade of Ailsa Craig in March of 1840. The Craig is listed as thesubject of three other earlier paintings from his inventory, and was afavored subject, whether painted on location or from the artist’smemory. Ailsa Craig, rising some 1,100 feet high, is a well knownlandmark in the Firth of Clyde where it joins the Irish Channel.
$8,000-12,000
353
353A
353A.William Trost Richards (American, 1833-1905)
Coastal View, Possibly a Rhode Island LandscapeSigned “Wm T Richards” l.r.Watercolor on paper, sight size 8 3/4 x 13 3/4 in. (22.2 x 34.9 cm),framed.Condition: Repaired tear c.r., subtle toning, broad rippling, notexamined out of frame.
$3,000-5,000
354.Alfred Thompson Bricher (American, 1837-1908)
Sailing off the Maine CoastMonogram signature “ATBRICHER:” l.l., a label from the VoseGalleries, Boston, on the backing.Oil on canvas, 12 x 20 in. (30.5 x 50.8 cm), framed.Condition: Retouch, varnish inconsistencies, craquelure.
Provenance: Purchased from Vose Galleries, Boston.
N.B. Born in 1837, Alfred Thompson Bricher grew up inNewburyport, Massachusetts. He was largely self-taught until 1851,when he enrolled in art lessons at the Lowell Institute in Boston.Bricher painted in both oil and watercolor. He began his careersketching and painting in the White Mountains and Maine. In 1868the artist moved to New York, but summers found him on paintingexcursions along the Maine coast, on Cape Ann, as well as in othercoastal regions of Rhode Island and Long Island. Bricher was amember of the American Water Color Society and the Boston ArtClub, and he was elected an Associate of the National Academy in1879. His paintings were exhibited at the Boston Athenaeum, theNational Academy, the Art Institute of Chicago, and the PennsylvaniaAcademy of Fine Art, and they are held in major museum collections.His work is associated with the second generation of Hudson RiverSchool painters and with Luminism.
$15,000-25,000
354
355.Wesley Elbridge Webber (American, 1841-1914)
Paddle SteamerSigned “W. Webber” l.r.Oil on canvas, 16 x 25 in. (40.6 x 63.5 cm), framed.Condition: Punctures with losses, retouch, varnish inconsistencies,damage to tacking edge, wear to corners, mild canvas deformations,scattered surface abrasions, craquelure, surface grime.
$3,000-5,000
356.Addison Thomas Millar (American, 1860-1913)
Moonlight Sail/A New England Coastal ViewSigned “A.T. Millar” l.l., identified on a presentation plaque.Oil on canvas, 18 x 30 in. (46.0 x 76.5 cm), framed.Condition: Lined, scattered retouch, craquelure, subtle varnishinconsistencies.
N.B. Millar was a student of noted artist William Merritt Chase.$5,000-7,000
355
356
357.Mauritz Frederik Hendrick De Haas (Dutch, 1832-1895)
Coastal View with CraftSigned and dated “MFH de Haas./1868” l.l.Oil on canvas, 12 1/8 x 20 in. (30.8 x 50.8 cm), framed.Condition: Craquelure, lined, retouch.
Provenance: Purchased from Vose Galleries, Boston.$8,000-12,000
357A.American School, 19th Century
Luminist Coastal ViewUnsigned, inscribed indistinctly on the reverse.Oil on canvas mounted to board, 5 x 9 in. (12.7 x 22.9 cm), framed.Condition: Surface grime, varnish inconsistencies, craquelure,trimmed board.
$800-1,200
357
357A
358.Charles Henry Gifford (American, 1839-1904)
Fishermen at Work by MoonlightSigned and dated “C.H. Gifford 86” l.r.Oil on canvas, 18 x 13 in. (45.7 x 33.0 cm), framed.Condition: Craquelure.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$1,000-1,500
359.George Wattles Waters (American, 1832-1912)
Moonlit HarborSigned “G. W. Waters” l.r.Oil on board, 7 1/2 x 10 1/2 in. (19.0 x 26.5 cm), framed.Condition: Minor abrasions along frame liner, subtle craquelure.
$1,800-2,200
358
359
360.William Edward Norton (American, 1843-1916)
Night/A Boston Harbor ViewSigned and dated “William E. Norton 90.” l.l., identified on a label, probably in the artist’s hand, and with alabel from J. Eastman Chase, Boston, on the reverse.Oil on canvas, 23 x 30 in. (58.4 x 76.2 cm), framed.Condition: Surface grime, abrasions/losses, minor retouch.
N.B. Noted marine painter William Edward Norton was born in Boston and discovered his love of the seaand sailing as a young man aboard family-owned ships. He studied at the Lowell Institute and with GeorgeInness, before establishing a studio in Boston, where he was a member of the Boston Art Club, exhibitingthere from 1873 to 1909. In the early 1870s Norton left for Europe, living in Paris and then in London,building his reputation on views of the Thames and coastal and marine paintings. Returning to the UnitedStates around 1901, Norton settled in New York City and also spent time painting on Monhegan Island.“Norton’s Ledge” on the south side of the island is named for him. Norton exhibited at the Royal Academy,the Paris Salon, the 1893 Chicago Exposition, the Pennsylvania Academy, and the Art Institute of Chicago.1
A label on the stretcher of this nocturnal painting gives the artist’s address as 23 Camden Road NW, No. 4,suggesting that it may have been painted or exhibited during the artist’s time in London. A similar but smallernocturnal view by the artist (possibly a study for the present work) was sold at a Skinner auction onSeptember 11, 2009, lot 385.
1. Who Was Who in American Art, Peter Falk, Editor-in-Chief, Vol. II, p. 2441.$10,000-15,000
360
361.Fritz Sigfried Georg Melbye (Danish, 1826-1896)
JunkSigned, inscribed, and dated “Fritz.G.Melbye Junk/Peking 1869” l.l.Oil on canvas, 16 1/8 x 27 1/4 in. (41.0 x 69.3 cm), framed.Condition: Strip lined, retouch, craquelure, surface grime.
$2,500-3,000
362.Robert Arthur (American, 1850-1914)
Crashing Waves at DuskSigned and dated “Robert Arthur-1907” in pencil l.l.Gouache on paper/board, 21 x 28 in. (53.3 x 71.1 cm), framed.Condition: Subtle toning, abrasions, not examined out of frame.
$800-1,200
361
362
363.Earl E. Collins (American, 1925-1992)
View of a Clipper ShipSigned “Earl Collins” l.r.Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Craquelure, surface grime.
$800-1,200
364.James Gale Tyler (American, 1855-1931)
Off Grand Manan/A Canadian Coastal ViewSigned “JAMES G. TYLER” l.r., titled in pencil on the stretcher.Oil on canvas, 10 x 19 3/4 in. (25.4 x 50.2 cm), framed.Condition: Surface grime, craquelure.
$1,000-1,500
364
363
365.Johann Hendrick van Mastenbroek (Dutch, 1875-1945)
Vessels in the HarborSigned “J.H. van. Mastenbroek” l.r., identified on a presentationplaque, and with a label from J.H. Miller Co., Inc., Springfield,Massachusetts, on the reverse.Watercolor on paper, sight size 15 x 21 in. (38.1 x 53.3 cm), framed.Condition: Foxing, toning, not examined out of frame.
$700-900
365
366.Walter Lofthouse Dean (American, 1854-1912)
View of a Boat by a DockSigned and dated “W.L. DEAN./1889” l.l., also signed and dated“W.L. DEAN./18889.” [sic] with a label from Frost & Adams, Boston,on the reverse.Oil on canvas, 16 x 10 in. (40.6 x 25.4 cm), framed.Condition: Surface grime, craquelure.
$1,000-2,000
367.No lot.
368.Charles Augustus C. Lasar (American, 1856-1936)
Ship at HarborSigned “C. LASAR” l.r. and l.l., with a signature pentimento l.l.Oil on canvas mounted to board, 10 3/4 x 13 3/4 in. (27.3 x 34.9cm), framed.Condition: Subtle bowing to board, scattered retouch.
$1,000-1,500
368
366
369.Attributed to Thomas Hewes Hinckley (American, 1813-1896)
Traders Surprised on the Yellow Stone RiverUnsigned, titled or inscribed and identified “...From Coopers novel -Thos. H. Hinckley/the Artist” on the reverse.Oil on panel, 15 x 17 in. (38.1 x 43.2 cm), framed.Condition: Retouch, craquelure, surface grime, mild warping ofpanel.
$2,500-3,500
370.John White Allen Scott (American, 1815-1907)
View in Conway, New Hampshire, 1868Initialed “S” l.r., titled, dated, and monogrammed “...68 J.W.A.S” inpencil on the reverse.Oil on artist board, 7 1/4 x 5 1/2 in. (18.4 x 14.0 cm), framed in anoval format (under glass).Condition: Surface grime, losses/punctures to support, abrasions,varnish inconsistencies, craquelure, alligatoring, minor retouch.
$700-900
369
370
371.Wesley Elbridge Webber (American, 1841-1914)
Maine View with HuntersSigned and dated “W. Webber 1870” l.r.Oil on canvas, 20 x 36 in. (50.8 x 91.4 cm), framed.Condition: Scattered retouch/varnish inconsistencies, surface rubs,scattered craquelure, surface grime.
Provenance: Skinner, November 3, 1988 (sale no. 1224), lot 31.
Exhibitions: Nineteenth and Early Twentieth Century New EnglandPainters, Boston Athenaeum, Boston, February 7 to 28, 1983; TheArt of Collecting, The Danforth Museum of Art, Framingham,Massachusetts, September 13 to November 29, 1981.
$4,000-6,000
371A.William Ferdinand Macy (American, 1852-1901)
Sunset on the MarshSigned “W. Ferdinand Macy” l.r.Oil on canvas, 18 x 34 in. (45.7 x 86.3 cm), framed.Condition: Strip lined, retouch, craquelure, surface grime.
$4,000-6,000
371
371A
372.Jeremiah Wilson (American, 1824-1899)
Children Gathering by the WoodsSigned “J Wilson” l.r., G. R. Dodge & Co., Baltimore, stencil on thereverse.Oil on panel, 6 1/2 x 10 in. (16.5 x 25.4 cm), framed.Condition: Retouch, varnish inconsistencies.
$2,500-3,500
372
373.Edward B. Gay (Irish/American, 1837-1928)
Fête ChampêtreSigned and dated “E. GAY. 56” l.r.Oil on canvas, 15 x 21 in. (38.1 x 53.3 cm), framed.Condition: Craquelure, surface grime.
$1,000-1,500
374.George Henry Smillie (American, 1840-1921)
A Recollection of Susquehanna Co. Pa.Signed and dated “Geo. H. Smillie. ‘66” l.l., titled and inscribed“...Painted by Geo H. Smillie. ‘66” on the reverse.Oil on canvas, 7 x 12 3/8 in. (17.8 x 31.4 cm), unframed.Condition: Surface grime.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$800-1,200
373
374
375.George Arthur Hays (American, 1854-1945)
Lot of Two Works: Under the Oak and Mt. TobieSigned “G A Hays” l.l. and l.r., respectively, titled on labels on thepaper backing.Watercolor and gouache on paper/board, sight size to 8 3/8 x 10 in.(21.3 x 25.4 cm), framed.Condition: One with small tear in l.r. corner, toning, not examined outof frames.
$700-900
376.Joseph Foxcroft Cole (American, 1837-1892)
Cows by the Pasture GateSigned “J. Foxcroft Cole” l.r.Oil on canvas, 12 x 18 in. (30.5 x 45.7 cm), framed.Condition: Retouch, lined, craquelure.
$800-1,200
375
376
377.Charles Paul Gruppe (Canadian/American, 1860-1940)
Under the WillowsSigned “Chas. P. Gruppe” l.r., identified on a label from theSalmagundi Club Thumb Box Exhibition on the reverse.Oil on canvasboard, 9 x 12 in. (22.9 x 30.5 cm), a Newcomb-Macklinframe.Condition: Minor surface grime, minor loss to l.r. quadrant.
$800-1,200
377
378.Charles Wilson Knapp (American, 1823-1900)
Cattle Grazing on a RiverbankSigned “C. W. Knapp” l.l.Oil on canvas, 20 x 36 in. (50.8 x 91.4 cm), framed.Condition: Craquelure with minute scattered losses, surface grime.
$4,000-6,000
378
378A.David Birdsey Walkley (American, 1849-1934)
Cows in a LandscapeSigned “D B Walkley” l.l.Oil on canvas, 16 x 13 in. (40.6 x 33.0 cm), framed.Condition: Mounted onto Masonite, scattered retouch, finecraquelure, surface grime.
$2,500-3,500
379.John William Casilear (American, 1811-1893)
Cows in the WaterMonogrammed and dated “JWC 75” l.r., inscribed and titled “John-Ester Gallery/Casilear John W./.../oil 0.49” on a label affixed to thereverse.Oil on canvas, 8 7/8 x 13 1/4 in. (22.5 x 33.7 cm), framed.Condition: Repair/patch reinforcement c.r., retouch, varnishinconsistencies.
$2,500-3,500
378A
379
379A.Samuel Lancaster Gerry (American, 1813-1891)
HayingSigned “S. L. Gerry” l.r.Oil on board, sight size 5 3/8 x 9 1/4 in. (13.7 x 23.5 cm), framed.Condition: Small scratch in sky u.r., surface grime.
$300-500
380.William A. McIlvaine, Jr. (American, 1813-1867)
Landscape Vista, Possibly PennsylvaniaSigned and dated “McILvaine./1860-” l.r.Watercolor and graphite on paper, sight size 8 x 16 3/4 in. (20.3 x42.5 cm), framed.Condition: Not examined out of frame.
$700-900
380
379A
380A.Albert Thompson (American, b. 1853)
The Hay WainSigned and dated “Albert Thompson 1877” l.r.Oil on canvas, 14 x 18 in. (35.6 x 45.7 cm), framed.Condition: Retouch, surface grime, craquelure.
$800-1,200
380A
381.Melbourne Havelock Hardwick (American, 1857-1916)
Autumn LandscapeSigned “MELBOURNE H. HARDWICK” l.r.Oil on canvas, 36 1/2 x 29 in. (92.7 x 73.6 cm), framed.Condition: Retouch, flaking with losses, scattered craquelure.
$1,200-1,800
382.Benjamin Osro Eggleston (American, 1867-1937)
The Wood’s EdgeSigned “BENJAMIN EGGLESTON” l.r.Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed.Condition: Extremely fine scattered craquelure, surface grime.
$1,200-1,800
381
382
382A.Ernest Christian Rost (American, 1867-1940)
A Glimpse of the ConnecticutSigned “E C Rost-” l.r., titled and identified on a label affixed to thereverse.Oil on canvas, 30 x 45 in. (76.2 x 114.3 cm), framed.Condition: Craquelure, scattered retouch.
$1,000-1,500
382A
383.Richard Pauli (American, 1855-1892)
Cottage by the Water’s EdgeSigned “Richard Pauli” l.r.Oil on canvas, 16 x 24 in. (40.6 x 61.0 cm), framed.Condition: Craquelure, retouch, losses, flaking, reinforced signature.
$1,000-1,500
383
384.Julian Walbridge Rix (American, 1850-1903)
Landscape StudySigned “RIX” l.r., stamped “From the JUL...SALE, MA...1913” on thereverse.Oil on board, 3 1/2 x 4 1/2 in. (8.9 x 11.4 cm), framed.Condition: Scattered retouch, surface grime.
N.B. There was a two-day estate auction of Rix’s work at theAmerican Galleries, New York, on March 10th and 11th, 1913.1 Thepartial stamp on the back indicates that is work was included in thissale.
1. New York Times, “$12,402 for Rix Pictures,” March 11, 1913.$1,200-1,800
384
385.American School, 19th Century
Portrait of John Foster Williams Lane as a BoyUnsigned.Oil on canvas mounted on board, sight size 22 1/2 x 16 1/2 in. (57.2 x 41.9 cm),framed.Condition: Retouch, craquelure, surface grime, backing board lined with muslin.
N.B. The subject of this portrait, John Foster Williams Lane (1817-1861), son ofFrederick and Eliza (Bonner) Lane, was born in Boston. He was descended from (andnamed for) John Foster Williams (1743-1814), a Boston-born Naval officer in theRevolutionary War. As a youngster, Lane attended the Boston Latin School. In 1831,his parents, having thought him too young to enter college at the age of 13, sent himto Italy and France for further studies. Lane graduated from Harvard University in1837, where he was elected to the Alpha Chapter of Phi Beta Kappa, and he earnedhis medical degree in 1840. He was awarded the Boylston premium in 1841 for hisdissertation on the relationship between the chemical properties of blood and disease.He became a noted physician, who published on human anatomy and physiology andalso translated medical treatises.1
1. Memorials of The Class of 1837 of Harvard University, prepared for the Fiftieth Anniversary of theirGraduation by the Class Secretary, Henry Williams, pp. 36-37.
$2,500-3,500
385
386.Anglo/American School, 19th Century
Portrait of a Boy with BookUnsigned.Oil on canvas mounted to Masonite, 30 x 25 in. (76.2 x 63.5 cm),framed.Condition: Retouch, varnish inconsistencies.
$1,200-1,800
387.American School, 19th Century
Still Life with Fish and ClamsUnsigned.Oil on canvas, 27 1/4 x 22 1/4 in. (69.2 x 56.5 cm), framed.Condition: Lined, craquelure, varnish inconsistencies.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$800-1,200
386
387
387A.Harry Smith (American, 19th Century)
Trout and Rod in a LandscapeSigned “Harry Smith” l.l.Oil on board, 14 x 22 in. (35.7 x 55.7 cm), unframed.Condition: Retouch, varnish inconsistencies.
$2,200-2,800
387A
388.Charles Alfred Meurer (American, 1865-1955)
Trompe l’Oeil Still Life with Currency, Pipe, and PistolSigned and inscribed “CA Meurer Esq./Cincinnati Ohio” within the composition l.c., identified on a presentationplaque, and with a label from J.H. Strauss Art Gallery, New York, on the reverse.Oil on canvas, 12 x 20 in. (30.5 x 50.8 cm), framed.Condition: Craquelure, subtle varnish inconsistencies.
Provenance: Sotheby’s New York, September 14, 1995, lot 24.
N.B. Cincinnati-based artist Charles Meurer painted in the tradition of the American trompe l’oeil masters WilliamMichael Harnett and John Frederick Peto. The artist traced his fascination with trompe l’oeil painting to seeingHarnett’s still lifes at the Cincinnati Industrial Exposition of 1886, and other works by Peto in Cincinnati art galleriesin the 1890s. Born in Germany in 1865 to American parents, Meurer was raised in Tennessee. As a young artisthe received a pivotal commission from Adolph Ochs, editor of the Chattanooga Times, to paint a still lifeincorporating the front page of the paper along with books and other objects relating to the newspaper industry.Successful with the commission, Meurer continued to elaborate on this theme. The artist included paper currencyin many of his still lifes.1
1. Frankenstein, Alfred Victor, After the Hunt; William Harnett and other American still life painters, 1870-1900 [by] Alfred Frankenstein, Rev.ed., Berkeley, University of California Press, 1969.
$12,000-18,000
388
389.William Preston Phelps (American, 1848-1923)
Headed for the FieldSigned “W. P. Phelps” l.l.Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), in a period frame.Condition: Scattered retouch, mild varnish inconsistencies, surfacerubs, craquelure, surface grime.
$3,000-5,000
389
390.James Crawford Thom (American, 1835-1898)
The Knife GrinderPartial signature “J.C. Tho...” l.r., identified on a presentation plaque.Oil on canvas, 29 x 23 in. (73.7 x 58.4 cm), framed.Condition: Lined, trimmed canvas (through signature), retouch.
$800-1,200
390
391.Hugo Breul (American, 1854-1910)
Leisure HourSigned “Hugo Breul” twice l.l., identified on a label affixed to thereverse.Oil on canvas, 47 1/4 x 33 in. (120.0 x 83.8 cm), framed.Condition: Craquelure, losses/abrasions, skinning l.l., canvasdeformations.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$3,000-5,000
391
392.Henry Bacon (American, 1839-1912)
Outward Bound/A SketchSigned “Bacon” l.r., inscribed and dated “Colorado May 19/71” l.l.Oil on panel, 5 1/4 x 8 1/8 in. (13.3 x 20.6 cm), framed.Condition: Surface grime, retouch.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$1,000-1,500
392A.William Verplanck Birney (American, 1858-1909)
A Break from Child’s PlaySigned and dated “W. Verplanck Birney...” l.r.Oil on canvas, 16 x 12 in. (40.6 x 30.5 cm), framed.Condition: Surface grime, varnish inconsistencies, craquelure.
$800-1,200
392
392A
393.American School, 19th Century
Still Life with Ginger JarSigned and dated “L.E. Foote. 1895” l.l.Oil on canvas, 10 x 14 in. (26.7 x 35.6 cm), framed.Condition: Lined, retouch, varnish inconsistencies.
$1,000-1,500
393A.John William Hill (American, 1812–1879)
Lot of Five Bird Studies for Zoology of New York, Part 2, Birds,including The Magpie (pl. 24, fig. 53), The Barn Swallow (pl. 29, fig.64), The Great-crested Kingbird (pl. 32, fig. 70), The Hermit Thrush(pl. 37, fig. 80), and The Green-winged Teal (pl. 112, fig. 249)Each signed “J.W. Hill” l.l., each numbered u.r., and annotated l.c.and on supporting boards.Watercolor and ink on paper laid down onto board, image sizesapproximately 6 3/4 x 4 1/2 in. (17.1 x 11.4 cm), two framed, threeunframed.Condition: Toning, scattered soiling/staining, two not examined out offrames.
$1,800-2,200
393A
393
394.Sydney Richmond Burleigh (American, 1853-1931)
Interior of a Country StoreSigned or inscribed “S. R. Burleigh.” l.l., stray watercolor marks andinscription, possibly in the artist’s hand, on the reverse.Watercolor on paper, sight size 9 5/8 x 13 3/4 in. (24.4 x 34.9 cm),framed.Condition: Broad rippling, pale foxing, affixed to window mat withpaper tape verso.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$200-250
395.Emma Levinia Swan (American, 1853-1927)
Still Life with Peach and GrapesSigned “·E L SWAN·” l.r., inscribed “...Nino Scotti” and with a labelfrom Charles G. Calder, Providence, Rhode Island, on the reverse.Oil on canvas, 6 x 8 in. (15.2 x 20.3 cm), framed.Condition: Craquelure, surface grime, retouch.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$600-800
395A.Burr H. Nicholls (American, 1848-1915)
Chickens in the BarnSigned “Burr H. Nicholls” l.l.Oil on canvas, 16 x 12 in. (40.6 x 30.5 cm), framed.Condition: Lined, craquelure, retouch.
$1,000-1,500
395A
394
395
396.Frank Henry Shapleigh (American, 1842-1906)
Old Kitchen in Scituate Mass./A Cottage InteriorSigned and dated “F. H. Shapleigh 1885” l.r., inscribed “Old Kitchenin Scituate Mass. by F H Shapleigh” on the lining canvas and“SHAPLEIGH, F.H. ‘OLD KITCHEN IN SCITUATE MASS.’...” on thestretcher.Oil on canvas, 10 1/4 x 16 1/8 in. (26.0 x 41.0 cm), framed.Condition: Lined with tape to tacking edge, retouch, varnishinconsistencies, craquelure (small area of lifting c.r.).
$3,000-5,000
397.Walter J. Sherwood (American, b. 1865)
The Workroom of the Henri Dore Studio, Cheapside Building,Providence, Rhode Island, c. 1927Signed “W. Sherwood” l.l., identified on a note affixed to the reverse.Oil on canvas, 14 1/4 x 16 3/4 in. (36.2 x 42.5 cm), framed.Condition: Surface grime, craquelure, canvas deformations,abrasions, losses.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$400-600
397
396
397A
397A.Walter Gay (American, 1856-1937)
La Porte Ouverte, Chateau du BreauSigned “Walter Gay” l.r., titled on a label affixed to the backing.Watercolor and graphite on paper, sight size 21 x 17 1/2 in. (53.3 x44.4 cm), framed.Condition: Not examined out of frame.
Provenance: Mr. Eliot Wadsworth (Assistant Secretary of the Treasuryunder President Harding), Boston, Massachusetts; then by descentwithin the family.
$4,000-6,000
397B.Walter Gay (American, 1856-1937)
Antichambre, Chateau du SaussaySigned “Walter Gay” l.r., titled and inscribed “...appartenant a laComtesse de Bourbon-Busse [sic] nee de Colbert” and “...Mrs.Walter Gay May 10th 1980- at 180 Marlboro St...,” on labels in laterhands affixed to the backing.Watercolor and graphite on paper, sight size 10 x 12 3/4 in. (25.4 x32.4 cm), framed.Condition: Not examined out of frame.
Provenance: Mr. Eliot Wadsworth (Assistant Secretary of the Treasuryunder President Harding), Boston, Massachusetts; then by descentwithin the family.
$4,000-6,000
397B
398.Walter Gay (American, 1856-1937)
View of a French InteriorSigned “Walter Gay” l.r., with labels from R. Lerondelle and E.Bourdier, Paris, affixed to the backing.Watercolor on paper, sight size 18 x 22 in. (45.7 x 55.9 cm), framed.Condition: Not examined out of frame.
Provenance: Mr. Eliot Wadsworth (Assistant Secretary of the Treasuryunder President Harding), Boston, Massachusetts; then by descentwithin the family.
$7,000-9,000
398
398A.Abbott Fuller Graves (American, 1859-1936)
Still Life with RosesSigned “Graves” l.r., inscribed “THIS FLOWER PIECE WASPRESENTED BY THE ARTIST ABBOTT GRAVES TO MR AND MRSEDWARD J. EGAN ABOUT 1891” on the stretcher.Oil on canvas, 18 x 30 in. (45.7 x 76.2 cm), framed.Condition: Craquelure, patch reinforcement, retouch, varnishinconsistencies.
$12,000-18,000
398A
399.William Merritt Chase (American, 1849-1916)
Still Life: Fruit, alternatively titled Fruit and Porcelain, c. 1908Signed “Wm M Chase.” l.l., identified on labels from the Corcoran Gallery of Art, Bernard and S. Dean Levy, NewYork, and Maxwell Galleries, San Francisco, affixed to the backing.Oil on canvas, 29 x 36 in. (73.6 x 91.4 cm), framed.Condition: Lined, retouch, fine craquelure.
Exhibitions: Summer’s Lease, Corcoran Gallery of Art, June 13 to August 31, 1972, Ex-collection of Mr. and Mrs.Joseph H. Hennage; William Merritt Chase Memorial Exhibition, The Metropolitan Museum of Art, New York,February 19 to March 18, 1917, No. 30 (lent by Content Johnson); Exhibition of Paintings by William MerrittChase, National Arts Club, New York, January 5 to 13, 1910, No. 86 (lent by Content Johnson).
N.B. We wish to thank D. Frederick Baker for confirming the authenticity of the present work, and for hisassistance with cataloguing the lot. The work is included in Ronald G. Pisano’s The Complete Catalogue ofKnown and Documented Work by William Merritt Chase (1849-1916), Vol. 4 (Yale University Press, 2010, SL.127).According to Baker, “the work was either purchased by Content Aline Johnson from Chase, or more likely given bythe artist to Johnson, a student of Chase’s and close friend of the Chase family. Chase’s youngest daughter, MaryContent Johnson, born 1903, was named after Content Johnson. The painting is one of several by Chase thatwere owned by Miss Johnson, whose portrait was painted by Chase, ca. 1902.”
$30,000-50,000
399
400.Ciro Mazini (Italian, 19th/20th Century)
The Cloth Merchant/An Oriental InteriorSigned and inscribed “Mazini Cairo” l.l.Watercolor and graphite on paper/board, sight size 12 1/2 x 19 in.(31.8 x 48.3 cm), framed.Condition: Not examined out of frame.
$800-1,200
400
401.Adolf Schreyer (German, 1828-1899)
Arab HorsemenSigned “Ad. Schreyer” l.r.Oil on canvas, 23 1/2 x 33 in. (59.7 x 83.8 cm), framed.Condition: Lined, subtle canvas deformations, subtle retouch.
N.B. We wish to thank Dr. Christoph Andreas, who has kindly confirmed the authenticity of the lot.
Noted Orientalist and genre painter Adolf Schreyer (also referred to as Christian Adolf Schreyer) was born in Frankfurt,Germany, in 1828. After early education at the Institut Staedel in Frankfurt, he studied at the Academy in Düsseldorf,then settled in Vienna in 1849. During the Crimean War (1853-1856) Schreyer followed the Austrian Army through theWallachian frontier as a sketch artist.1 Schreyer went on to study in Paris and North Africa. In 1859 he traveledextensively in Egypt and Syria, learning Arabic and immersing himself in the culture, and in 1861 he visited Algiers. From1862 to 1870, Schreyer lived in Paris. He returned to Frankfurt in 1871. He was a member of the Academies inAmsterdam and Rotterdam. His works were awarded medals in Paris in 1864, 1865 and 1867, and in Munich in 1876.Schreyer died in Kronberg in 1899.
Schreyer painted the landscape and culture of foreign lands, from Russia to North Africa. His travels brought himinspiration and also gave his work authenticity. He is regarded as a great painter of horses in all their aspects.2 Hisworks, well-conceived compositions, brilliantly colored and vigorously painted, were very popular in his time, and werefound in European and American private collections. Schreyer’s paintings are found today in major museums in Europeand the United States, including museums in Frankfurt, Cologne, Hamburg, Paris, Boston, and San Francisco.
1. E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Librairie Grund, 1976., Vol. IX, p. 439-440.
2. http://encyclopedia.jrank.org/SAR_SCY/SCHREYER_ADOLF_1828_1899_.html, originally appearing in Volume V24, p. 378 of the 1911Encyclopedia Britannica.
$20,000-30,000
401
402.Marco Grubas (Italian, 1839-1910)
Lot of Two Venetian Views of San Giorgio Maggiore, Saint Mark’sSquare and Palazzo Santa Sofia, c. 1890Signed “M. Grubas” l.l., identified on labels and export stamped“...zum Ausfuhr freigegeben” on the reverse.Oil on panel, 5 1/2 x 10 1/4 in. (14.0 x 26.0 cm), framed.Condition: Surface grime.
$1,500-2,500
403.Paul Vernon (French, 1796-1875)
Coastal Scene with Fishing BoatsSigned “Paul Vernon” l.r., with a partial label from H. L. Ross ofPhiladelphia on the stretcher.Oil on canvas mounted to rigid support, 14 x 24 in. (35.5 x 61.0 cm),framed.Condition: Lined support, retouch, craquelure.
$2,000-3,000
402
403
404.Martin Rico y Ortega (Spanish, 1833-1908)
Calle Dietro il CampanileSigned “RICO” l.l., identified within the composition.Watercolor and graphite on paper, sight size 13 1/4 x 20 3/4 in. (33.6x 52.5 cm), framed.Condition: Unobtrusive toning, staining, not examined out of frame.
$4,000-6,000
405.Charles Rowbotham (British, 1856-1921)
Italian Coastal ViewSigned “Chas Rowbotham.” l.r.Gouache on paper/board, sight size 9 x 19 3/4 in. (22.8 x 50.1 cm),framed.Condition: Toning, not examined out of frame.
$1,800-2,200
404
405
406.Arthur J. Hammond (American, 1875-1947)
North Dome, YosemiteSigned “AJHammond” l.r., inscribed “North Dome...” and identified ona label from Vose Galleries, Boston, on the reverse.Oil on board, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Surface grime, craquelure, retouch.
$1,500-2,000
406A.Sheldon Parsons (American, 1866-1943)
Desert BloomSigned “-SHELDON PARSONS-” l.l., dated “Sept. 14” on the reverse.Oil on artist board, 9 x 12 in. (22.9 x 30.5 cm), framed.Condition: Surface grime, subtle bowing to board.
$1,000-1,500
406
406A
407.Charles Furneaux (American, 1835-1913)
View of a Volcanic Eruption, Purportedly Kilauea Caldera on Mauna Loa, c. 1886Signed and dated “C. Furn.../188...” l.r.Mixed media on paper mounted to Masonite, 22 3/8 x 50 1/2 in. (56.8 x 128.3 cm),framed (without glass).Condition: Surface dust.
Provenance: Purportedly given as a gift from the artist to King David Kalakaua anddisplayed at the Iolani Palace; to the collection of Albert Solomon, Jr. and HarrietSolomon, former owners of the Kamuela Museum, Waimea, Hawaii, by descent in theSolomon family, and through to the present owners.
N.B. Although Furneaux was born and raised in Greater Boston, he is best known forhis work in Hawaii. In 1880, Furneuax traveled to Hawaii on the advice of, and as acompanion to William T. Bingham. The artist was immediately struck by the grandeur ofthe volcanoes, and made numerous sketches on site of lava flows and eruptions, againencouraged by Bingham who was a gentleman scientist and devoted student ofvolcanoes. Furneaux’s success garnered him commissions from King Kalakaua. Whilesome of these were landscapes, many were portraits. Furneaux spent the rest of his lifein Hawaii as a painter, teacher and coffee farmer.
$25,000-35,000
407
408.Tim Solliday (American, b. 1952)
Two Native Americans in a CanoeSigned “Tim Solliday” l.l.Oil on canvas, 24 x 20 in. (61.0 x 50.8 cm), framed.Condition: Good.
N.B. We wish to thank the artist for his assistance with cataloguingthis lot.
$1,000-1,500
409.Ila Mae McAfee (American, 1897-1995)
Portrait of a Taos Pueblo Woman on HorsebackSigned and dated “Ila McAfee 1933” l.l.Oil on Masonite, 9 1/2 x 6 in. (24.1 x 15.2 cm), framed.Condition: Surface grime.
$1,000-1,500
409A.Paul Surber (American, b. 1942)
Indian EncampmentSigned “PAUL SURBER” l.r., with a label from Glacier Gallery,Kalispell, Montana, on the backing.Gouache on paper, sight size 7 3/8 x 11 1/2 in. (18.7 x 29.2 cm),framed (without glass).Condition: Very minor surface grime and abrasions, not examinedout of the frame.
$800-1,200
409A408
409
410.Elling William (Bill) Gollings (American, 1878-1932)
Squaw/Landscape with Native American on HorsebackSigned "Gollings..." l.l., titled and inscribed "...M.H." on the reverse.Oil on canvas, 7 x 10 in. (17.8 x 25.4 cm), framed.Condition: Surface grime, minor craquelure, pigment fluorescence.
Provenance: Private collection, New Mexico.
N.B. By Golling’s account, his most vivid childhood memoriesrecalled ranch life, either on his grandmother's farm near St. Johns,Michigan, or his father’s homestead in Lewiston, Idaho.1 Though hisinterest in drawing Western subjects had been sparked as a child byhis older brother Oliver, he did not attempt it until junior high when hebegan to follow the work of Frederick Remington.2 At the age ofeighteen, along with a friend who also had the “western fever,”Gollings boarded a railcar from Chicago to the Great Plains state ofSouth Dakota, under an assumed name and misuse of a “drover'spass” (which allowed livestock caretakers to a free return fare).3
Gollings and his friend traveled through South Dakota and Nebraskawhere they worked seasonal jobs as ranch hands, and eventuallyGollings settled on his own in Montana, near the Northern CheyenneIndian Reservation.4 Gollings began painting in 1903 when heacquired some oil paints through the Montgomery Ward & Company
catalogue.5 Golling's brother DeWitt acted as his promoter, firstpitching his works locally and then in Chicago. After some successfulsales and favorable press, on the encouragement of his brother,Gollings attended The Chicago Academy of Fine Arts (now theSchool of the Art Institute of Chicago). After his schooling, Gollingsreturned to Sheridan, Wyoming, where he continued to work as acowhand, painting intermittently. By 1909, Gollings devoted himselfto art in earnest, building a studio, marketing his own works, andattending art exhibits.6
1. Scherger, R.H. (Bob), “Paint Bill: Elling W. Gollings, Working Cowboy and UnsungArtist, Finally Emerges From Some Self-Imposed Shadows,” Montana: The Magazineof Western History, Volume 15, No. 2, (Spring 1965), Montana Historical Society, pp.72-75.
2. Ibid., 76.
3. Ibid.
4. Ibid., 71, 79.
5. Ibid.
6. Ibid., 81-84.$30,000-50,000
410
411.Earl Wesley Bascom (American, 1906-1995)
Rodeo’s First Hornless Bronc SaddleSigned, titled, and dated “...DESIGNED AND MADE BY EARLW. BASCOM/IN 1922/© 1982 EARL W. BASCOM.” andnumbered “23-100” within the cast on the base.Bronze, 11 1/2 x 9 3/4 x 7 1/4 in. (29.2 x 24.8 x 18.4 cm),mounted to a wooden plinth.Condition: Surface dust.
N.B. A certificate from John A. Bascom, son and trustee forthe Estate of Earl W. Bascom, accompanies the lot.
$2,000-3,000
412.Tim Solliday (American, b. 1952)
Through the Snow, alternatively titled The MountainmanSigned “Tim Solliday” l.r., titled, inscribed, and dated “...UOG-70...1983” on the reverse.Oil on canvas, 30 x 24 in. (76.2 x 61.0 cm), framed.Condition: Good.
N.B. We wish to thank the artist for his assistance withcataloguing this lot.
$1,000-1,500
411
412
413.Earl Wesley Bascom (American, 1906-1995)
Five Minutes to MidnightSigned, numbered, and dated “AMIII... EARL W. BASCOM/© 1982”in the cast on the base.Bronze with dark brown patina, approximately 18 x 19 x 9 1/2 in.(45.7 x 48.3 x 24.1 cm), mounted to a wooden plinth.Condition: Surface dust.
N.B. A certificate from John A. Bascom, son and trustee for theEstate of Earl W. Bascom, accompanies the lot.
$5,000-7,000
413
414.Aiden Lassell Ripley (American, 1896-1969)
TimberdoodlesUnsigned, graphite sketch of a hunting scene on the reverse, artistidentified on a label from The Guild of Boston Artists affixed to thereverse.Watercolor with graphite on board, sight size 8 3/8 x 6 3/8 in. (21.3 x16.2 cm), framed.Condition: Toning, soiling/staining, mild wear to edges.
$1,000-2,000
415.Aiden Lassell Ripley (American, 1896-1969)
The HuntUnsigned, pencil sketch of hunting scene on the reverse, artistidentified on a label from The Guild of Boston Artists affixed to thereverse.Watercolor with gouache and graphite on paper, sight size 5 7/8 x 93/4 in. (14.9 x 24.8 cm), framed.Condition: Extremely subtle toning, pinholes, possibly adhered orhinged to back mat along the top edge.
$2,000-3,000
415
414
416.Aiden Lassell Ripley (American, 1896-1969)
View with Ruffled GrouseSigned and inscribed “Sketch A. Lassell Ripley” on the reverse,identified on a label affixed to the backing.Gouache, charcoal, and graphite on paper/board, 12 1/8 x 17 1/8 in.(30.8 x 43.5 cm), framed.Condition: Brown gum taped to window mat, gridded composition.
$1,000-1,500
417.Frank Vining Smith (American, 1879-1967)
White Tipped Coots, alternatively titled Sea FowlSigned “Frank Vining Smith” l.l. and l.r., titled and inscribed “Propertyof/Mildred L. Justice/June 1963” on the reverse.Oil on canvasboard, 18 x 24 in. (45.7 x 61.0 cm), framed.Condition: Surface grime, varnish inconsistencies.
Provenance: Ex-collection of Mildred L. Justice, Hingham,Massachusetts.
$5,000-7,000
416
417
418.Charles Albert Burlingame (American, 1860-1930)
View of a Pond on a Breezy DaySigned and dated “CA Burlingame 02” l.r.Oil on panel, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Minor skinning, retouch, varnish inconsistencies, signaturereinforced.
$1,200-1,800
419.Ferenc Olgyai (Hungarian, 1872-1939)
Rose Trees by the LakeSigned “Olgyai F.” l.r., identified on a label on the reverse.Oil on canvas, 23 3/4 x 21 1/2 in. (60.3 x 54.6 cm), framed.Condition: Craquelure, subtle canvas deformations, surface grime,alligatoring.
$800-1,200
418
419
420.Hubert Vos (Dutch/American, 1855-1935)
Wooded PondSigned and dated “Hubert/VOS 1913” l.l.Oil on canvas, sight size 20 7/8 x 28 1/4 in. (53.0 x 72.0 cm), framed.Condition: Good.
$1,500-2,000
420
421.Elizabeth Boardman Warren (American, 1886-1980)
Lot of Two Landscapes: Landscape with Stream and Beach atDuskStream signed and dated “E B Warren 1903” l.l., Beach signed “E.B.Warren” l.l.Watercolor and gouache on paper/board, sight sizes to 8 3/4 x 131/2 in. (22.2 x 34.3 cm), framed.Condition: Beach with rippling, toning, foxing, both not examined outof frames.
$1,800-2,200
422.Wayne Beam Morrell (American, b. 1923)
Spring Meadows Weathersfield [sic], Conn., alternatively titledMarshes in the Spring, 1963Signed and dated “1963 WAYNE MORRELL” l.l., inscribed, titled, andsigned “...by Wayne Morrell...” on the backing.Watercolor and pastel on paper, sight size 17 x 23 in. (43.2 x 58.4cm), framed.Condition: Subtle rippling, not examined out of frame.
N.B. A copy of the monograph The Morrell Sketches: Quick...theSpeed of Light is Faster than my Pen! by Wayne and Lisa Morrell,published by the Wayne Morrell Gallery, Rockport, accompanies thelot.
$300-500
422
421
423.Hugh Bolton Jones (American, 1848-1927)
Landscape with StreamSigned “H. BOLTON JONES” l.r. identified on two labels from theDawson Gallery, Annapolis, Maryland, affixed to the reverse.Oil on board, 9 x 14 in. (22.9 x 35.6 cm), framed.Condition: Support mounted onto Masonite, retouch (includingrepairs to corners), varnish inconsistencies, surface grime.
$2,500-3,000
424.Thomas Jefferson Willison (American, 1864-1940)
Fields and StreamMonogram signature “TJWillison” l.l.Oil on board, 6 x 9 1/4 in. (15.2 x 23.4 cm), framed (under glass).Condition: Scattered retouch, mild surface grime.
$300-500
423
424
425
426 (2 of 3)
425.Harold Broadfield Warren (American, 1859-1934)
View of the Homestead in Westminster, Possibly VermontSigned and dated “H.B. WARREN 1903” l.r.Watercolor on paper, 9 3/4 x 13 3/4 in. (24.8 x 34.9 cm), framed.Condition: Not examined out of frame.
N.B. A handwritten letter dated July 2, 1903, from the artist inDorset, Vermont, to his cousin Henry, regarding the present work,accompanies the lot.
$1,000-1,500
426.Eric L. (Frederic) Pape (American, 1870-1938)
Lot of Three Views of The Plains, Manchester-by-the-Sea, Homeof Eric PapeTwo signed and dated “Eric Pape 1925” and one signed and dated“Eric Pape 25” in pencil l.r., each stamped “ESTATE OF Eric Pape1870-1938” and identified on the backing.Graphite on paper, sight sizes to 17 3/4 x 12 in. (45.1 x 30.5 cm),framed.Condition: Not examined out of frames.
$800-1,200
427
427.Attributed to Paul Cornoyer (American, 1864-1923)
Landscape with Sheep by a RiverIncised “PAU...” l.l., a plaque from Foster Brothers, Boston, affixed tothe reverse.Oil on board, 8 x 10 in. (20.3 x 25.4 cm), framed.Condition: Surface grime, varnish inconsistencies.
Provenance: Through the family of Mr. and Mrs. Francis J. Oakes,Jr., Brookline, Massachusetts, by family descent.
$1,000-1,500
428.Carl Gordon Cutler (American, 1873-1945)
Scrub Pines with BoulderSigned “Carl G. Cutler” in colored pencil l.r., titled in a later hand onthe backing.Watercolor and conté crayon on paper, sight size 16 5/8 x 24 1/2 in.(42.2 x 62.2 cm), framed.Condition: Subtle rippling, not examined out of frame.
$700-900
429.Carl Gordon Cutler (American, 1873-1945)
Lily PadsSigned “Carl G. Cutler” in colored pencil l.r., titled in a later hand onthe backing.Watercolor and conté crayon on paper, sight size 18 5/8 x 24 in.(47.3 x 61.0 cm), framed.Condition: Subtle rippling, not examined out of frame.
$700-900
428
429
430.Carl Gordon Cutler (American, 1873-1945)
Dead PinesSigned “Carl G. Cutler” l.l., titled in a later hand on the backing.Watercolor and graphite on paper, sight size 20 3/4 x 14 in. (52.7 x35.6 cm), framed.Condition: Subtle rippling, not examined out of frame.
$600-800
431.Carl Gordon Cutler (American, 1873-1945)
Quarry Stones, #2Signed “Carl G. Cutler” in colored pencil l.r., titled in a later hand onbacking.Watercolor and conté crayon on paper, sight size 16 1/2 x 25 in.(41.9 x 63.5 cm), framed.Condition: Subtle rippling, not examined out of frame.
$800-1,200
431
430
432.Wayne Beam Morrell (American, b. 1923)
Cape Ann Lou-Striffe [sic] PondSigned and dated “-1987 WAYNE MORRELL-” l.r., dedicated, titled,inscribed, and signed “...Aug. 1987/One of my very finest oils byWayne Morrell” on the reverse.Oil on Masonite, 30 x 40 in. (76.2 x 101.6 cm), framed.Condition: Pigment fluorescence.
$3,000-5,000
433.Wayne Beam Morrell (American, b. 1923)
The Apple TreeIncised signature “WAYNE MORRELL” l.l.Oil on Masonite, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Good.
$1,000-1,500
432
433
434.John Joseph Enneking (American, 1841-1916)
The Summer ForestSigned and dated “Enneking 90” l.r.Oil on artist board, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Minor losses/abrasions to margins.
N.B. The work is registered in the Catalogue Raisonné of John J.Enneking by Patricia Jobe Pierce as number IV-A-255.
$1,500-2,500
435.Wayne Beam Morrell (American, b. 1923)
Tital [sic] Marsh Morning Mist, 1972Signed “WAYNE MORRELL” l.l., titled, inscribed, and dated “...JUNE1972” on the reverse.Oil on canvas, 18 1/4 x 24 in. (46.4 x 61.0 cm), framed.Condition: Good.
$1,800-2,200
434
435
436.Emile Albert Gruppé (American, 1896-1978)
Rainy Day, VermontSigned “Emile A. Gruppé” l.r., titled and inscribed “...by Emile A.Gruppé” on the stretcher.Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed.Condition: Minor surface grime.
$7,000-9,000
436
437.Aldro Thompson Hibbard (American, 1886-1972)
Vermont Valley/An Autumn LandscapeSigned “A.T. Hibbard” l.l., inscribed and titled “4X-56...” on thereverse.Oil on canvas, 20 x 23 3/4 in. (50.8 x 60.3 cm), framed.Condition: Minor abrasions and surface grime, craquelure, pigmentfluorescence.
$8,000-12,000
437
438.Ludwig Munninger (German, 20th Century)
Sunset on the LakeIncised signature “L. Munninger” l.l.Oil on canvas, 31 3/4 x 23 3/4 in. (61.0 x 60.3 cm), framed.Condition: Good.
$1,000-1,500
439.George Gardner Symons (American, 1863-1930)
View by a LakeInitialed “G.S.” l.r.Oil on artist board, 10 x 12 in. (25.4 x 30.5 cm), framed.Condition: Retouch.
$1,500-2,500
438
439
440.Wayne Beam Morrell (American, b. 1923)
La Haska [sic] Pond, Pa., 1978Signed “WAYNE MORRELL” l.l., titled, inscribed, and dated “...Spring1978” on the reverse, inscribed “Pond in Ipswich, Mass 1979 byWayne Morrell” in a later hand on the backing.Oil on artist board, 22 x 30 in. (55.9 x 76.2 cm), framed.Condition: Minor surface grime.
$1,200-1,800
441.Stanley Wingate Woodward (American, 1890-1970)
Landscape with BarnSigned “St. Woodward” l.l.Oil on canvasboard, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Surface grime.
$800-1,200
440
441
442.Thomas R. Curtin (American, 1899-1977)
Autumn BirchesSigned “Thos. R. Curtin” l.r.Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Craquelure, surface grime.
$1,000-1,500
443.Stanislaw Clastrier (French, 19th/20th Century)
Morning MistSigned “S. CLASTRIER·” l.r.Oil on canvas, 24 x 19 1/2 in. (61.0 x 49.5 cm), framed.Condition: Lined, retouch, craquelure.
$800-1,200
442
443
443A.Paul Strisik (American, 1918-1998)
Autumn MantleSigned “P. Strisik” l.r., inscribed and titled “...#0-338” and stamped“PAUL STRISIK/10 MAIN STREET/ROCKPORT, MASS. 01966” and“REPRODUCTION RIGHTS RESERVED BY THE ARTIST” on thereverse.Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Good.
$1,000-1,500
443A
444.Eric Sloane (American, 1905-1985)
The Old Covered Bridge in AutumnSigned “Eric Sloane” l.r.Oil on Masonite, 24 x 35 3/4 in. (61.0 x 90.8 cm), framed.Condition: Minor losses/abrasions along margins, surface grime,pigment fluorescence.
Provenance: From the artist to a member of the Rolls-Royce Owner’sClub (RROC), Connecticut; by family descent to a private NewEngland collection.
$10,000-15,000
444
445.Sydney Richmond Burleigh (American, 1853-1931)
Autumn LandscapeSigned “S. R. Burleigh” l.r., a label from John W. Auty, Providence,Rhode Island, affixed to the reverse.Watercolor on paper/board, sight size 9 7/8 x 14 1/8 in. (25.0 x 35.9cm), framed.Condition: Mild foxing and toning, some subtle fading, not examinedout of frame.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$200-250
446.Pierre Emmanuel Damoye (French, 1847-1916)
Marais à ArleauxSigned, inscribed, and dated “Damoye Paris 93” l.l., identified onlabels on the reverse.Oil on canvas, 25 1/2 x 15 3/4 in. (64.8 x 40.0 cm), framed.Condition: Lined, retouch, craquelure.
$1,200-1,800
445
446
447.Aldro Thompson Hibbard (American, 1886-1972)
Vermont Mountains at DuskSigned “A.T. Hibbard” l.r., stamped “REPRODUCTION RIGHTSRESERVED” on the reverse and inscribed, probably in a later hand,on the reverse.Oil on canvas mounted onto board, 17 x 19 3/4 in. (43.2 x 50.2 cm),framed.Condition: Mild surface grime.
$6,000-8,000
447
448.Aldro Thompson Hibbard (American, 1886-1972)
Vermont Valley/A Winter LandscapeSigned “A.T. Hibbard.” l.r., inscribed, titled, and stamped “#9...REPRODUCTION RIGHTS RESERVED” on thereverse.Oil on canvas, 24 x 36 in. (61.0 x 91.5 cm), framed.Condition: Craquelure.
N.B. Aldro Hibbard was born in Falmouth, Massachusetts, in 1886, and grew up in Dorchester. A gifted artist, hediscovered his love of painting at an early age. He attended the Massachusetts Normal Art School and then theSchool of the Museum of Fine Arts where he studied with Edmund Tarbell, Frank Benson, and Joseph DeCamp, andwas awarded the prestigious Paige Traveling Scholarship (1913-15) for study in Europe. With the onset of WorldWar I, Hibbard returned to the United States, settling for a time in Provincetown. He relocated to Rockport in 1920,where he became very active in the art community. He and a group of other artists founded The Rockport ArtAssociation at a meeting in his studio in 1921. Hibbard was also a Founding Member and Director of the RockportArt Association (MA) Summer School of Drawing and Painting (1921-1928). Especially well regarded for his snowscenes, Hibbard spent a great deal of time Vermont, where he painted out-of-doors throughout the winter.
$12,000-18,000
448
449.John Fabian Carlson (American, 1874-1945)
Winter... the WoodSigned “John F. Carlson” l.l., identified on a label from Henry M. Tochaffixed to the reverse.Oil on canvas mounted onto board, 8 1/4 x 10 1/2 in. (21.0 x 26.7cm), framed (under glass).Condition: Supporting board mounted onto Masonite, mild surfacegrime.
$2,500-3,500
449
450.Aldro Thompson Hibbard (American, 1886-1972)
Winter StreamSigned “A.T. Hibbard” l.l., inscribed “8X26” in marker and with a labelfrom the A.T. Hibbard Collection, Ledgendsea Gallery, Rockport,Massachusetts, on the reverse.Oil on canvas mounted to Masonite, 16 3/4 x 21 in. (42.5 x 53.3 cm),framed.Condition: Very minor surface grime.
$5,000-7,000
450
451.Carroll Leja Nichols (American, b. 1882)
Stream in WinterSigned “C.L. NICHOLS” l.l.Oil on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed.Condition: Retouch, patch reinforcements.
$3,000-5,000
451
452.Churchill Ettinger (American, 1903-1984)
Out of the Chute-StrattonSigned “Churchill Ettinger” l.l., titled and with a label from Alice andWin Dibble, Shoreham, Vermont, on the backing.Watercolor and graphite on paper, 14 x 20 in. (35.6 x 50.8 cm),framed.Condition: Not examined out of frame.
$1,000-1,500
453.Frank Townsend Hutchens (American, 1869-1937)
An Ice Bound BrookSigned “Frank T. Hutchens” l.r., titled and inscribed “...FrankTownsend Hutchens/for...Elizabeth” on a label affixed to the stretcher.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Surface grime, retouch, lined, craquelure.
$1,200-1,800
452
453
454.Robert Shaw Wesson (American, 1902-1967)
Winter Village at Tunbridge V.T.Signed “Robert Wesson” l.r., titled, signed, and dated “...RobertWesson 51” on the reverse.Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Craquelure, varnish inconsistencies, surface grime.
$1,200-1,800
455.Paul Starrett Sample (American, 1896-1974)
Farm in SnowSigned “PAUL SAMPLE” l.r.Watercolor on paper/board, sight size 13 1/8 x 20 1/4 in. (33.3 x 51.4cm), framed.Condition: Not examined out of frame.
$2,500-3,500
454
455
456.Robert Strong Woodward (American, 1885-1957)
Red Farm in Winter, alternatively titled Under the HillSigned and dated “Robert Strong Woodward...” l.l., identified on a presentation plaque.Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed.Condition: Lined, retouch, craquelure.
N.B. Robert Strong Woodward was born in Northampton, Massachusetts, and lived in the area ofShelburne Falls and Buckland, where this landscape was painted. Red Barn in Winter is also known by analternate title, Under the Hill. Woodward kept a diary of his artwork and a scrapbook of newspaper andmagazine clippings. He described this painting in his diary, “Painted circa 1925. Winter view of the presentPeltier house (next to the ‘Lightning Splitter’) where the S.F.- -Buckland Road crosses the Clessons River(about halfway between S.F. and Buckland). Little dark red farm house under a tall slender elm, backed bythe rounded mountain dome and shoulder of the hill back of Leon Goodnow’s. This canvas was boughtfrom one of my early Boston exhibitions by Miss Eugenia B. Frothingham of Marlboro St. Boston.”1 There isa second, slightly later version of this painting, whereabouts unknown. Dr. Mark L. Purington, Jr., a lifelongfriend of the artist, created a website in 2002 to catalog, document, and preserve information about the lifeand work of Robert Strong Woodward.
1. From the artist’s diary, as transcribed on the Web site http://www.robertstrongwoodward.com/Gallery/u/1u.htm$4,000-6,000
456
457.Carl Frederick Gaertner (American, 1898-1952)
October SnowSigned and dated “CARL GAERTNER/1945” l.r., inscribed “...104...”and identified on labels, including one from the Ohio Water ColorSociety Twenty-second Annual Circuit Exhibition, on the reverse.Watercolor and gouache on Masonite, sight size 22 x 30 in. (55.9 x76.2 cm), framed (under glass).Condition: Not examined out of frame.
$1,000-1,500
457
458.Svend Rasmussen Svendsen (Norwegian/American, 1864-1945)
Country Road in WinterSigned “SVEND SVENDSEN.” l.r.Oil on canvas, 15 3/4 x 20 in. (40.0 x 50.8 cm), framed.Condition: Surface grime.
$1,000-1,500
459.Otto Bierhals (American, 1879-1944)
Winter View Through the GroveSigned “OTTO BIERHALS” l.r.Oil on Masonite, 17 x 22 in. (43.2 x 55.9 cm), framed.Condition: Surface grime.
$800-1,200
458
459
460.Wayne Beam Morrell (American, b. 1923)
Vermont Mts. Near Middlebury Vermont, April 6 - 1987Signed “WAYNE MORRELL” l.l., dedicated, titled, signed, dated, andinscribed “To Our Good Friends EDITH & HENRY ROCK...by WAYNEMORRELL, 1987, ‘One of my Finer Vermont Snow Scenes’” on thereverse, identified on a label affixed to the reverse.Oil on Masonite, 18 x 24 in. (45.7 x 61.0 cm), framed.Condition: Pigment fluorescence, surface grime.
$1,200-1,800
461.Bernard Corey (American, 1914-2000)
Winter LandscapeUnsigned, identified on a label from Royka’s Fine Art “From the Estateof Bernard Corey... This is an original work by Bernard Corey/Certifiedby Paul A. Royka/Paul A. Royka R525“ verso, estate stamps on thereverse.Oil on canvas, 12 x 16 in. (30.4 x 40.5 cm), framed.Condition: Good.
$700-900
460
461
462.Emile Albert Gruppé (American, 1896-1978)
First Snow VermontSigned “Emile A. Gruppé” l.r., titled and inscribed “...by Emile A.Gruppé” on the stretcher.Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed.Condition: Surface grime, craquelure.
$7,000-9,000
462
463.Lawrence Nelson Wilbur (American, 1897-1988)
Rocky Coastal View with GullsSigned “LAWRENCE WILBUR” l.l.Oil on canvas, 27 x 36 in. (68.6 x 91.4 cm), framed.Condition: Craquelure, surface grime, pigment fluorescence.
$1,000-1,500
464.Paul Lauritz (Norwegian/American, 1889-1975)
After the Storm, CarmelSigned “PAUL LAURITZ” l.r., titled on a label on the back of the frameand on the stretcher.Oil on canvas, 26 x 39 in. (66.0 x 99.0 cm), framed.Condition: Surface grime, craquelure, stain on back of canvas.
N.B. A brochure about the artist is tacked to the back of the frame.
Provenance: Bonhams & Butterfields, San Francisco, December 8,2004, Lot 242.
$2,000-3,000
463
464
465.John Whorf (American, 1903-1959)
Rolling Surf on a Rocky ShoalSigned “John Whorf.” in pen l.r.Watercolor on paper, 14 1/2 x 21 1/4 in. (36.8 x 54.0 cm), framed.Condition: Not examined out of frame.
Provenance: Mr. Eliot Wadsworth (Assistant Secretary of the Treasuryunder President Harding), Boston, Massachusetts; then by descentwithin the family.
$3,000-5,000
466.Roger William Curtis (American, 1910-2000)
Cape Ann ShoreSigned “Roger Curtis” l.r., identified on a label from North Shore ArtsAssociation Silent Auction affixed to the reverse.Oil on Masonite, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Minor surface grime.
$800-1,200
465
466
467.Harry A. Neyland (American, 1877-1958)
The Lone Gate, Appledore Island, Isles of Shoals, NewHampshireSigned and dated “Harry Neyland. 07” l.r., titled “the loan [sic] gate...”on the reverse.Oil on canvas, 12 x 18 in. (30.5 x 45.7 cm), framed.Condition: Lined, craquelure.
$3,000-5,000
468.Don Stone (American, b. 1929)
Rocky Coastal View with SailboatsSigned “Don Stone” l.l.Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Minor surface grime, subtle varnish inconsistencies.
$1,000-1,500
468
467
469.Edmund Elisha Case (American, 1844-1919)
Coastal ViewSigned “EDMUND E. CASE.” l.r.Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), in a period frame.Condition: Retouch.
$4,000-6,000
469
470.Jay Hall Connaway (American, 1893-1970)
Rocks and Surf at MonheganSigned and dated “Connaway/48” twice l.r., inscribed “Monhegan” l.l.,identified on labels from The English Gallery, Boston, Doll & Richards,Inc., Boston, and Vose Galleries of Boston on the backing.Tempera and oil on artist board, sight size 15 x 19 1/2 in. (38.1 x49.5 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
471.Charles Herbert Woodbury (American, 1864-1940)
Sea SpraySigned “Charles H. Woodbury” l.r.Oil on canvasboard, 8 x 10 in. (20.3 x 25.4 cm), framed.Condition: Very minor surface grime.
$800-1,200
470
471
472.Lillian Mathilde Genth (American, 1876-1953)
River TorrentSigned “L Genth” l.r., identified on a label from The New BritainMuseum of American Art on the backing.Oil on canvas, sight size 8 13/16 x 11 3/4 in. (22.3 x 30.0 cm),framed.Condition: Good.
Provenance: Mrs. Sanford Low to The New Britain Museum ofAmerican Art, New Britain, Connecticut.
Exhibitions: Lillian Mathilde Genth, 1876-1953, A Retrospective,Hickory Museum of Art, Hickory, North Carolina, March 17 to May 27,1990; St. John’s Museum of Art, Wilmington, North Carolina, June 8to August 26, 1990; Fine Arts Center at Cheekwood, Nashville,Tennessee, October 21 to December 30, 1990.
$1,800-2,200
472
473.Yong Mun Sen (Malaysian, 1896-1962)
View of Fisherman with a CatamaranSigned and dated “MUN SEN 52” l.l.Watercolor and graphite on paper, sheet size 10 1/2 x 14 1/2 in.(26.7 x 36.8 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
474.Fred Pye (American, 1882-1964)
Calm Sea, OgunquitSigned and inscribed “FRED PYE, OGUNQUIT, MAINE” in ink l.r.,inscribed “FRED PYE, 1931 BROADWAY, STUDIO 607, ...TRAF7139” in the artist’s hand on the reverse, titled on the artist’s invoiceaffixed to the backing.Oil on canvas mounted onto board, 12 1/4 x 16 1/4 in. (31.1 x 41.3cm), in a Newcomb-Macklin frame (under glass).Condition: Scattered retouch, mild surface grime, not examined outof frame.
$1,200-1,800
473
474
475.Henry Curtis Ahl (American, 1905-1996)
Rocky Coastal SurfSigned “Ahl” l.r.Oil on canvas, 7 1/8 x 10 in. (18.1 x 25.4 cm), framed.Condition: Surface grime, retouch.
$1,000-1,500
476.Yong Mun Sen (Malaysian, 1896-1962)
Sailing Vessels on the BeachSigned and dated “MUN SEN 1952” l.l.Watercolor and graphite on paper, sight size 10 1/2 x 14 1/2 in. (26.7x 36.8 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
475
476
477.John Whorf (American, 1903-1959)
HurricaneSigned “John Whorf” l.r., indistinctly inscribed in pencil l.l., inscribedand titled “13...” verso.Watercolor with gouache on paper, sight size 14 1/2 x 21 1/2 in.(36.8 x 54.6 cm), framed.Condition: Subtle rippling, mild toning, pinholes to corners.
$4,000-6,000
478.Carlos Vierra (American, 1876-1937)
View of the Clipper Ship Shenandoah Assisted by the KittyMurphySigned “Carlos Vierra” l.l.Oil (en grisaille) on canvas mounted to panel, 19 1/2 x 27 1/4 in.(49.5 x 69.2 cm), framed.Condition: Tack holes to corners and tacks to margins, surfacegrime, minor abrasions to tacking margin, craquelure.
$2,000-2,500
477
478
479.John Whorf (American, 1903-1959)
A Mackerel SmackSigned “John Whorf.” l.r., identified on a label from Grace HorneGalleries, Boston, affixed to the backing.Watercolor on paper, sight size 15 x 21 1/4 in. (38.1 x 54.0 cm),framed.Condition: Not examined out of frame.
Provenance: Mr. Eliot Wadsworth (Assistant Secretary of the Treasuryunder President Harding), Boston, Massachusetts; then by descentwithin the family.
$5,000-7,000
480.Vladimir Pavlosky (American, 1884-1944)
Boats at RestSigned “V. Pavlosky” l.l., identified on a label from Doll & Richards,Inc., Boston, on the reverse.Watercolor and graphite on paper, sight size 14 1/2 x 20 1/4 in. (36.8x 51.4 cm), framed.Condition: Not examined out of frame.
$800-1,200
479
480
481.Ernest Lee Major (American, 1864-1950)
A Breezy DaySigned “Ernest L. Major.” l.l.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), unframed.Condition: Small tears, surface grime, losses, flaking.
$1,000-1,500
482.Julian Walbridge Rix (American, 1850-1903)
On the Path to the WaterSigned “Julian Rix” l.r.Oil on board, 9 3/4 x 13 1/2 in. (24.8 x 34.3 cm), framed.Condition: Highly varnished, retouch, surface grime, bowing toboard.
$2,500-3,500
481
482
483.Kate Leah Cotharin (American, b. 1866)
Day at the BeachUnsigned, identified on the backing.Pastel on paper/board, sheet size 4 1/2 x 10 1/2 in. (11.4 x 26.7 cm),framed.Condition: Surface imperfections.
$500-700
484.Margaret Baker (American, b. 1899)
Wharf RoadMonogram signature “MBaker” in ink l.r., identified on a label affixedto the reverse.Oil on artist board, 10 x 10 1/4 in. (25.4 x 26.0 cm), framed.Condition: Craquelure.
$1,200-1,800
483
484
485.Don Stone (American, b. 1929)
From Wharf Hill, Monhegan Island, Me.Signed “Don Stone-” l.l., titled and inscribed “...by Don StoneA.N.A./A.W.S./All reproduction rights reserved by the artist” on thereverse.Oil on canvasboard, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Good.
$1,000-1,500
486.Otis Pierce Cook, Jr. (American, 1900-1980)
Motif #1Signed “Otis Cook” l.l., identified on an invoice from the artist dated1975 affixed to the reverse.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Good.
$2,000-3,000
485
486
487.Harry Aiken Vincent (American, 1864-1931)
Harbor View, Probably Cape AnnSigned “H.A. VINCENT” l.r.Oil on canvas, 20 1/2 x 24 in. (52.1 x 61.0 cm), framed.Condition: Lined, retouch, craquelure.
$6,000-8,000
487
488.Wayne Beam Morrell (American, b. 1923)
Rockport Cove Sailboats, alternatively titled Off a Rockport Ma.Cove, 2008Signed “WAYNE MORRELL” l.l., titled and signed “...by WayneMorrell...” on the backing.Oil and graphite on artist board, 18 x 24 in. (45.7 x 61.0 cm), framed.Condition: Good.
$1,000-1,500
489.Florence Leif (American, 1913-1968)
Still Life with ShellsSigned and dated “F. Leif ‘53” l.r.Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed.Condition: Mild surface grime.
$1,200-1,800
488
489
490.Wayne Beam Morrell (American, b. 1923)
A Rockport Beach, alternatively titled A Rockport Low-Tide BeachSigned “WAYNE MORRELL” l.l., titled in the artist’s hand on thebacking.Oil and graphite on artist board, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Subtle bowing.
$1,000-1,500
490
491.Robert Strong Woodward (American, 1885-1957)
The Farm Yard, North HadleySigned “Robert Strong Woodward” in pencil l.l., titled l.r., identified ona label affixed to the backing.Pastel and conté crayon on paper, sight size 22 1/2 x 29 1/2 in. (57.2x 74.9 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
492.Stacy Tolman (American, 1860-1935)
Yard View, Purportedly Providence, Rhode IslandSigned “Stacy Tolman” l.r.Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), unframed.Condition: Craquelure, lined, subtle skinning.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$1,000-1,500
491
492
493.Samuel Peter Rolt Triscott (American, 1846-1925)
Fishing Shacks, Probably Monhegan, MaineSigned “S.P. Rolt Triscott” l.l.Watercolor and graphite on paper, sight size 15 x 21 in. (38.1 x 53.3cm), framed.Condition: Foxing, not examined out of frame.
$1,000-1,500
493
494.Henry Martin Gasser (American, 1909-1981)
View from the Quarry House (Rockport)Signed “HGASSER/” in pencil l.r., titled and signed “...HENRYGASSER/NA.” on the backing.Watercolor, ink, and graphite on paper, sight size 8 3/4 x 11 1/4 in.(22.2 x 28.6 cm), framed.Condition: Not examined out of frame.
$500-700
495.Marshall Woodside Joyce (American, 1912-1998)
Motif #1/A Rockport Harbor ViewSigned and dated “MARSHALL W. JOYCE 78” in pen l.r.Oil on Masonite, 18 x 24 in. (45.7 x 61.0 cm), framed.Condition: Surface grime.
$800-1,200
494
495
496.William Lester Stevens (American, 1888-1969)
Harbor at Vinalhaven, MaineSigned “W. LESTER STEVENS, N.A.” l.l., titled on the reverse.Watercolor and graphite on paper, sheet size 15 x 22 in. (38.1 x 55.9cm), unframed.Condition: Handling creases, tape residue on the reverse, cloth tapehinged to backing mat, toning, surface abrasions.
$1,000-1,500
497.Wayne Beam Morrell (American, b. 1923)
View of a Dory on the BeachSigned “WAYNE MORRELL” l.l.Oil on Masonite, 20 1/2 x 26 1/2 in. (52.1 x 67.3 cm), framed.Condition: Good.
$1,000-1,500
496
497
498.Will Low Bacher (American, 1898-1982)
New Paltz S.T.C.Signed “Will Low Bacher” l.r., titled on the stretcher.Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed.Condition: Surface grime.
$1,000-1,500
499.Lionel S. Reiss (American, 1894-1988)
Pigeon Cove HarborSigned “Lionel S. Reiss” in pen l.l., identified on a label affixed to thebacking.Watercolor and graphite on paper, sight size 18 1/4 x 23 1/4 in. (46.4x 59.1 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
498
499
500.Hazel (Mrs. William C.) Finck (American, 1894-1977)
Harbor View, Possibly Wellfleet, MassachusettsSigned “FiNCK” l.r.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Craquelure, surface grime.
$1,000-1,500
500A.Lee M. Loeb (American, 20th Century)
Rockport HarborSigned “LEE LOEB” l.r., identified on a label from the SalmagundiClub Fall 1966 Auction Sale and Exhibition affixed to the reverse.Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Surface grime, retouch.
$1,000-1,500
500
500A
501.Laurence Philip Sisson (American, b. 1928)
Lot of Two Harbor Views: Low Moon and Moon FogBoth signed “L. Sisson” l.l., both titled and numbered verso.Watercolor on paper, sheet sizes to 22 5/8 x 30 5/8 in. (57.5 x 77.8cm), unframed.Condition: Minor tack holes in corners or along one margin.
$1,000-1,500
502.Laurence Philip Sisson (American, b. 1928)
Lot of Two Coastal Views: Seining and Fiddleheads andFiddlehead SunBoth signed “L. Sisson” l.r., both titled and numbered verso.Watercolor on paper, sheet sizes to 30 1/4 x 22 1/2 in. (76.8 x 57.2cm), unframed.Condition: Tack holes along edges.
$1,200-1,800
501
502
503.John Cuthbert Hare (American, 1908-1978)
New Harbor, MaineSigned “John Hare” l.r., titled and inscribed “...John Hare paid July1965...” on the stretcher.Oil on canvas, 26 x 36 in. (66.0 x 91.4 cm), framed.Condition: Surface grime, craquelure.
$1,500-2,000
504.Laurence Philip Sisson (American, b. 1928)
Lot of Two Shore Views: Dance with Purple Moon and The InletBoth signed "L. Sisson" l.l., one signed "L Sisson" c.r., both titled andnumbered verso.Watercolor on paper, sheet sizes to 30 3/4 x 22 5/8 in. (78.2 x 57.5cm), unframed.Condition: Tack holes in corners or along edges, two small tears (to3/4 inch) l.c. along edge in The Inlet.
$1,200-1,800
504
503
505.Attributed to Arthur Franklyn Musgrave (American, 1878-1969)
Coastal CliffsUnsigned.Oil on canvasboard, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Abrasion with loss in u.r. quadrant, scattered craquelure,surface grime.
$1,500-2,000
506.Continental School, 20th Century
View of the French RivieraSigned indistinctly l.r., with a label from Haley and Steele, Boston, onthe reverse.Oil on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed.Condition: Subtle canvas deformations.
$3,000-5,000
505
506
507.Maxime Maufra (French, 1863-1918)
Marine par temps de pluieSigned and dated “Maufra 94.” l.r., identified on a presentation plaqueand on labels from Durand-Ruel, Paris & New York, on the reverse,also with a label from Doll & Richards, Boston, affixed to the frame.Oil on canvas, 23 1/2 x 29 in. (59.7 x 73.7 cm), framed.Condition: Craquelure, surface grime, retouch.
$8,000-12,000
507
508.Eastern European School, 20th Century
Summer Landscape with PoppiesUnsigned, stamped “...ZETI GALERIA/BUDAVARI PALOTA/...Dépület...,” probably from the Magyar Nemzeti Galéria [HungarianNational Gallery], on the stretcher bar.Oil on canvas, 23 1/4 x 31 1/2 in. (59.1 x 80.0 cm), framed.Condition: Lined, retouch, restored tear, craquelure, surface grime.
$1,500-2,000
508
509.Yarnall Abbott (American, 1870-1938)
View of a Sun-dappled RoadSigned and dated “Yarnall Abbott 1...” l.r.Oil on canvas, 17 x 14 in. (43.2 x 35.6 cm), framed.Condition: Surface grime, craquelure.
$800-1,200
510.Attributed to Dawson Dawson-Watson (British/American, 1864-1939)
Giverny FieldUnsigned, stamped “Toiles et Couleurs F.../L.AUBE.../Rue Brea...” onthe reverse.Oil on canvas, 15 x 25 in. (38.1 x 63.3 cm), framed.Condition: Strip lined, retouch, surface grime.
$2,000-3,000
509
510
511.Frank Cohen Kirk (American, 1889-1963)
Desert Hot Springs/A Southern California LandscapeSigned “F.C. KIRK” l.l., titled and inscribed “...Mrs. Kirk” on thereverse.Oil on canvasboard, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Surface grime, craquelure, tack holes.
$500-700
512.Stanley Huber Wood (American, 1894-1949)
View of a Village in Taxco, MexicoSigned, dated, and inscribed “Stanley Wood/38/TAXCO- 723” l.l.Watercolor and graphite on paper, sight size 14 1/4 x 20 in. (36.2 x50.8 cm), framed.Condition: Not examined out of frame.
$800-1,200
511
512
513.Samuel Colman (American, 1832-1920)
Distant Town, Possibly a View of MexicoSigned and dated “Sam. Colman 08” l.r.Watercolor on paper, sight size 7 x 14 in. (17.8 x 35.6 cm), framed.Condition: Toning, pale staining/foxing, pinholes along edges, tapedalong edge verso to window mat.
$1,500-2,000
513
514.Attributed to Hezekiah Anthony Dyer (American, 1872-1943)
View with a Woman on a Path by a Country HouseUnsigned, with a label from Tilden-Thurber Co. Art Gallery,Providence, Rhode Island, on the backing.Gouache on paper/board, sight size 6 1/2 x 9 1/4 in. (16.5 x 23.5cm), framed.Condition: Toning.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
515.Raymond Quence (French/American, b. 1932)
A PaimpolSigned “Quence” l.l., with a label from Wally Findlay Galleries affixedto the backing.Oil on canvas, 13 1/4 x 16 1/4 in. (33.7 x 41.3 cm), framed.Condition: Good.
N.B. A guarantee from Wally Findlay Galleries, Inc. identifiying thepresent work accompanies the lot.
$1,000-1,500
514
515
516.Louis Gustave Cambier (Belgian, 1874-1949)
Country LandscapeSigned and dated “Cambier 1930” l.r., canvas stamped “Louis G.CAMBIER....BRUXELLES” on the reverse, identified on a label on theback of the frame.Oil on canvas, 19 1/2 x 23 1/2 in. (50.0 x 49.5 cm), framed.Condition: Old repairs, paint loss, craquelure, surface grime.
$2,000-3,000
517.Wayne Beam Morrell (American, b. 1923)
Apple Orchards Near Giverny, France, 1988Signed “WAYNE MORRELL” l.l., titled, inscribed, and signed “(NearMonet’s Garden)... Spring-...by Wayne Morrell” on the reverse.Oil on Masonite, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Good.
$1,000-1,500
516
517
518.Roger Casse (French, 1880-1944)
Jardin du LuxembourgSigned and dated “Roger Casse 1911” l.r., identified on a labelon the reverse.Oil on canvas, 24 x 19 3/4 in. (61.0 x 50.2 cm), framed.Condition: Craquelure, minor abrasions, retouch, surface grime.
$1,000-1,500
519.Vladimir Lazarev (Russian/American, b. 1904)
Parisian Street View, Probably Le Boulevard des CapucinesSigned “V. LAZAREV.” l.l.Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Craquelure, subtle surface grime.
$800-1,200
518
519
520.François Gall (French, 1912-1987)
Le Pont St. Michel a ParisSigned “F. Gall” l.r., titled and signed “...F. GALL” with stamps fromCarel Gallery, Miami Beach, Florida, on the reverse, identified on apresentation plaque.Oil on canvas, 21 1/4 x 25 1/2 in. (53.9 x 64.8 cm), framed.Condition: Minor surface grime.
$1,000-2,000
521.Andre Hambourg (French, 1905-1999)
Les Petits Anes de Champs Elysee or Les Petits Anes sur leChamps Elysee, ParisSigned “a. hambourg” l.r., titled l.l., inscribed and titled “a. hambourg39 rue Boissonade Paris XIV...7777...,” probably in the artist’s hand,on the backing, a label from Karnig Gallery, New York, affixed to thereverse.Ink and gouache on paper, sight size 17 5/8 x 23 3/4 in. (44.7 x 60.3cm), framed.Condition: Rippling, toning, not examined out of frame.
$4,000-6,000
520
521
522.French School, 20th Century
Lot of Two Views of the Canal de la Giudecca, VeniceSigned “Maurice B...z” l.l., inscribed “Venise” l.r., titled on labels onthe reverse.Oil on panel, 10 1/4 x 13 1/2 in. (26.0 x 34.3 cm), framed.Condition: Partial split to panel, surface grime, craquelure.
$1,000-1,500
523.Marcel Mettenhoven (French, 1891-1979)
Les Régates de l’Ile aux MoinesSigned, titled, and dated “...Marcel Mettenhoven- 1910.” l.l.Gouache on laid paper, 21 x 15 in. (53.3 x 38.1 cm), framed.Condition: Not examined out of frame.
$700-900
522 (2)
523
524.William Lee-Hankey (British, 1869-1950)
View of Sailboats by a RampartSigned “W LEE-HANKEY.” l.l.Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), framed.Condition: Minor surface grime.
$5,000-7,000
524
525.Maurice Grün (French, 1869-1947)
Quai de la Gare, ParisSigned “M. Grün” l.l., titled on the stretcher and with stamps fromCarel Gallery, Miami Beach, Florida, on the reverse, identified on apresentation plaque on the backing.Oil on canvas, 25 1/2 x 21 1/4 in. (64.8 x 54.0 cm), framed.Condition: Surface grime.
$1,500-2,500
526.Hope Smith (American, b. 1879)
Lot of Four Genre Scene SketchesAll unsigned, artist identified on a label affixed to the reverse of each.Two oil on panel, two oil on canvasboard, approximate sizes to 5 1/2x 7 1/8 in. (14.0 x 18.2 cm), unframed.Condition: One with pigment fluorescence, surface grime, mild wearto edges.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$200-250
525
526
527.Reginald Marsh (American, 1898-1954)
Hoboken PierSigned, dated, and inscribed “REGINALD MARSH ‘37/HOBOKENPIER” in pen l.r.Watercolor and graphite on paper, sheet size 11 1/2 x 15 5/16 in.(29.2 x 38.9 cm), framed.Condition: Laid down to mat board, tape residue to margins.
N.B. Correspondence from Dr. Norman Sasowsky accompanies thelot.
$7,000-9,000
527
528.Jean Lareuse (French, b. 1925)
Au PaddockSigned and dated “Jean Lareuse 73” l.r., identified on a presentationplaque, titled and inscribed “J. LAREUSE...,” with a label from FindlayGalleries, Paris, on the reverse.Oil on canvas, 14 x 16 in. (35.6 x 40.6 cm), framed.Condition: Minor surface grime.
$300-500
529.Alfred Conway Peyton (American, 1875-1936)
The ThoroughbredSigned “A Conway Peyton” l.r.Gouache, watercolor, and graphite on paper, sight size 14 x 19 1/4in. (35.6 x 48.9 cm), framed.Condition: Not examined out of frame.
$800-1,200
528
529
530.Jean Lareuse (French, b. 1925)
EquitationSigned “Jean Lareuse” l.r., identified on a presentation plaque,inscribed and titled “...J. laReuse...,” with a label from Wally FindlayGalleries International, on the reverse.Oil on canvas, 28 1/2 x 21 in. (72.4 x 53.3 cm), framed.Condition: Minor surface grime.
$300-500
530
531.Nikolay Evgenyevich Lansere (Russian, 1879-1942)
Bell Tower of the Church of Vasiliy the Blessed in MoscowSigned, dated, and inscribed “N. Lansere/1906/Moscow” in pen and“Bell tower of Vas. the Bl./June 11, 1906” in pencil, both in Cyrillic l.r.,titled and inscribed “...Property of the author, E.K. Lansere...NicholasLanceray/Old Church at Moscow.” in Cyrillic and Roman alphabet onthe reverse.Watercolor and graphite on paper/board, 17 3/4 x 12 1/8 in. (45.1 x30.8 cm), framed.Condition: Toning, acid burn.
$1,000-2,000
532.Continental School, 20th Century
Balinese SceneUnsigned.Oil on canvas mounted to Masonite, 22 x 17 1/2 in. (55.9 x 44.4 cm),framed.Condition: Minor surface grime.
$600-800
531 532
533.Jane Peterson (American, 1876-1965)
Market SceneSigned “JANE PETERSON” l.l.Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), framed (under glass).Condition: Possible pentimento l.l. (in area of signature), varnishinconsistencies, scattered craquelure, soiling/surface grime.
$5,000-7,000
533
534.Sydney Richmond Burleigh (American, 1853-1931)
Cleaning the Shop Windows/A Street SceneSigned “S. R. Burleigh” l.r., indistinctly inscribed “George...Apl 2...” l.l.,inscribed “1902” on the reverse, partial gallery label affixed to theframe.Watercolor, gouache, and charcoal on paper mounted to board, 7 x10 1/4 in. (17.8 x 26.0 cm), framed.Condition: Subtle fading.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500
535.Angela O’Leary (American, 1879-1921)
Lot of Three Homestead ViewsSigned “Angela O’Leary” in pencil l.l. or l.r., one titled or inscribed “AWinters Day” in pencil on the reverse.Watercolor on paper, sight sizes to 6 3/4 x 4 1/2 in. (17.1 x 11.4 cm),framed.Condition: Not examined out of frames.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$400-600
534
535
536.Mabel May Woodward (American, 1877-1945)
The MarketplaceSigned “M.M. Woodward” l.r.Oil on artist board, 9 1/2 x 12 5/8 in. (24.1 x 32.1 cm), framed.Condition: Sandwiched between beveled mat and backing foamcore.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$1,500-2,500
536
537.Kenneth Frazier (French/American, 1867-1949)
Winter DreamsUnsigned, inscribed “Kenneth Frazier...” in pen and with partial labelson the backing.Oil on canvas, 13 3/4 x 15 3/4 in. (34.9 x 40.0 cm), framed.Condition: Lined, cut down, scattered retouch, craquelure.
$4,000-6,000
538.Daniel Chester French (American, 1850-1931)
Portrait Bust of a WomanInitialed “D.C.F” within the cast l.r.Bronze with green patina, approximately 8 x 3 1/2 in. (20.3 x 8.9 cm).Condition: Minor surface grime.
Provenance: Gift from the artist’s daughter; Margaret French Cresson(1889-1973) to Dr. and Mrs. D.J. MacPherson, Brookline,Massachusetts; private New England collection.
$500-700
537
538
539.George Henry (Scottish, 1858-1943)
Portrait of an Elegant WomanSigned and dated “GEORGE HENRY 1901” l.r.Oil on canvas, 52 x 39 5/8 in. (132.1 x 100.6 cm), framed.Condition: Retouch, varnish inconsistencies, losses to tacking margin, restretched, craquelure.
N.B. George Henry was born in Irvine (North Ayrshire), Scotland, in 1858. He trained at the Glasgow School of Art, and studied lifedrawing with William MacGregor, one of the “Glasgow Boys,” a circle of painters with whom Henry would soon join. Working atroughly the same time as the architect and designer, Charles Rennie Mackintosh, the “Glasgow Boys” revolutionized Scottishpainting from 1880 to about 1895, rebelling against Victorian sentimentality and painting everyday subjects in a fresh, new way,often working outdoors. Henry’s painting, A Galloway Landscape (1889), now in the collection of the Kelvington Art Gallery andMuseum in Glasgow, has been described as “the nearest to a masterpiece ever painted by any of the Glasgow Boys.”1 While Henryis known primarily as a landscape painter, he was also an able portraitist and figure painter. Using deft brushwork, he excelled atcreating rich surfaces and sparkling highlights. Henry shared a studio with Edward A. Hornel and together the artists traveled toJapan, staying 18 months in 1893-94. Many of Henry’s works were unfortunately destroyed on the voyage back to Britain, but theexperience of visiting Japan provided a font for future paintings created in Scotland.
Henry was an associate member of the Royal Scottish Academy. He was elected an associate of the Royal Academy (London) in1907, and a full member in 1920. He also exhibited with the Royal Scottish Painters of Watercolours in Scotland, the AberdeenArtists’ Society, the Royal Society of British Artists, the Royal Institute of Oil Painters, and at the Royal Glasgow Institute of Fine Arts.
1. www.artistsfootsteps.co.uk/artists_a_z.asp$20,000-30,000
539
540.Wilton Robert Lockwood (American, 1861-1914)
The Lady in WhiteUnsigned, identified on labels including one from the Museum of FineArts, Boston, on the reverse.Oil on canvas, 39 x 31 1/4 in. (99.1 x 79.4 cm), framed.Condition: Lined, craquelure.
Provenance: Ex-collection of artist Charles Hovey Pepper.$5,000-7,000
541.Philip Leslie Hale (American, 1865-1931)
Fashionable WomanSigned “Philip L Hale” in pencil l.r., dated “1921” in pencil l.r.,identified on a presentation plaque, with labels from Pierce Galleries,Inc., Hingham, Massachusetts, affixed to the reverse.Graphite, colored pencil, and chalk on paper, sight size 17 x 13 in.(43.2 x 33.0 cm), framed.Condition: Toning, foxing, not examined out of frame.
Literature: Paintings and Drawings by Philip Leslie Hale, 1865-1931:from the Folts Collection at the Vose Galleries of Boston..., VoseGalleries of Boston, November 1 to December 2, 1966, no. 51 (illus.).
$1,000-2,000
540
541
542.Clement Rollins Grant (American, 1848-1893)
Portrait of a Young Woman in ProfileSigned “C.R. Grant.” l.l., with a label from Goupil’s, NewYork, on the backing.Watercolor on paper, sight size 7 3/4 x 7 in. (19.7 x 17.8cm), framed.Condition: Not examined out of frame.
$800-1,000
543.Claudio Castelucho (American, 1870-1927)
Portrait of a Seated WomanSigned “C. Castelucho” l.r., also identified on a label on thereverse.Oil on canvas, 45 3/4 x 35 in. (116.2 x 88.9 cm), framed.Condition: Craquelure, surface grime, losses/abrasionsalong frame liner, weak tacking edges, subtle canvasdeformations, minor losses, retouch, subtle bloom.
$4,000-6,000
542
543
544.Edward Chalmers Leavitt (American, 1842-1904)
Yellow Roses à Plein AirSigned and dated “E. C. Leavitt. 1886.” l.l., with a label fromCharles G. Calder, Providence, Rhode Island, on the stretcher.Oil on canvas, circular format, 10 in. diameter (25.4 cm),framed.Condition: Retouch, surface grime, craquelure.
$900-1,200
545.Attributed to Karl Storch (German, 1864-1954)
InteriorSigned or inscribed and dated “K Storch 1914” l.r., inscribed,possibly in a later hand, on the reverse.Oil on panel mounted onto a supporting panel, 24 5/8 x 19 1/2in. (62.5 x 49.5 cm), framed.Condition: Retouch (including reinforced signature), varnishinconsistencies, small splits to panel, surface grime.
$1,500-2,000
544
545
546.Laura Coombs Hills (American, 1859-1952)
Yellow Zinnias and LarkspurSigned “Laura Hills” in pencil u.l., identified on a label from Doll & Richards, Boston, on the reverse.Pastel on paper/board, sight size 17 1/2 x 13 1/2 in. (44.5 x 34.3 cm), in original black frame.Condition: Not examined out of frame.
Provenance: Mr. Eliot Wadsworth (Assistant Secretary of the Treasury under President Harding), Boston, Massachusetts; thenby descent within the family.
N.B. Laura Coombs Hills’ favored mediums were watercolor and pastel. Born in Newburyport, Massachusetts, in 1859, Hillsstudied at the Art Students League and later established her studio in Boston. Her first solo exhibition featured 16 pastels atthe J. Eastman Chase Gallery in Boston in 1889. After visiting England in 1893, Hills became fascinated with miniature paintingon ivory, which was enjoying a renaissance during the Arts & Crafts movement. Always gifted at working in tiny scale, Hillsentered a successful period of painting miniature portraits on commission that would last almost 30 years. She returned herfocus to rendering flowers in pastel after 1920. Using bouquets picked from the garden of her summer home in Newburyport,Hills painted floral still life arrangements set against textured backdrops based on scarves and fabrics she had collected on hertravels. These works earned for her the critical distinction of Boston’s leading pastelist of the early 20th century.
Literature: Laura Coombs Hills, A Retrospective, Historical Society of Old Newbury, 1996, with essays by Erica E. Hirshler,Sandra B. Lapore, and Martha D. Hamilton.
$6,000-8,000
546
547.Elmer Wesley Greene (American, 1907-1964)
Portrait of Sara Athrop Thayer of Dedham, MassachusettsSigned “ELMER W. GREENE” l.r.Oil on canvas, 12 x 10 in. (30.5 x 25.4 cm), framed (under glass).Condition: Minor abrasions and surface grime.
Provenance: Gift from the sitter to the family of the present owner.
N.B. The depicted pair of gemstone chandelier drop earringsaccompanies the lot.
$1,500-2,000
548.George Frederick Kaber (American, 1860-c. 1951)
Portrait of Nellie Robie Kaber, the Artist’s Wife, in Elegant DressSigned “G.F. Kaber” l.r., inscribed “Christmas 1933” on the reverse.Oil on canvas, 60 x 40 in. (152.4 x 101.6 cm), framed.Condition: Losses/abrasions, surface grime, water staining to thereverse, craquelure.
Provenance: By family descent to the grandson of the artist.$400-600
547
548
549.Albert Braitou-Sala (French, 1885-1972)
Standing Portrait of Young Woman with Red ShoesSigned, inscribed, and dated “Braitou-Sala/Paris 1926” l.r., inscribed“Braitou Sala” in pen on a partial label from Ch. Pottier, Paris, on thestretcher.Oil on canvas, 76 3/4 x 38 1/4 in. (194.9 x 96.7 cm), framed.Condition: Patch reinforcement, retouch, craquelure, surface grime.
$2,500-3,500
549
550.Frank Convers Mathewson (American, 1862-1941)
The Parakeet, 1928Signed “F.C. Mathewson.” l.r., identified on labels including one fromthe Providence Art Club, on the reverse.Oil on artist board, 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm), framed (underglass).Condition: Craquelure, subtle bowing to board.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.
N.B. A photograph of the artist and a letter concerning the artistaccompany the lot.
$400-600
551.Lynn Nelsen Aylsworth (American, 20th/21st Century)
Still Life with Vase and TeapotSigned “Lynn Nelson Aylsworth” in pen l.l.Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Good.
$1,000-1,500
550
551
552.Frank Cohen Kirk (American, 1889-1963)
Still Life with JarSigned “F. C. KIRK.” l.r.Oil on canvas, 30 x 30 in. (76.3 x 76.3 cm), framed.Condition: Good.
$2,000-2,500
552
553.Marguerite Stuber Pearson (American, 1898-1978)
LiliesSigned “M S PEARSON” l.l.Oil on canvasboard, 20 x 16 in. (50.8 x 40.6 cm), framed.Condition: Retouch (including signature), varnish inconsistencies,rubs/losses at edges, surface grime.
$1,200-1,800
554.Mae Bennett Brown (American, 1887-1973)
Bouquet of Pink RosesSigned “M. BENNETT BROWN” l.r.Oil on canvasboard, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Surface grime.
$800-1,200
553
554
555.Eric L. (Frederic) Pape (American, 1870-1938)
Portrait of a ClownSigned and dated “Eric Pape/1930” l.r., estate stamped on the paperbacking.Oil on canvas mounted to mat board, 20 1/8 x 16 in. (51.1 x 40.6cm), framed.Condition: Minor abrasion u.r., wear at corners, surface grime.
Provenance: Sharon Boccelli and Co., March 12, 1995, Lot 198.$2,500-3,000
555
556
556.Adelaide Cole Chase (American, 1868-1944)
Portrait of a Young Girl Seated with a BookSigned “Adelaide Chase” u.l.Oil on canvas, 43 x 33 1/2 in. (109.2 x 85.1 cm), framed.Condition: Paint and canvas losses/abrasions to the tacking edge,craquelure, subtle canvas deformations.
$4,000-6,000
558.Marie Louise Chapin (American, 1843-1898)
Portrait of a Young Girl with a MuffSigned “Marie Louise Chapin.” l.c., inscribed “N.H.G. Temple” on thereverse.Oil on board, 7 1/2 x 4 in. (19.1 x 10.2 cm), framed.Condition: Minor surface grime, retouch.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$400-600
557.Sarah De St. Prix Wyman Whitman (American, 1842-1904)
Portrait of a Young Girl with a DollSigned and dated “SW WHITMAN MDCCCLXXXIII [1883]” u.l., with alabel from J. Eastman Chase, Boston, on the reverse.Oil on canvas, 17 x 13 3/4 in. (43.2 x 34.9 cm), framed.Condition: Patch reinforcement, losses, retouch, surface grime.
Provenance: Private Massachusetts collection.$3,000-5,000
557
558
559
559.Cecilia Beaux (American, 1855-1942)
Portrait of Joseph B. Thomas IV as an Infant, 1917Dedicated and initialed “To Joseph Thomas and/hismother/from...C.B.” l.l.Charcoal on paper/board, 17 5/8 x 12 3/4 in. (44.8 x 32.4 cm),framed.Condition: Staining, foxing, toning.
Provenance: Through the estate of Joseph B. Thomas IV, BarHarbor, Maine.
$3,000-5,000
560
560.Cecilia Beaux (American, 1855-1942)
Francesca with a Kitten, 1897Monogram signature “CB” l.l.Charcoal on paper, sheet size 14 5/8 x 9 1/4 in. (37.2 x 23.5 cm), framed.Condition: Mended tears to the corners, cloth tape hinged to backing mat recto, unobtrusive toning and acidburn.
N.B. Francesca Gilder Palmer was the daughter of Richard Watson Gilder, an editor of The Century Magazine,as well as a friend and patron of Beaux. Francesca is perhaps best known by her portrait with her older sisterDorothea in The Dancing Lesson, 1898, held in The Art Institute of Chicago permanent collection.
Provenance: By descent through the family of the sitter.
Literature: Tara Leigh Tappert, Cecilia Beaux and the Art of Portraiture, Washington, D.C.: SmithsonianInstitution Press, 1995, pp. 50-51 (illus. pl. 22).
Exhibitions: Cecilia Beaux and the Art of Portraiture, The National Portrait Gallery, Smithsonian Institution,October 6, 1995 to January 28, 1996, exh. no. 69.
$10,000-15,000
561.Charles Allen Winter (American, 1869-1942)
Allegory of Victory over StruggleMonogram signature “CAW” l.l.Oil, graphite, and ink on canvasboard, 22 1/2 x 15 3/4 in. (57.2 x40.0 cm), framed.Condition: Surface grime, minor abrasions, trimmed board, varnishinconsistencies.
$800-1,200
562.Charles Constantine Hoffbauer (American, 1875-1957)
Christmas Eve, 1914Unsigned, inscribed “plus a...” in pencil l.r., identified on a label fromExeter Art Gallery, Marblehead, Massachusetts, affixed to thebacking.Gouache and graphite on paper, sight size 11 7/8 x 8 7/8 in. (30.2 x22.5 cm), framed.Condition: Not examined out of frame.
Provenance: Ex-collection of Mrs. George T. Metcalf; Estate of N.David Scotti, Providence, Rhode Island.
N.B. An exhibition pamphlet, Charles Hoffbauer: 1875-1957, August29 to September 26, 1964, Exeter Art Gallery, Marblehead,accompanies the lot.
$300-500
561 562
563.Cecilia Beaux (American, 1855-1942)
Portrait of Joseph B. Thomas IIISigned and dedicated “To my friend/J.B. Thomas/Cecilia Beaux” l.l.Charcoal on paper, sight size 21 x 13 1/2 in. (53.3 x 34.3 cm), framed.Condition: Toning.
N.B. Cecilia Beaux was one of the most admired portrait painters of the turn of the 20th century.Educated in Philadelphia and in Paris, she was the first full-time female instructor at the PennsylvaniaAcademy of Fine Art. She had a very active career and was among the celebrated members of thenational and international artistic community of her time.1 In a letter from Cecilia Beaux thataccompanies this lot (dated Feb. 1914 and written on stationery bearing the address 20 GramercyPark), the artist addressed the sitter as “Dear Neighbor.” She wrote that she had signed the drawingand left it for him to find when he got back. Beaux goes on to say that she may “…sometime botheryou to lend me the drawing to appease the Exhibition Wolf, which is always growling about my door…”The artist compared the sitter to “the daring son of the Captain of the Bucentaure,” (the French flagshipat the Battle of Trafalgar). The letter is signed, “Your long-winded but true friend and neighbor, C.B.”
1. Who Was Who in American Art, Peter Falk, Editor-in-Chief, Vol. I, p. 252.$2,000-2,500
563
565.Charles Allen Winter (American, 1869-1942)
The Making of a PotionMonogram signature “CAW” l.r.Oil on canvasboard, 28 1/4 x 20 1/4 in. (71.8 x 51.4 cm), framed.Condition: Surface grime, punctures, abrasions, trimmed board,varnish inconsistencies.
$600-800
564.Amleto Cataldi (Italian, 1882-1930)
Portrait of a Female Nude with TridentSigned “A. CATALDI.” within the cast on the reverse.Bronze with dark brown patina, approximately 44 1/2 x 13 x 13 in.(113.0 x 33.0 x 33.0 cm).Condition: Minor surface abrasions.
$3,000-5,000
564
565
566.Mariano Alonso Pérez (Spanish, 1857-1930)
Allegorical View of a Bastille Day ParadeSigned “Alonso-PEREZ” l.l., inscribed “A450” on the reverse.Oil on canvas, 40 1/8 x 30 in. (101.9 x 76.2 cm), unframed.Condition: Craquelure, surface grime.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$8,000-12,000
566
567.Vladimir Rozmainski (Russian, 1885-1943)
The MasqueradeSigned, inscribed, and dated “V. Rozmainski/Paris/1925” l.l.Oil on canvas, 61 x 36 in. (154.9 x 91.4 cm), unframed.Condition: Surface abrasions, craquelure, surface grime, subtlevarnish inconsistencies, tear to l.r. quadrant.
$8,000-12,000
567
568.Sir William Russell Flint, RA (British, 1880-1969)
The Old Mill StudioSigned “W. RUSSELL FLINT” l.r., titled, signed, and inscribed “The Old Mill Studio/W. Russell Flint/Thisvery old tidal mill was mentioned in Doomsday Book shortly after 1066...Birdham Mill Interior Studio” inpencil on the reverse, a label from Arthur Ackermann & Sons, Inc., of London, New York, and Chicago,affixed to the paper backing.Watercolor on paper, sheet size 13 3/4 x 22 1/2 in. (34.9 x 57.2 cm), framed.Condition: Adhered to window mat with paper tape.
N.B. Noted British watercolorist William Russell Flint was elected a full member of the Royal Academyin 1933.1 He became President of the Royal Society of Painters in Watercolour in 1936 and wasknighted in 1947 by George VI. A retrospective of his work was held in the Diploma Gallery of theRoyal Academy in 1962 and was attended by more than 21,000 visitors.2 William Russell Flint wasborn in Edinburgh, Scotland, and attended the Royal Institution School of Art in Edinburgh. He beganhis career as an illustrator and designer, joining the staff of the Illustrated London News in 1903. In1907 the artist also began illustrating limited editions of classic books, such as Mallory’s Morte D’Arthurand Chaucer’s Canterbury Tales. After service in World War I, Russell Flint dedicated himself full timeto painting. He is best known for his skills as a watercolorist and as a painter of the female form.
1. www.racollection.org.uk
2. www.sirwilliamrussellflint.co.uk$22,000-28,000
568
569.Henri de Toulouse-Lautrec (French, 1864-1901)
L’Amazone/An Illustration for Chasseur de CheveluresMonogram signature “TL” l.r., inscribed “...Amazone...” in pencil on the reverse, identified on a label affixed tothe backing.Ink on paper, sight size 14 1/4 x 9 1/8 in. (36.2 x 23.2 cm), framed.Condition: Cloth taped to backing mat, masking tape residue along top margin, fold along left edge.
Provenance: Estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex, Connecticut.
Literature: Catalogue des Tableaux modernes, aquarelles, pastels, dessins, lithographies...composant lacollection Alexandre Natanson, Hotel Drouot, Salles Nos. 9 et 10 Reunies, May 16, 1929, no. 39; TristanBernard, “Chasseur de Chevelures,” Revue Blanche, no. 32, June 1894 (illus.)
$8,000-12,000
569
570.Oronzio Maldarelli (American, 1892-1963)
Portrait of a Dancer with MaracasSigned “O. MALDARELLI.” within the cast on the reverse.Bronze with dark brown patina, 9 x 4 x 2 1/2 in. (22.9 x 10.2 x 6.4cm).Condition: Minor surface grime.
$3,000-5,000
570
571.Andre Dunoyer de Segonzac (French, 1884-1974)
Etude pour le Georgiques de “Virgile”Signed and inscribed “...A. Dunoyer de Segonzac” l.c.Ink on paper, sheet size 7 1/4 x 5 in. (18.4 x 12.7 cm), framed.Condition: Acid burn to four corners from tape verso, not examinedout of frame.
Provenance: Daniel Sickles, Paris, France; Hans Peter Kraus, NewYork; Estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex,Connecticut.
Literature: [Collection Daniel Sickles] Bibliothèque d’un Amateur, TrèsBeaux Livres Illustrés Modernes Dans d’Importantes Reliures dont 53Signées de Pierre Legrain, Exemplaires uniques dont Les Fleurs duMal Illustrées par Rouault, Deuxieme partie, Paris: Musée Galliéra, 21May 1963 (no. 265); Kraus, H.P., The Illustrated Book, Catalogue108, no. 138, 1964.
N.B. The work was one of eight original drawings included in apresentation copy of Souvenirs d’un marchand de tableaux byAmbroise Vollard, published by Éditions Albin Michel in 1937, whichwas pen inscribed and gifted to his chauffeur Marcel Z. Méraud.
$1,000-1,500
571
572.George Ehrenfried Grosz (German/American, 1893-1959)
Stille Nacht Heilige Nacht, c. 1922Signed “Grosz” in pen l.r., inscribed and titled “...ca. 1922...Eltern...”with a stamp from the George Grosz Nachlass on the reverse.Ink on paper, sheet size 23 1/8 x 15 3/4 in. (58.7 x 40.0 cm), framed.Condition: Center crease, subtle rippling and foxing, mat burn, subtletoning, cloth tape hinged to backing mat, tape residue to the reverse.
N.B. We wish to thank Ralph Jentsch who kindly confirmed theauthenticity of the lot and assisted with its cataloguing. The work isregistered as no. 3-10-2 with the George Grosz Estate, and will beincluded in Ralph Jentsch’s forthcoming catalogue raisonné of theartist.
The present work is a preliminary drawing related to a published workof the same year, which has been reproduced under the titles,“Gottes sichtbarer Segen ist bei mir.,” from Friedrich Schiller, DieRaüber (Act II, Scene 3), Plate 6, Der Malik-Verlag, Berlin, 1922; “Eintrautes Weib, ein herzig Kind, das ist mein Himmel auf der Erde.,”from George Grosz, Abrechnung folgt!, Der Malik-Verlag, Berlin, 1923,p. 31; and “Gottes sichtbarer Segen ruht auf uns,” from GeorgeGrosz, Die Gezeichneten, Der Malik-Verlag, Berlin, 1930, p. 43. Asingle plate from the portfolio Die Raüber has appeared annotated byGrosz with the same title of the present work.
Provenance: Purchased from Galleria dell’Obelisco Rome, Italy;collection of Melvin B. Nessel, Boston, Massachusetts.
$10,000-15,000
572
573.François Gall (French, 1912-1987)
Woman in a CafeSigned and inscribed “F. Gall/Paris” l.r.Oil on canvas, 25 5/8 x 32 in. (65.0 x 81.0 cm), framed.Condition: Minor retouch.
$1,500-2,500
574.Lazzaro Donati (Italian, 1926-1977)
Figura in Grigio PorporaSigned, inscribed, dated, and titled “LAZZARO DONATI FIRENZE1960...” on the reverse.Oil and graphite on panel, 27 5/8 x 19 7/8 in. (70.2 x 50.5 cm),framed.Condition: Craquelure, surface grime.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$400-600
573
574
575.Jean Pierre Cassigneul (French, b. 1935)
Au ParcSigned “CASSIGNEUL.” l.l., identified on a presentation plaque, inscribed and titled “WF-NY 61231...” on thestretchers, with a label from the Wally Findlay Galleries, Palm Beach, Florida, on the backing.Oil on canvas, 18 1/4 x 15 in. (46.4 x 38.1 cm), framed.Condition: Good.
N.B. We wish to thank the artist for kindly confirming the authenticity of the lot.
Jean-Pierre Cassigneul’s favorite subjects are women, often portraying them wearing large hats in garden settings.He is a painter and a lithographer, and since 1980, his works have also been woven into tapestries. Born in Paris in1935, Cassigneul began the study of art at the Academie Charpentier in 1954. He had already had his first privateshow at Galerie Lucy Krogh at the age of 17. Seeking more thorough training, Cassigneul took and passed theentrance exam for the Ecole des Beaux Arts de Paris and worked in the studio of Roger Chapelain-Midy from 1955-60. Cassigneul’s style has also been influenced by the expressionist painter Kees van Dongen.
In the 1960s and 70s, Cassigneul met two dealers who would be central in his career: Kiyoshi Tamenaga, whowould promote his work in Japan, and Wally Findlay, who would become his dealer in the United States. Since thattime the artist has had numerous exhibitions in the United States and Japan, as well as in France. In 2005 a majorshow of Cassigneul’s paintings, lithographs, and tapestries celebrated 50 years of work.
$15,000-25,000
575
576.Charles Haslewood Shannon (British, 1863-1937)
Lot of Two Figure Studies of Bathers, Possibly Fan DesignsUnsigned.Watercolor on silk, sight sizes to 5 3/4 x 15 1/2 in. (14.6 x 39.4 cm),framed.Condition: Subtle rippling, taped to window mat.
Provenance: By descent within a family collection, New England.$1,500-2,500
577.Allan Albert Davidson (American, 1908-1988)
Corps de Ballet-Back StageSigned “Allan A. Davidson” l.l., titled and stamped “...ALLAN A.DAVIDSON, A.W.S....ROCKPORT, MASS.” on the stretcher.Oil on canvas, 30 x 24 in. (76.2 x 61.0 cm), framed.Condition: Good.
$1,000-1,500
576
577
578.Jacques Wely (French, 1873-1910)
The DancerSigned twice and dated “J. Wely/05/J. Wely” l.r.Pastel on paper laid down onto canvas, sight size 21 x 17 in.(53.3 x 43.2 cm), framed.Condition: Tear/loss u.r., broad rippling, toning, not examined outof frame.
$2,500-3,500
579.Joseph Gary Sheahan (American, 1893-1978)
The SoloistSigned and dated “Gary Sheahan Dec. 1945” in pencil l.r.Graphite, whiting, and acrylic on paper, sight size 33 x 26 in.(83.0 x 66.0 cm), framed.Condition: Tears and restored tears, retouch, not examined outof frame.
N.B. Joseph “Gary” Sheahan studied at the University of NotreDame and the School of the Art Institute of Chicago. He was astaff artist for the Chicago Tribune where he worked for 33 yearsuntil his retirement in 1958.1
1. New York Times, “Rites Set for Gary Sheahan, 84, Retired Tribune Artist,”Jan. 17, 1978, p. B8.
$800-1,200
578
579
580.William Baxter Palmer Closson (American, 1848-1926)
At the WoodSigned “Closson” l.l.Oil on board, 8 x 8 in. (20.4 x 20.4 cm), framed.Condition: Minor paint loss, surface grime.
$700-900
581.Elijah Baxter (American, 1849-1939)
Springtime/Bacchantes with Floral Garlands and HermSigned “E. Baxter...” l.r., inscribed and titled “No. 73...” on a label,possibly period, on the stretcher.Oil on canvas, 10 x 14 in. (25.4 x 35.6 cm), framed (in a liner).Condition: Surface grime.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.$200-250
580
581
582.William Baxter Palmer Closson (American, 1848-1926)
Lafayette SquareSigned “...losson” l.r., identified on a presentation plaque.Oil on copper sheet, 9 15/16 x 8 in. (25.2 x 20.4 cm), framed.Condition: Paint losses, one obscuring the “C” in the signature.
$1,000-1,500
582
583.Allan Rohan Crite (American, 1910-2007)
Busy Street/A Study for a MuralSigned, inscribed, and dated “Study for pencil sketch “BusyStreet”/Allan R. Crite ARC/Feb. 8, 1933” in pencil l.l.Graphite on paper, sheet size 18 x 12 in. (45.7 x 30.5 cm), unframed.Condition: Toning, cloth tape hinged to backing mat, minor tears tothe margins.
N.B. A photographic reproduction of the mural cartoon accompaniesthe lot.
$800-1,200
583
310
584.Donald Carlisle Greason (American, b. 1897)
Lot of Three Boxing Views of Al McCoy, Né FlorianLeBrasseur, Shadow Boxing at Sharkey’s Gym, 1936One signed and dated “Greason 36” l.r., two signed,inscribed, and dated “...November 1936/Greason” on thereverse.Oil on Masonite, 7 1/2 x 9 3/8 in. (19.1 x 23.8 cm), framed.Condition: Minor retouch, subtle varnish inconsistencies.
$1,800-2,200
584
584
584
311
585.Harrison Cady (American, 1877-1970)
Letting Yourself...As a Hanging LampSigned “HARRISON·CADY” l.l., titled or inscribed “longlegs...” on alabel on the reverse.Watercolor and ink on paper, sight size 17 x 12 3/4 in. (43.2 x 60.3cm), framed.Condition: Subtle rippling, not examined out of frame.
$1,500-2,000
585
312
586.Ethel Blanchard Collver (American, 1875-1955)
Central ParkSigned “Ethel Blanchard Collver” l.r.Oil on canvas, 40 x 50 in. (101.6 x 127.0 cm), framed.Condition: Scattered flaking and losses, light scattered surfacerubs/abrasions, surface grime.
$2,000-3,000
586
313
587.Rosebee (American, 20th/21st Century)
After the SnowSigned “©Rosebee” l.r., dedicated and signed “...May I always bringyou love and joy through my miracle of painting./Love- Rosebee” onthe backing.Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed.Condition: Good.
$800-1,200
587
314
588.Ralph Eugene Cahoon, Jr. (American, 1910-1982)
Harbor View with MermaidsSigned “R. CAHOON” l.r.Oil on Masonite, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Good.
$5,000-7,000
588
315
589.Isabel Bishop (American, 1902-1988)
Lot of Three Studies of Figures at a Drinking FountainEach initialed “IB.” l.l. or l.r.Ink, graphite, and wash on paper, sheet sizes to 3 1/2 x 3 5/8 in. (8.9x 9.2 cm), unframed.Condition: Cloth tape hinged to backing mat, subtle handlingcreases, former tape residue to margins, trimmed sheet, subtlesoiling.
Provenance: Ex-collection of the artist James Whitney Fosburgh,New York.
$800-1,200
590.Moses Soyer (American, 1899-1974)
Portrait of Lady Bird JohnsonSigned “M SOYER” u.r.Oil on canvas, 18 x 14 in. (45.7 x 35.6 cm), framed.Condition: Minor surface grime.
$1,000-1,500
591.Isabel Bishop (American, 1902-1988)
Lot of Five Studies of Figures at a Drinking FountainEach initialed “IB.” l.l. or l.r., two works double-sided.Ink, graphite, and wash on paper, sheet sizes to 5 1/4 x 6 1/4 in.(13.3 x 15.9 cm), unframed.Condition: Cloth tape hinged to backing mat, subtle handlingcreases, former tape residue and tack holes to margins, trimmedsheet, subtle soiling.
Provenance: Ex-collection of the artist James Whitney Fosburgh,New York.
$800-1,200
589
590
591
316
592.Continental School, 20th/21st Century
Piccadilly CircusSigned “E. del Arroyo” l.l., inscribed “PICCADILLY CIRCUS” l.r.Oil on canvas, 36 x 30 in. (91.4 x 76.2 cm), framed.Condition: Good.
$1,000-1,500
593.David Burliuk (Ukrainian/American, 1882-1967)
Portrait of Frank BankerSigned “BuRLiuK” l.l.Oil on canvas, 8 x 8 in. (20.3 x 20.3 cm), framed.Condition: Surface grime, craquelure, varnish inconsistencies.
N.B. The sitter, a hobbyist painter and antiques dealer, was afriend of the Burliuk family in Quogue, Long Island.
$1,500-2,000
592
593
317
594.David Aronson (American, b. 1923)
Ishmaelite, 1955Signed “Aronson” u.l., identified on labels including those from TheAmerican Federation of the Arts, New York, and the Rose ArtMuseum, Brandeis University, Waltham, Massachusetts, on thebacking.Graphite and charcoal on paper, sight size 17 1/4 x 11 3/4 in. (43.8 x29.8 cm), framed.Condition: Mat burn, not examined out of frame.
Provenance: Ex-collection of Daniel Weisberg, Boston,Massachusetts.
Exhibitions: David Aronson: A Retrospective, Rose Art Museum,Brandeis University, February 4 to March 18, 1979; The JewishMuseum, June 5 to September 4, 1979, catalogue no. 63.
$800-1,200
595.Lazzaro Donati (Italian, b. 1926)
Portrait of a Woman SeatedSigned “DONATI” within cast l.r.Bronze, approximately 12 1/2 x 14 1/2 x 9 in. (31.8 x 36.8 x 22.9cm).Condition: Surface grime.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$400-600
596.Conger A. Metcalf (American, 1914-1998)
Portrait of a BoySigned “Metcalf” u.l.Mixed media on paper, sight size 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm),framed.Condition: Not examined out of frame.
$300-500
594
595 596
318
597.Cabot Lyford (American, b. 1925)
Standing NudeUnsigned.Carved granite, approximately 32 x 7 x 5 in. (81.3 x 17.8 x 12.7 cm),mounted to a wooden plinth.Condition: Minor surface grime.
$800-1,200
598.Pavel Tchelitchew (Russian/American, 1898-1957)
Portrait of a Seated FigureSigned and dated “P. Tchelitchew 54” l.r., inscribed “...KELLER” onthe reverse.Oil on canvas, 19 3/4 x 14 5/8 in. (50.2 x 37.1 cm), framed.Condition: Trimmed canvas, craquelure.
$1,500-2,000
597
598
319
599.Henri Matisse (French, 1869-1954)
Femme nue allongée, 1928Signed “Henri Matisse” in pencil l.r., inscribed “...TR 955 1145.64...”in pencil on the reverse.Graphite on paper, sheet size 13 1/2 x 19 1/8 in. (34.3 x 48.6 cm),framed.Condition: Restored tears, cloth tape hinged to backing mat, subtlemat burn, tack holes to corners, deckled edges.
Provenance: Heinz Berggruen, Paris (by 1973), acquired by thefamily of the present owner c. 1975.
N.B. We wish to thank Wanda de Guébriant for kindly confirming theauthenticity of the lot.
$40,000-60,000
599
320
600.Aaron Ashkenazi (Bulgarian/Israeli, 1912-1993)
Portrait of a Reclining NudeSigned “ASHKENAZI” within cast l.r.Bronze with dark brown patina, 12 x 14 3/4 x 9 1/2 in. (30.5 x 37.5 x24.1 cm), mounted to a travertine plinth.Condition: Minor surface grime.
$1,500-2,000
600
321
601.Cabot Lyford (American, b. 1925)
Kneeling HorseIncised signature “Lyford” l.l.Carved marble, approximately 13 x 19 x 10 in. (33.0 x 48.3 x 25.4cm).Condition: Minor surface grime.
$800-1,200
602.Irving Petlin (American, b. 1934)
Study for the Clay Fountain... Morning, 1973Signed and dated “Petlin 73” l.r., identified on a label from GalleriaOdyssia, New York, on the backing.Pastel on paper, 19 x 25 1/4 in. (48.3 x 64.1 cm), framed.Condition: Not examined out of frame.
$800-1,200
601
602
322
603.Antonio Bueno (Italian, 1918-1984)
Girl and White PipeIncised signature “A. Bueno” l.l., identified on a partial label from MonedeGallery, New York, on the reverse.Oil on canvas, 27 3/4 x 21 3/4 in. (70.5 x 55.3 cm), framed.Condition: Subtle craquelure and surface grime.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.
N.B. We wish to thank Isabella Bueno, daughter of the artist, for kindlyconfirming the authenticity of the lot; a photo-certificate from Isabella Buenoaccompanies the lot.
$8,000-12,000
603
323
604.David Burliuk (Ukrainian/American, 1882-1967)
Still Life with Flowers by the ShoreSigned and dated “BuRLiuK./1957.” l.r.Oil on panel, 10 x 8 in. (25.4 x 20.3 cm), framed.Condition: Surface grime.
$2,000-4,000
604
324
605.Bernard Buffet (French, 1928-1999)
Flowers, alternatively titled Fleur dans un JournalSigned and dated “Bernard Buffet 59” c.r., identified on a label from Schoneman Galleries,Inc., New York, stamped “DAVID ET GARNIER” and inscribed “57.B” and “McGraw” on thereverse.Oil on canvas, 25 1/2 x 20 in. (64.8 x 50.8 cm), framed.Condition: Mild surface grime.
Provenance: Estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex, Connecticut.
N.B. We wish to thank Mr. Maurice Garnier for kindly confirming the authenticity of this lot; acertificate of authenticity from Mr. Garnier accompanies the lot.
$30,000-50,000
605
325
606.Sol Wilson (American, 1896-1974)
Boats on the ShoreSigned “Sol Wilson” l.r.Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Minor surface grime.
$1,000-1,500
606
326
607.Bonnie Whittingham (American, 20th Century)
Fishermen by the ShoreSigned “Whittingham” l.l.Oil on Masonite, 12 x 42 1/2 in. (30.5 x 108.0 cm), framed.Condition: Minor surface grime.
$700-900
607
327
608
328
608.Georgia O’Keeffe (American, 1887-1986)
Alligator Pear in White Dish, 1921Initialed, titled, and inscribed “OK...O’Keeffe...” on the backing.Oil on canvas-covered board, 12 x 9 in. (30.5 x 22.9 cm), framed.Condition: Very minor surface grime.
Provenance: From the artist to The Downtown Gallery, New York; thence to The Mayo Hill Galleries,Wellfleet, Massachusetts, thence to Katrina Grullemans, Chatham, Massachusetts; by family descentto present owners.
Literature: Barbara Buhler Lynes, Georgia O’Keeffe: Catalogue Raisonné, Volume Two, New Haven:Yale University, 1999, no. 35, pp. 1102 and 1115 (illustrated).
Exhibitions: The Anderson Galleries, 1924; The Downtown Gallery, New York; The Mayo Hill Galleries,Inc., Wellfleet, Massachusetts, July 1954.
N.B. In the forward to a 1936 exhibit at Alfred Stieglitz’s American Place gallery, Marsden Hartleydescribed the works of O’Keeffe’s earlier period—specifically her diminutive compositions of flowersand vegetables—as contending with “the border-line between finity and infinity” and describing “naturein her simplest appearance.”1 The present work illustrates these qualities recognized by Hartley, whichexplores the relationship between the organic and inorganic, as well as the sculptural and two-dimensional. The white dish is presented as full-bodied in its meticulously-worked modeling and yetethereal in its luminosity. The alligator pear, with its thin, reductive surface, is placidly poised both inand on the dish. Through the illusion of symmetry, the viewer is led to see the objects as ideal forms,and yet, as subtle irregularities reveal themselves, the materiality of the objects comes forth.
According to the stock book of The Downtown Gallery, as well as a letter from Georgia O’Keeffe toEdith Halpert dated December 2, 1953, the present work is dated 1921.2 The stock book and salesinvoice also indicates that the work was lent and exhibited at The Mayo Hill Galleries in Wellfleet in July1954, retained and sold to The Mayo Hill Galleries on September 7, 1954, and paid in full on October5, 1954.3 The work was purchased by Ms. Grullemans, a resident of Chatham in the 1950s,presumably around this time.
1. Hartley, Marsden, Georgia O’Keeffe: Exhibition of Recent Paintings, 1935 [January 7-February 27, 1936], New York: AnAmerican Place, 1936.
2. Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution. Series 4:Business Records: Gallery Stock. Stock Books, Stock, C-R (6 of 7), 1941-1960s. 4.2: Gallery Stock, 1926-1974, undated(Box 62, reel 5606, frame 1017-1018). http://www.aaa.si.edu/collectionsonline/downgall/container197812.htm
3. Ibid.; Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution. Series 4:Business Records: Sales Records, Artwork. Sales Slips (2 of 2), 1954, 4.3: Sales Records, Artwork, 1928-1972, undated (Box,72, reel 5627, frame 970). http://www.aaa.si.edu/collectionsonline/downgall/container198008.htm
$100,000-150,000
329
609
330
609.Alexander Calder (American, 1898-1976)
Germination, 1962Signed and dated “Calder 62” l.r., inscribed and titled “331 Germination” in pencil and “coquelicots”in pen on the reverse.Gouache on paper, sheet size 29 3/8 x 43 1/8 in. (74.6 x 109.5 cm), framed.Condition: Tape hinged to linen-backed mat board, minor creases and losses to corners.
Provenance: Acquired from the artist by Nicholas Guppy, London; thence to Obelisk Gallery,Boston; thence to the collection of Melvin B. Nessel, Boston, Massachusetts.
N.B. This work is registered with the Calder Foundation, application number A14124.$40,000-60,000
331
610.Alexander Calder (American, 1898-1976)
Untitled, 1950Signed and dated “Calder 50” l.r.Ink, gouache, and graphite on BFK Rives paper, sheet size 29 5/8 x 41 1/2 in. (74.9x 105.4 cm), framed.Condition: Subtle mat burn, tape hinged to backing mat.
Provenance: Collection of Selma H. and Irving M. Sobin, Boston; private NewEngland collection by family descent.
N.B. This work is registered with the Calder Foundation, application number A24737.$10,000-15,000
610
332
611.Yves Tanguy (French/American, 1900-1955)
Sans Titre, 1943Signed and dated “YVES TANGUY 43” l.r.Gouache on paper, sheet size 2 7/8 x 13 7/8 in. (7.3 x 35.3 cm), framed.Condition: Trimmed sheet (probably by the artist) along top margin, glued along several points on the margins’verso to backing mat.
Provenance: Estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex, Connecticut.
N.B. The work is registered as no. 871-167 by the Yves Tanguy Committee of the Pierre and Tana MatisseFoundation, and the work will be included in the forthcoming revised edition of the Yves Tanguy catalogueraisonné.
Paris-born Tanguy immigrated to the United States at the onset of war in 1939 and settled in New Englandwith his American wife, painter Kay Sage. When Tanguy was asked in 1946 about how his American workdiffered from his European work, he pointed to an intensification of his color palette and “a feeling of greaterspace here—more ‘room’.”1 Roland Penrose elaborated on Tanguy’s comment, nothing that “his palettechanged in the sense that the earth colors began to give place to more strident reds and blues and the seamists cleared in the intense sparkling light of New England.”2 Penrose also noted a change in style fromTanguy’s animated biomorphism of the 1930s to more rigid and stark forms. The present work is punctuatedwith the bold colors noted, as well sharply-outlined, ossified forms which suggest that the viewer is looking atcast-offs instead of living inhabitants of the space.
1. Sweeney, James Johnson, “Eleven Europeans in America,” The Bulletin of the Museum of Modern Art, Vol. 13, No. 4/5, New York:The Museum of Modern Art, 1946, p. 23.
2. Penrose, Roland, Yves Tanguy: A Retrospective, New York: The Solomon R. Guggenheim Foundation, 1983, p. 13.$40,000-60,000
611
333
612.Frank Stella (American, b. 1936)
Untitled [Study for a Painting], 1970-71Signed “F. Stella” in pencil l.r., identified on a label from Lawrence Rubin Gallery, New York, on thereverse.Crayon and graphite on paper, sheet size 17 x 22 in. (43.2 x 55.9 cm), framed.Condition: Affixed to backing mat at four corners, not examined out of frame.
Provenance: Purchased from Parker Street 470 Gallery Auction, Boston; collection of Melvin B.Nessel, Boston, Massachusetts.
$15,000-25,000
612
334
613.Saul Steinberg (American, 1914-1999)
Art LoversSigned and dated “STEINBERG 63” l.r., identified on a label fromObelisk Gallery, Boston, affixed to the reverse.Ink and colored pencil on paper, sheet size 9 1/2 x 10 3/8 in. (24.1 x26.4 cm), framed.Condition: Subtle acid burn to u.r. and u.l. corners, glued to backingmat at u.r. and u.l. corners.
$3,000-5,000
614.Kenneth Noland (American, b. 1924)
Sailing, 1969Signed, titled, and dated “...Kenneth Noland 1969” in pencil and witha label from Solomon & Co., New York, on the reverse.Oil on canvas, 6 x 54 in. (15.2 x 137.2 cm), framed.Condition: Minor surface grime.
Provenance: Purchased from Thomas Segal Gallery, Boston;collection of Melvin B. Nessel, Boston, Massachusetts.
$20,000-30,000
614
613
335
615.Beverly Stoll Pepper (American, b. 1924 )
Untitled/A Sculpture MaquetteIncised signature, date, and inscription “Beverly Pepper ‘70...II” l.l.Welded and brushed steel, approximately 25 x 78 1/2 x 8 in. (63.5 x199.4 x 20.3 cm).Condition: Minor surface dust, minor abrasions.
Provenance: Purchased from Obelisk Gallery, Boston; Collection ofMelvin B. Nessel, Boston, Massachusetts.
$5,000-7,000
615
336
616.Allan M. D’Arcangelo (American, 1930-1998)
Constellation #7Signed, inscribed, dated, and titled “© A. D. Arcangelo NYC 1970...”on the reverse, identified on labels including one from Obelisk Gallery,Boston, on the reverse.Acrylic on canvas, 60 x 60 in. (152.4 x 152.4 cm), unframed.Condition: Surface grime and abrasions.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$5,000-7,000
616
337
617.Igael Tumarkin (Israeli, b. 1933)
Untitled/A Sculpture Maquette, c. 1973Signed and dated “TUMARKIN...3” l.r.Mixed media (welded steel and acrylic), 3 x 13 3/4 x 6 7/8 in. (7.6 x34.9 x 17.5 cm), mounted to an acrylic plinth.Condition: Minor surface dust.
N.B. A copy of the exhibition booklet Made in U.S.A.: I. Tumarkin1974-1976, printed by Peli Printing Works, Ltd. accompanies the lot.
$1,500-2,500
618.Yaacov Agam (Israeli, b. 1928)
Hundred Gates/A Kinetic SculptureUnsigned.Nickel-chromed steel, 15 15/16 x 12 1/8 in. (40.5 x 30.8 cm), set in achromed base.Condition: Minor surface abrasions.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$4,000-6,000
617
618
338
619.Victor Vasarely (French, 1908-1997)
TY-NEU, 1959Signed “vasarely-” in pen l.c. and r.c.Tempera on paper/board mounted to wooden panel, 25 x 17 1/4 in.(63.5 x 43.8 cm), framed.Condition: Minor losses, retouch, craquelure, mounting separation.
Provenance: Purchased from Obelisk Gallery, Boston, collection ofMelvin B. Nessel, Boston, Massachusetts.
N.B. We wish to thank Madame Michèle Vasarely who will beincluding the present work in the upcoming catalogue raisonné of theartist, and a photo-certificate accompanies the lot.
$40,000-60,000
619
339
340
620
620.Arnaldo Pomodoro (Italian, b. 1926)
Rotante primo sezionale n. 1 [Rotating First Section No. 1], 1966Incised signature and number “Arnaldo Pomodoro -02 p.a.” on the plinth l.r., incised title and date “...1966-”on the plinth l.l.Bronze, 31 1/2 in. (80.0 cm) diameter, set on a cast acrylic plinth.Condition: Minor surface abrasions to bronze and acrylic surfaces.
Provenance: Purchased from Marlborough Galleria d’Arte, Rome; collection of Melvin B. Nessel, Boston,Massachusetts.
Literature: Flaminio Gualdoni and Arnaldo Pomodoro, Arnaldo Pomodoro: Catalogo ragionato della scultura,Milan: Skira, 2007, p. 524, no. 396 (illustrated); Sam Hunter, Arnaldo Pomodoro, New York: Abbeville Press,1982, no. 76 (final edition illustrated).
N.B. The present work is one of two artist proofs outside the edition of two, and is registered with the ArchivioArnaldo Pomodoro, Milan, Italy, as AP 263. We wish to thank the Arnaldo Pomodoro Studio for theirassistance with cataloguing the lot.
Pomodoro began his experiments with “sculpture in the round” in the mid-1950s, moving away from hiscarved bas-relief “tablets” toward penetrable, free-standing geometric volumes. This development forPomodoro was less a result of technical innovation than it was a search for “a more dialectical process of bothconstructing and destroying geometric forms.”1 Pomodoro considered his bas-relief carving to represent aform of abstract “writing,” and his search into the limit of this kind of symbolic representation resulted inexperiments with depth and surface.
By 1963, Pomodoro created his first sphere, which allowed him to express his “glyphs” in terms of an interiorand exterior dynamic. Inspired by Brancusi’s use of polished surfaces to unify a form, Pomodoro appropriatedthe highly polished exterior to underscore the sphere’s built-up and torn-down interior—and thus itsdisintegration of form. As in the present work, plaster debris from the casting process left deliberately on theinterior points to its own genesis, and yet, its crumbling texture alludes to its demise. Pomodoro saw his“surface erosions and irregularities as symbols of the destructive impulse” in a technological age where the“drama of erosion captures the sense of foreboding, of a certain anxiety about the course of events at thattime in our history.”2
1. Hunter, Sam, Pomodoro, New York: Abbeville Press, 1982, p. 194.
2. Ibid., 52, 57.$100,000-150,000
341
621.Ernest Tino Trova (American, 1927-2009)
ALL UMANO E IL MIO SOLO RIMOR UNANO E IL MIO SOLORIMORSO E’SONO UMANO LUOMO E SOLO UNA MEMORIAUnsigned.Mixed media (metal, porcelain, glass, linen, and wood) installation, 241/2 x 23 1/2 x 8 in. (62.2 x 59.7 x 20.3 cm), in a glass case.Condition: Good.
$1,500-2,500
622.Ernest Tino Trova (American, 1927-2009)
Hinged Falling ManUnsigned, monogram stamped, and numbered “...3673” beneath thebust.Brass, 3 x 12 x 2 1/8 in. (7.6 x 30.5 x 5.4 cm), on a brass cradle.Condition: Uneven patina, surface imperfections, oxidation.
$2,000-3,000
621
622
342
623.Ernest Tino Trova (American, 1927-2009)
Falling Man [Suspended Relief], 1969Monogram stamped “et” and numbered “102/175” at the center.Brass mounted to an acrylic panel, 11 3/4 x 11 x 3 1/8 in. (29.8 x 7.9 cm),set within a recessed acrylic plinth.Condition: Surface abrasions to acrylic panel, oxidation to brass.
$1,500-2,500
623
343
624.Peter Anthony Chinni (American, b. 1928)
Hortus NaturaeSigned, numbered, and dated “CHINNI 1/8 1969” on the reverse.Chrome metal, approximately 43 x 14 x 13 1/2 in. (109.2 x 35.6 x34.3 cm), mounted to a plaster base.Condition: Chips to the base, minor rust/corrosion.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.
N.B. We wish to thank the artist and Christine Chinni, daughter ofthe artist, for their assistance with cataloguing the lot.
$2,000-3,000
624
344
625.Friedel Dzubas (American, 1915-1994)
Untitled, 1981Unsigned.Acrylic on canvas, 60 1/8 x 27 5/8 in. (152.7 x 70.2 cm), unframed.Condition: Very minor surface grime.
Provenance: Gift from the artist to the family of the present owner.
N.B. A limited edition silkscreen was produced of this painting tobenefit the Museum of Fine Arts, Boston.
$8,000-12,000
625
345
626.Antoine Poncet (Swiss, b. 1928)
Arcturus, 1975Signed and numbered “1/8 Poncet” l.l.Carved white Carrara marble bas-relief, 12 1/2 x 6 1/2 x 2 1/4in. (31.8 x 16.5 x 5.8 cm), mounted to a black marble plaque.Condition: Minor surface grime.
Provenance: Collection of Melvin B. Nessel, Boston,Massachusetts.
N.B. We wish to thank Armelle Le Gendre, archivist to AntoinePoncet, for her assistance with cataloguing the lot.
$1,000-2,000
627.Jack Youngerman (American, b. 1926)
Aug 4 1969Initialed and dated “JY 69” in pencil l.r., inscribed “...Aug 4Youngerman” and identified on a label from Obelisk Gallery,Boston, on the backing.Acrylic on paper, sheet size 28 7/8 x 23 in. (73.3 x 58.4 cm),framed.Condition: Not examined out of frame.
Provenance: Collection of Melvin B. Nessel, Boston,Massachusetts.
$1,500-2,500
626
627
346
628.Peter Anthony Chinni (American, b. 1928)
TrioSigned, numbered, and dated “CHINNI 1/8 1968” in the cast.Brass, 6 3/4 x 7 1/2 x 12 1/2 in. (17.1 x 19.1 x 31.8 cm), mounted toa stone plinth.Condition: Subtle surface impurities.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.
N.B. We wish to thank the artist and Christine Chinni, daughter ofthe artist, for their assistance with cataloguing the lot.
$3,000-5,000
628
347
629
348
629.Jesus Rafael Soto (Venezuelan, 1923-2005)
Struttura, 1968Signed and dated “Soto 1968” on the reverse, identified on a label from MarlboroughGalleria d’Arte, Rome, affixed to the reverse.Painted wood, steel, and nylon construction, 30 1/2 x 12 3/4 x 12 5/8 in. (77.5 x 32.4 x32.1 cm).Condition: Replaced strings to sixteen rods.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$30,000-40,000
349
630.Ettore Colla (Italian, 1896-1968)
Senza Titolo [Meridiana quadrata], 1968Unsigned, inscribed “E. COLLA” in marker beneath the base.Iron, 28 1/2 x 20 x 8 1/2 in. (72.4 x 50.8 x 21.6 cm), on a whitepainted wooden plinth.Condition: Good.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.
Literature: Giorgio De Marchis and Sandra Pinto, Colla, Roma:Bulzoni, 1972, no. 224 (illustrated).
Exhibitions: 24 Presenze, Artisti romani non figurativi, Roma, IstitutoItalo-Latino-Americano (IILA), March 26 to April 9, 1969.
N.B. Colla’s abstract work was considered by James JohnsonSweeney, the late director of the Solomon R. Guggenheim Museum,
to be a contradiction in both classicism and “primitive directness.”His works showed “restraint and discipline” and “dedication to orderand form” but his technique and materials—which consisted ofreclaiming and reconfiguring industrial materials—were handled withthe “respect a cave artist gave the casual materials of his day.”1
The raw innovation and balance that Sweeney spoke of can be seenin the present work, where the surfaces have been exposed to theelements, and the basic geometric forms of circle and square arerepeated, rotated, and suspended in space. It was completed at theartist's home and studio at Viale Parioli, and is a larger version basedon a prototype created in 1967.2
1. Giorgio De Marchis and Sandra Pinto, Colla, Roma: Bulzoni, 1972, p. 9.
2. Ibid., 106.$30,000-40,000
630
350
631.Louise Berliawsky Nevelson (American, 1900-1988)
Young Tree XXVII, 1971Unsigned, marked “WEYCO” on one end.Black painted wood, 27 1/2 x 6 x 5 3/4 in. (69.8 x 15.2 x 14.6 cm),mounted to a wooden laminate plinth.Condition: Minor chips.
Provenance: From the artist to Pace Gallery, New York (Pace Inv.#3084); purchased from Harcus/Krakow Gallery, Boston; collection ofMelvin B. Nessel, Boston, Massachusetts.
N.B. We wish to thank Mike Nevelson for his assistance withcataloguing the lot.
$15,000-25,000
631
351
632.William Walton (American, 1909-1994)
CourthouseSigned “Walton” l.r., also titled, signed, and dated “...-WALTON-1961”on the stretcher.Oil on canvas, 33 1/4 x 50 1/4 in. (84.4 x 127.6 cm), framed.Condition: Surface grime.
$1,000-1,500
633.Joel Leonard Perlman (American, b. 1943)
Untitled/A Sculpture MaquetteInitialed and dated “JP 80” l.r.Welded and brushed steel, 15 7/8 x 10 1/2 x 4 1/2 in. (40.3 x 26.7 x11.4 cm).Condition: Surface dust.
Provenance: Purchased from Emmerich Gallery, New York; collectionof Melvin B. Nessel, Boston, Massachusetts.
N.B. The work is a study for an outdoor sculpture at 180 BeaconStreet, Boston, Massachusetts.
$400-600
632
633
352
634.Beverly Stoll Pepper (American, b. 1924)
UntitledStamped “BP” on base l.r.Iron, 35 x 13 7/8 x 11 7/8 in. (88.9 x 35.2 x 30.2 cm), mounted to aniron base.Condition: Surface dust.
$6,000-8,000
635.Max Günther (Swiss, 1934-1974)
Lot of Two Works: Tableautin and Some November Day, 1961Both signed “Max Gunther” l.r., and signed, titled, dated, andinscribed “...MAX GUNTHER...” on the reverse.Oil on canvasboard, sizes to 5 3/4 x 7 7/8 in. (15.0 x 20.0 cm),framed.Condition: Surface grime.
$1,000-1,500
634
635
353
636.Gregory Kavalec (American, b. 1945)
UntitledSigned “KAVALEC” in pencil l.r.Acrylic and graphite on paper, sheet size 30 x 22 in. (76.2 x 55.9 cm),within a Plexiglas frame.Condition: Not examined out of frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$300-500
637.Christopher Macdonald (American, b. 1957)
Untitled, 1988Unsigned, identified on a label from David Betzel Gallery, Inc., NewYork, on the reverse.Mixed media with pastel and graphite on paper, 10 x 6 3/8 in. (25.4 x16.0 cm), framed.Condition: Not examined out of frame.
$300-500
636
637
354
638.Robert Arthur Goodnough (American, b. 1917)
K-7Signed and dated “Goodnough ‘86” l.r., also titled, inscribed, signed,and dated “...Goodnough 86...” in pen on the reverse.Oil and acrylic on canvas, 46 x 68 in. (116.8 x 172.7 cm), framed.Condition: Minor surface grime.
Provenance: Purchased from the artist; Collection of Melvin B.Nessel, Boston, Massachusetts.
$6,000-8,000
638
355
639.Hannes Beckmann (German/American, 1909-1976)
RADIANTMonogrammed and dated “h.b. 63.” l.l., inscribed “‘RADIANT’ oil1963 Hannes Beckmann” on the reverse and on the stretcher,identified on a label from Kanegis Gallery, Boston, affixed to thestretcher.Oil on canvas, 18 x 18 in. (45.8 x 45.8 cm), framed.Condition: Minor abrasion to center, surface grime.
$2,000-4,000
640.Michiel Theobald Gloeckner (American, 1915-1989)
Pale FlowerMonogrammed “MG” l.r., titled, initialed, signed, and dated“...MG/Michiel Gloeckner 1971” on the stretcher.Oil on canvas, 20 x 18 in. (50.8 x 45.7 cm), framed.Condition: Surface grime.
$1,000-1,500
639
640
356
641.Michiel Theobald Gloeckner (American, 1915-1989)
Of Forms and SunlightMonogrammed “MG” l.r., titled, signed, and dated “...MichielGloeckner 1971” on the stretcher.Oil on canvas, 20 x 18 in. (50.8 x 45.7 cm), framed.Condition: Surface grime.
$800-1,200
642.Alvin Demar Loving, Jr. (African/American, 1935-2005)
Untitled, 1981Signed and dated “July 11 81 Al Loving” in pencil on the reverse.Acrylic on canvas, 40 x 40 in. (101.6 x 101.6 cm), framed.Condition: Good.
$4,000-6,000
641
642
357
643.Cleve Gray (American, 1918-2004)
UntitledSigned and dated “Gray ‘56” l.r.Oil on canvas, 8 x 13 in. (20.3 x 33.0 cm), framed.Condition: Surface grime, minor losses/abrasions.
$400-600
644.Yutaka Ohashi (Japanese/American, b. 1923)
Flight #6Signed “Ohashi” u.l., also signed, dated, and inscribed “YUTAKAOHASHI/1979...” in English and Japanese on the reverse.Oil, gold leaf, and paper collage on canvas, 16 x 20 in. (40.6 x 50.8cm), framed.Condition: Minor surface grime.
$800-1,200
643
644
358
645.Peter Busa (American, 1914-1985)
Yellow Effussion [sic]Signed “Busa” l.r., titled or inscribed on the reverse.Oil on illustration board, 15 x 20 in. (38.1 x 50.8 cm), framed.Condition: Bowing to support, craquelure.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$300-500
646.Sylvia Miller (Ukrainian/American, 1910-1991)
FlatlandsSigned and dated “S. MILLER ‘64” l.r., titled on the stretcher.Oil on canvas, 22 x 28 in. (55.9 x 71.1 cm), framed.Condition: Craquelure, surface grime.
$1,000-1,500
645
646
359
647.Jack Roth (American, 1927-2004)
Untitled [1201]Signed and dated “Roth 61” l.l.Oil on linen, 51 1/2 x 40 in. (130.8 x 101.6 cm), framed.Condition: Surface grime.
$1,000-2,000
648.Ronaldo de Juan (American, 1931-1989)
Untitled, 1985Signed, dated, and inscribed “R. DE JUAN/ NY. 1985” in penl.r., inscribed “RONALDO/DE JUAN/N.Y. 1985...” andidentified on a label affixed to the backing.Acrylic on paper/board, 60 x 40 in. (152.4 x 101.6 cm),framed.Condition: Minor flaking/losses, tack/staple holes to margins.
$2,000-3,000
647
648
360
649.John G. Walker (British, b. 1939)
Untitled, 1992Signed, dated, and inscribed “Walker 92 OIL” with labels fromKnoedler & Company, New York, and Nielsen Gallery, Boston, on thereverse.Oil on canvas, 24 x 20 in. (61.0 x 50.8 cm), unframed.Condition: Good.
$3,000-5,000
650.No lot.
649
361
651.Anne Ryan (American, 1889-1954)
UntitledSigned “A Ryan” l.r.Mixed media (paper and fabric) collage, 6 3/4 x 6 1/2 in. (17.1 x 16.5cm), framed.Condition: Not examined out of frame.
$1,500-2,000
651
362
652.Robert G. Hamilton (American, 1916-2004)
Neanderthal Embrace, 1974Signed “R...” in pencil l.l., titled on the stretcher.Oil on canvas, 45 x 45 in. (114.3 x 114.3 cm),framed.Condition: Minor surface grime.
N.B. Hamilton attended the Rhode Island Schoolof Design, where he was also a painting anddrawing instructor for thirty-four years.
$4,000-6,000
653.No lot.
654.Peter Sobin (American, 20th/21st Century)
Untitled, c. 1983Signed “Sobi...” l.r.Acrylic and mixed-media collage, sheet size 40 x25 3/4 in. (101.6 x 65.4 cm), framed.Condition: Not examined out of frame.
$300-500
652
654
363
655.Donald Castell Kelley (American, b. 1928)
UntitledSigned and dated “D.C. Kelley July 20, 08” in pencil l.l., signature anddate pentimento u.r.Ink and pastel on paper, sheet size 29 1/2 x 22 in. (74.9 x 55.9 cm),framed.Condition: Not examined out of frame.
N.B. Donald C. Kelley trained at the School of the Museum of FineArts, Boston, from 1952 to 1957. During a two-year period abroad,he met fellow Museum School alum Cy Twombly in Mykonos,Greece. Kelley attended Yale School of Art and Architecture in 1960where he received his Bachelors and Masters degrees. He has had anumber of one-man and group exhibits in New England, and severalart residencies at the Wurlitzer Foundation and The MacDowellColony.
Based on the signatures, the present work is both figurative andabstract from either vertical orientation.
$300-500
656.Faiq Hussain (Iraqi, 20th Century)
My Wilderness Open for OthersSigned in Arabic l.r., signed or inscribed and dated “No.178/BAGHDAD-IRAQ...FAIK HA HUSSAIN/1965” on the reverse.Oil on canvas, 18 1/2 x 41 1/4 in. (47.0 x 104.8 cm), framed.Condition: Mildewing.
Provenance: From the collection of Louis Albert McMillen.$5,000-7,000
657.No lot.
655
656
364
658.Sylvia Miller (Ukrainian/American, 1910-1991)
BantuSigned “SYLVIA MILLER” l.r., titled on the stretcher.Oil on canvas, 42 x 33 in. (106.7 x 83.8 cm), framed.Condition: Patch reinforcement, surface grime, retouch.
$1,500-2,500
658
365
659.Reba Stewart (American, 1930-1971)
River at Baños de Coamo/A Puerto RicoLandscapeSigned and inscribed “Reba Stewart San Juan. P.R.”in pencil l.r., titled and dated “...Jan. 24, 1971” l.l.Ink and graphite on paper, sight size 19 1/4 x 27 in.(48.9 x 68.6 cm), framed.Condition: Not examined out of frame.
N.B. The beaches of San Juan, Puerto Rico, left alasting impression on Reba Stewart, who vacationedthere regularly between 1963 and her untimely deathin 1971. Reba was fascinated by the localdriftwood, which she would assemble into mobilesand ship back to her studio in Baltimore, Maryland.1
The present work relates to a series of worksinspired by Puerto Rico which explore the fluctuatingboundaries between land, sky, and sea.
1. LaFleur, Helen Myrick, “Reminiscences of Reba Stewart,”Reba Stewart: A Legacy, Massachusetts College of Art, October9 to November 20, 2006 (exh. cat.), pp. 13-14, 22, 26.
$700-900
660.Elof Wedin (American, 1901-1983)
View of a Modernist HouseSigned and dated “Elof Wedin 1955” l.l.Pastel and charcoal on paper, sight size 19 1/4 x 231/4 in. (48.9 x 59.1 cm), framed.Condition: Not examined out of frame.
$1,000-1,500
660
659
366
661.David Pearce (British, fl. 1987-present)
PlantlifeSigned and dated “David Pearce ‘94” on the reverse.Acrylic on stitched canvas patches, 48 x 48 in. (121.9 x 121.9 cm),unframed.Condition: Very mild wear to edges.
Provenance: Purchased directly from the artist.$1,500-2,000
661
367
662.Laurence Philip Sisson (American, b. 1928)
Lot of Two Landscapes: Cloud Shapes and Cold SunBoth signed “L. Sisson” l.l., titled and numbered on thereverse.Watercolor on paper, sheet size to 30 1/4 x 22 1/4 in. (76.9 x56.5 cm), unframed.Condition: Tack holes in corners.
$1,000-1,500
663.Laurence Philip Sisson (American, b. 1928)
Lot of Two Evening Views: January Blue and MoonlitPilingsOne signed “L. Sisson” l.r., the other signed “Laurence Sisson”l.l., both titled and numbered verso.Watercolor on paper, size to 22 1/8 x 30 1/4 in. (56.3 x 76.5cm), unframed.Condition: Minor wear along edges, tack holes in corners.
$1,000-1,500
663
662
368
664.Leonardo M. Nierman (American, b. 1932)
Prehistoric FireSigned “Nierman” l.l., titled on the reverse.Oil on Masonite, 23 1/2 x 31 1/2 in. (59.7 x 80.0 cm), framed.Condition: Craquelure, minor surface abrasions.
$800-1,200
664
369
665.Irene Rice Pereira (American, 1902-1971)
Reclining Nude in a LandscapeIncised signature, inscription, and date “I. RICE PEREIRA/-WILTSHIRE/50” l.l.Oil on cardstock, 10 1/2 x 13 5/8 in. (26.7 x 34.6 cm), framed.Condition: Craquelure.
800-1,200
666.Karl Zerbe (American, 1903-1972)
Sitting Woman Variation #I, 1961Signed or inscribed “Zerbe” l.r., titled in pen on the stretcher andidentified on a label from Nordness Gallery, New York, on the reverse.Acrylic and collage on linen, 21 x 14 in. (53.3 x 35.6 cm), framed.Condition: Surface grime.
$800-1,200
665
666
370
667.Romeo Villalva Tabuena (Filipino, b. 1921)
NocturneSigned and dated "TABUENA 1961" l.r., titled on the reverse.Oil on Masonite, 15 3/4 x 12 1/4 in. (40.0 x 31.1 cm), framed.Condition: Surface grime.
$800-1,200
667
371
668.Joseph Piccillo (American, b. 1941)
Lot of Three Portraits: Witness #I, Witness #III, and Witness #IV,1968Signed, titled, and dated “...FEB 68 joseph piccillo” u.r., l.l., and l.r.,respectively, one with a signed and dedicated exhibition notice affixedto the reverse.Graphite on paper, sight sizes to 10 x 8 3/4 in. (25.4 x 22.2 cm),framed.Condition: Not examined out of frames.
$1,200-1,800
669.Walter (Sidney) Feldman (American, b. 1925)
Untitled [Heart-Shaped Lock]Signed and dated “Walter Feldman 1966” in pencil l.l.Mixed media on paper/board, sight size 10 3/4 x 10 3/4 in. (27.3 x27.3 cm), framed.Condition: Not examined out of frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$300-500
668
669
372
670.Bonnie Whittingham (American, 20th Century)
Figures in ProfileSigned “Whittingham” l.l.Oil and tissue collage on canvas, 34 x 72 in. (86.4 x 182.9 cm),unframed.Condition: Minor surface grime.
$1,500-2,500
671.Francisco Toledo (American, b. 1940)
Lot of Two Works: Abstract Creatures and Interior SceneBoth signed “Toledo” l.r.Creatures gouache and ink on paper mounted onto board, sheet size8 3/4 x 12 in. (22.2 x 30.5 cm); Interior ink and watercolor on theback of lithograph portfolio cover sheet, 12 3/4 x 15 7/8 in. (32.4 x40.3 cm); both unframed.Condition: Creatures with bowing to support, Interior with decklededges, both with soiling/surface grime.
$1,500-2,000
670
671
373
672.Peter Busa (American, 1914-1985)
Figure in ProfileUnsigned.Oil on Masonite, 17 3/4 x 12 in. (45.1 x 30.5 cm), framed.Condition: Surface grime, craquelure, losses/abrasions, retouch.
$2,000-3,000
673.June Bellamy (Burmese/Italian, 20th Century)
Natura Morta Con UvaSigned “Bellamy” l.l., also signed, inscribed, dated, and titled “JUNEBELLAMY/FIRENZE/1968...” on the reverse.Oil on panel, 14 x 16 in. (35.6 x 40.6 cm), framed.Condition: Alligatoring, minor abrasions along frame.
Provenance: Collection of Melvin B. Nessel, Boston, Massachusetts.$300-500
672
673
374
674.Vito Acconci (American, b. 1940)
Mobius Bench/An Installation Study for the Shops at LakeAvenue, 401 Lake Avenue, Pasadena, CaliforniaInscribed, signed, and dated “Acconci Studio Vito Acconci ‘03” inpencil l.r.Ink and graphite on paper, sheet size 7 x 17 in. (17.8 x 43.2 cm),framed.Condition: Not examined out of frame.
Provenance: Acquired from the artist by commission, private NewEngland collection.
$1,500-2,000
674
375
675.Gregory Amenoff (American, b. 1948)
Study for The Heart of the Matter II, 1982Signed, dated, titled, and dedicated “for Dan &Marlene...Gregory Amenoff 8/82...” in crayon onthe reverse and identified on a label from NielsenGallery, Boston, on the stretcher.Oil on canvas, 18 x 18 in. (45.7 x 45.7 cm),unframed.Condition: Good.
$1,000-1,500
676.Carl Sprinchorn (American, 1887-1971)
Red MapleSigned “CARL SPRINCHORN” l.r., identified on alabel from the New Bertha Schaefer Gallery, NewYork, on the backing.Watercolor on paper, sight size 22 1/2 x 18 in.(57.1 x 45.7 cm), framed.Condition: Toning, foxing, not examined out offrame.
$1,000-1,500
675
676
376
677.Karl Knaths (American, 1891-1971)
Abstract GardenSigned “K. Knaths” and with a profile portrait sketch on the reverse,stamped “B. BEAMSDERFER GALLERY, HIGHLAND PARK, NEWJERSEY” on the backing.Oil on canvas, sight size 38 3/4 x 31 1/2 in. (98.4 x 80.0 cm), framed.Condition: Craquelure with lifting.
$1,500-2,000
677
377
678.Chen Chi-Kwan (Chinese, 1921-2007)
Mother and SonsSigned “Chen Qi Kuan bi” in Chinese l.r. and titled “Muzi” in Chineseu.l.Ink on paper, sight size 11 3/4 x 19 1/4 in. (29.8 x 48.9 cm), framed.Condition: Subtle rippling.
Provenance: From the collection of Louis Albert McMillen.$1,500-2,500
679.Liu Tian Wei (Chinese, b. 1954)
Abstract CompositionSealed and dated “...1983” in Chinese l.l.Ink wash on paper, sheet size 37 3/4 x 70 1/2 in. (95.9 x 179.1 cm),framed.Condition: Not examined out of frame.
Provenance: From the collection of Louis Albert McMillen.$1,500-2,500
678
679
378
680.Chen Chi-Kwan (Chinese, 1921-2007)
CockfightSigned and inscribed in Chinese l.l. and u.r.Ink wash on paper, sight size 11 1/2 x 19 1/4 in. (29.2 x 48.9 cm),framed.Condition: Toning, not examined out of frame.
Provenance: From the collection of Louis Albert McMillen.$1,500-2,500
681.John Way [Wei Letang] (Chinese/American, b. 1921)
Untitled [Abstract]Signed and dated “John Way ‘75” l.r.Oil on paper, 19 1/8 x 24 in. (48.6 x 61.0 cm), unframed.Condition: Good.
Provenance: Through the family of the artist.$4,000-6,000
680
681
379
682.Walasse Ting (Chinese/American, b. 1929)
Grasshopper with WatermelonSealed “Cai Hua Da Dao” [thief who steals flowers] in Chinese u.l.Acrylic and ink on rice paper, sheet size 13 3/4 x 19 in. (34.9 x 48.3cm), framed.Condition: Subtle rippling, not examined out of frame.
$2,200-2,800
683.Noe Canjura (French, 1925-1973)
Éventaire au marchéSigned “CANJURA” l.l., titled and signed “...CANJURA” on thereverse, identified on a presentation plaque, with a label from FindlayGalleries, Inc., Chicago, on the backing.Oil on canvas, 60 x 50 in. (152.4 x 127.0 cm), framed.Condition: Craquelure, surface grime, minor losses/abrasions.
$2,000-2,500
682
683
380
684.Noe Canjura (French, 1925-1973)
La composition du bouquetSigned “CANJURA” l.l., titled and signed “...CANJURA” on thereverse, with a label from Findlay Galleries, Inc., Chicago, onthe backing.Oil on canvas, 29 x 24 in. (73.7 x 61.0 cm), framed.Condition: Surface grime.
$1,000-1,500
685.Walasse Ting (Chinese/American, b. 1929)
Portrait of Two Beauties with a Red HorseSealed “Cai Hua Da Dao” [thief who steals flowers] in Chineseu.r.Acrylic and ink on rice paper, sheet size 14 1/4 x 19 in. (36.2 x48.3 cm), framed.Condition: Subtle rippling, not examined out of frame.
$2,500-3,500
684
685
381
686.Walasse Ting (Chinese/American, b. 1929)
Portrait of Two Beauties with ParrotsSealed “Cai Hua Da Dao” [thief who steals flowers] in Chinese u.l.,with a label from Lefebre Gallery, New York, on the reverse.Acrylic and ink on rice paper, sheet size 70 x 38 in. (177.8 x 96.5cm), framed.Condition: Tape hinged to backing mat, subtle rippling, not examinedout of frame.
$15,000-25,000
686
382
687.Walasse Ting (Chinese/American, b. 1929)
Portrait of a Reclining Woman with ParrotSealed “Cai Hua Da Dao” [thief who steals flowers] in Chinese withinthe composition.Acrylic and ink on rice paper, sheet size 38 x 70 in. (96.5 x 177.8cm), framed.Condition: Tape hinged to linen-covered mat, subtle rippling, notexamined out of frame.
N.B. Ting, whose first name is the Westernized version of hisChinese given name “Hua La Si,” adopted the moniker “thief whosteals flowers” to express his love of women and depicting the femaleform.1
The present work relates to Ting’s Jolies Dames series of spring 1987when he spent two months in Amsterdam photographing andsketching sixty-six female models as the basis for full-scale studiocompositions (replete with cats, parrots, grasshoppers, and melons)created in New York later that year.
1. Walasse Ting, Jolies Dames, Paris: Yves Riviere Editeur, 1988.$15,000-25,000
687
383
688.Lincoln Perry (American, b. 1949)
Work: Late Afternoon in the CityInitialed and dated “LP84” l.l., identified on a label on the backing.Oil and graphite on canvas, 84 x 144 in. (213.3 x 365.8 cm), framed.Condition: Good.
Provenance: Commissioned by John Hancock Mutual Life InsuranceCompany, purchased from the John Hancock Corporate ArtCollection, Boston.
$5,000-7,000
688
384
689.Lincoln Perry (American, b. 1949)
Leisure: Summer Afternoon, The EsplanadeInitialed and dated “LP84” l.r., identified on a label on the backing.Oil and graphite on canvas, 84 x 144 in. (213.3 x 365.8 cm), framed.Condition: Good.
Provenance: Commissioned by John Hancock Mutual Life InsuranceCompany, purchased from the John Hancock Corporate ArtCollection, Boston.
$7,000-9,000
689
385
690.Richard Sheehan (American, 1953-2006)
New 100 Merit Ultra Lights, 1988Unsigned, identified on a label affixed to the stretcher.Oil on canvas, 22 1/4 x 28 in. (56.5 x 71.1 cm), unframed.Condition: Minor abrasions along the tacking margin.
Provenance: From the collection of Maria Christina Rago.$800-1,200
691.Richard Sheehan (American, 1953-2006)
New Bridge, 1985Signed and dated “Sheehan 85” l.l., titled l.r., also signed and titled“...Sheehan” and identified on a label from Alpha Gallery, Boston, onthe reverse.Oil on canvas, 13 x 15 in. (33.0 x 38.1 cm), framed.Condition: Craquelure.
Provenance: From the collection of Maria Christina Rago.$800-1,000
690
691
386
692.Richard Sheehan (American, 1953-2006)
ElevatedUnsigned, titled and dated “...198...” on the reverse.Oil on canvas, 32 x 40 in. (81.3 x 101.6 cm), framed.Condition: Craquelure, flaking.
Provenance: From the collection of Maria Christina Rago.$1,000-1,500
692
387
693.Reed Kay (American, b. 1925)
View of Boston Common, 1981-2Signed and dated “Kay 82” l.r., identified on labels from the AlphaGallery, Boston, on the reverse.Oil on Masonite, 18 x 22 in. (45.7 x 55.9 cm), framed.Condition: Good.
Provenance: From the collection of Maria Christina Rago.$600-800
694.Richard Sheehan (American, 1953-2006)
Arlington St., Hyde Park, 1978Incised signature “Richard Sheehan” l.r., dated, titled, and signed“1978...Richard S. Sheehan” in pencil on the reverse.Oil on canvas, 28 x 28 in. (71.1 x 71.1 cm), framed.Condition: Losses/flaking in the u.l. quadrant.
Provenance: From the collection of Maria Christina Rago.$1,000-1,500
693
694
388
695.Reed Kay (American, b. 1925)
Boston Buildings I, 1983Signed and dated “R. Kay- ‘83” l.r., identified on a label from AlphaGallery, Boston, on the backing.Oil on canvas, 12 x 18 in. (30.5 x 45.7 cm), framed.Condition: Good.
Provenance: From the collection of Maria Christina Rago.$500-700
695
389
696.John Stuart Ingle (American, b. 1933)
Still Life with CookiesSigned, dated, and inscribed “John S Ingle 9/.../#6” in pencil l.r.Watercolor with gouache on paper, image size 14 x 19 1/2 in. (35.6 x49.5 cm), framed.Condition: Deckled edges, broad rippling, not examined out offrame.
Provenance: Purchased from Tatistcheff Gallery, New York.$6,000-8,000
697.Lowell Blair Nesbitt (American, 1933-1993)
Kilim Rug with FruitTitled, dated, inscribed, and signed “’77-’78... L. NESBITT” on thereverse.Oil on canvas, 32 x 40 in. (81.3 x 101.5 cm), framed.Condition: Surface grime.
$2,000-2,500
696
697
390
698.Raymond Han (American, b. 1931)
The Pain SurpriseUnsigned.Oil on canvas, 32 x 36 in. (81.3 x 91.4 cm), framed.Condition: Minor surface grime.
Provenance: Purchased from Menconi & Schoelkopf Fine Art, NewYork.
$8,000-12,000
END OF SALE
698
391
All items in this catalogue are described according to the following table ofterminology. Please note that all statements in this catalogue 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 beascribed to the artist on the basis of style, but leaves some question as to actualauthorship.
School of John Joseph Enneking. - In our judgment, a work of an unknownfollower executed in the style of the artist and contemporary in period.
Manner of John Joseph Enneking. - In our judgment, a work executed inthe 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 thework of the artist.
American School, 19th Century. - In our judgment, the work of anunknown 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 termis generally used separately, or together with a description of the work as“attributed to,” “school of,” “manner of,” or “after” the artist.
Glossary of Terms
392
Artist Index
Abbott, Yarnall ..............................................................................509Acconci, Vito ................................................................................674Agam, Yaacov ..............................................................................618Ahl, Henry Curtis ..........................................................................475Albers, Anni ......................................................................................1Alechinsky, Pierre ..........................................................................2, 3Amenoff, Gregory ........................................................................675American School, 19th Century ..........................357A, 385, 387, 393American School, 20th Century ........................................................4Andersen, Niels Yde ......................................................................5-9Anderson, Stanley ..........................................................................10de Andreis, Alex..........................................................................318BAnglo/American School, 19th Century ..........................................386Antokolsky, Mark Matveevich (After) ..............................................322Anuszkiewicz, Richard ....................................................................11D’Arcangelo, Allan M. ..................................................................616Arms, John Taylor............................................................................12Aronson, David ............................................................................594Arthur, Robert ..............................................................................362Ashkenazi, Aaron ........................................................................600Avery, Milton....................................................................................13Aylsworth, Lynn Nelsen ................................................................551
Bacher, Will Low ..........................................................................498Bacon, Henry ..............................................................................392Baker, Margaret ............................................................................484Barker, Benjamin (Attributed to) ....................................................348Bascom, Earl Wesley ..........................................................411, 413Baskin, Leonard ........................................................................14-23Baxter, Elijah ................................................................................581Beaux, Cecilia ..............................................................559, 560, 563Beckmann, Hannes ......................................................................639Bellamy, June ..............................................................................673Bellows, George Wesley............................................................23, 24Benson, Frank Weston ..............................................................25-32Benton, Thomas Hart ................................................................33-35Bernard, Edouard Alexandre ..........................................................36Berry, Carroll Thayer ........................................................................37van Beyeren, Abraham (School of) ................................................301Bierhals, Otto ..............................................................................459Bilbie, James Lees ....................................................................349ABirney, William Verplanck ............................................................392ABishop, Isabel ................................................................38, 589, 591Bishop, Richard Evett ......................................................................39Blackburn, Joseph ....................................................................314ABlampied, Edmund....................................................................40, 41van Blarenberghe, Jacques Willem ............................................343ABonavita, Francesco Bianchi (Manner of) ......................................309Boughton, George Henry ..........................................................331ABraitou-Sala, Albert ......................................................................549Braque, Georges (After) ..........................................................42, 42Ade Breanski, Alfred Fontville ..........................................................352Breling, Heinrich ..........................................................................325Breughel, Jan, the Younger (Manner of) ........................................300Breul, Hugo ..................................................................................391Bricher, Alfred Thompson ............................................................354British School, 18th Century..........................................................316British School, 18th/19th Century..................................................315Brown, Mae Bennett ....................................................................554Buckle, Claude ................................................................................43Bueno, Antonio ............................................................................603Buffet, Bernard ............................................................................605Burleigh, Sydney Richmond ................................320, 394, 445, 534Burlingame, Charles Albert ..........................................................418Burliuk, David ......................................................................593, 604Busa, Peter ..........................................................................645, 672
Cady, Harrison ..............................................................................585Cahoon, Jr., Ralph Eugene ..........................................................588Calder, Alexander ................................................................609, 610
Cambier, Louis Gustave ..............................................................516Cameron, David Young....................................................................44Canjura, Noe ........................................................................683, 684Carigiet, Alois ..................................................................................45Carlson, John Fabian ..................................................................449Cartier-Bresson, Henri ..................................................................269Case, Edmund Elisha ..................................................................469Casilear, John William ..................................................................379Casse, Roger ..............................................................................518Cassigneul, Jean Pierre ................................................................575Castelucho, Claudio ....................................................................543Cataldi, Amleto ............................................................................564Chagall, Marc ............................................................................46-48Chahine, Edgar................................................................................49Chamberlain, Samuel V. ............................................................50-62Champney, James Wells ............................................................319AChapin, Bryant ............................................................................351Chapin, Marie Louise ....................................................................558Charlet, Nicolas Toussaint ............................................................341Chase, Adelaide Cole ..................................................................556Chase, William Merritt ..................................................................399Chen, Chi-Kwan ..................................................................678, 680Chinni, Peter Anthony ..........................................................624, 628de Chirico, Giorgio ....................................................................63-66Cipolla, Fabio ..............................................................................330Clark, Roland ..................................................................................67Clastrier, Stanislaw ......................................................................443Clavé, Antoni ..................................................................................68Closson, William Baxter Palmer ............................................580, 582Coignard, James........................................................................69-71Cole, Joseph Foxcroft ..................................................................376Colla, Ettore ................................................................................630Collins, Earl E. ..............................................................................363Collver, Ethel Blanchard ................................................................586Colman, Samuel ..........................................................................513Connaway, Jay Hall ......................................................................470Continental School, 17th Century Style ......................................318CContinental School, 17th/18th Century..................................311, 326Continental School, 18th Century..........................................317, 319Continental School, 19th Century ......................329, 333, 334A, 345Continental School, 20th Century..........................................506, 532Continental School, 20th/21st Century..........................................592Cook, Jr., Otis Pierce ..................................................................486Corey, Bernard ............................................................................461Corinth, Lovis ..................................................................................72Cornoyer, Paul (Attributed to) ........................................................427Cortazzo, Oreste ........................................................................325BCotharin, Kate Leah ....................................................................483Crane, Alan Horton..........................................................................73Crite, Allan Rohan ........................................................................583Cruickshank, William ....................................................................344Curry, John Steuart ..................................................................74, 75Curtin, Thomas R. ........................................................................442Curtis, Roger William ....................................................................466Cutler, Carl Gordon ..............................................................428-431
Dalí, Salvador ............................................................................76, 77Damoye, Pierre Emmanuel ..........................................................446Davidson, Allan Albert ..................................................................577Dawson-Watson, Dawson (Attributed to) ......................................510Dean, Walter Lofthouse ................................................................366Decamps, Alexandre Gabriel ........................................................338Dehn, Adolf Arthur ..........................................................................78Dicksee, P.R.A., Sir Frank ............................................................327Dickson, Jane Leone ......................................................................79Dine, Jim ........................................................................................80Donati, Lazzaro ..............................................................81, 574, 595Dozier, Otis................................................................................82, 83Dubuffet, Jean ................................................................................84Duperac, Etienne ............................................................................85
393
Dürer, Albrecht ................................................................................86Dutch School, 17th Century Style ................................................306Dyer, Hezekiah Anthony (Attributed to) ..........................................514Dzubas, Friedel ............................................................................625
Eastern European School, 20th Century........................................508Edgerton, Harold Eugene ......................................................270-278Eggleston, Benjamin Osro ............................................................382Enneking, John Joseph ................................................................434Ernst, Max ......................................................................................87Ettinger, Churchill ..........................................................................452Evans, Walker................................................................................279
Farrier, Robert (Attributed to) ......................................................329BFeininger, Lyonel..............................................................................88Feldman, Walter (Sidney) ..............................................................669Fenkohl, Erna ..................................................................................89Fiene, Ernest ..................................................................................90Finck, Hazel (Mrs. William C.) ......................................................500Flint, RA, Sir William Russell ........................................................568Francis, Sam ..................................................................................91Frankenthaler, Helen........................................................................92Frazier, Kenneth ..........................................................................537French School, 19th/20th Century ......................................93-95, 97French School, 20th Century ..................................................96, 522French, Daniel Chester ................................................................538Furneaux, Charles ........................................................................407
Gaertner, Carl Frederick ................................................................457Gag, Wanda ....................................................................................98Galerie Maeght, editor ..........................................................164, 165Gall, François ......................................................................520, 573Gallagher, Sears ......................................................................99, 100Gardiner, Eliza Draper ............................................................101-113Gasser, Henry Martin ....................................................................494Gay, Edward B. ............................................................................373Gay, Walter ........................................................................397A-398Genth, Lillian Mathilde ..................................................................472German School, 18th Century Style ..............................................308Gerry, Samuel Lancaster ............................................................379AGifford, Charles Henry ..................................................................358Gildemeester, Paulus Adriaan ......................................................340Gleizes, Albert ..............................................................................114Gloeckner, Michiel Theobald ................................................640, 641Gold, Albert ..................................................................................115Gollings, Elling William (Bill) ..........................................................410Gooden, Stephen..........................................................................116Goodnough, Robert Arthur ..........................................................638Gordon, John Watson ..................................................................318Gorman, R.C. ................................................................................117Grant, Clement Rollins ..................................................................542Grant, Gordon Hope ....................................................................118Graves, Abbott Fuller ................................................................398AGray, Cleve ..................................................................................643Greason, Donald Carlisle ..............................................................584Greene, Elmer Wesley ..................................................................547Griggs, Frederick Landseer Maur ..................................................119Grosz, George Ehrenfried ............................................................572Grubas, Marco ............................................................................402Grün, Maurice ..............................................................................525Gruppe, Charles Paul ..........................................................336, 377Gruppé, Emile Albert ............................................................436, 462Guillemer, Ernest ..........................................................................337Günther, Max ................................................................................635
De Haas, Mauritz Frederik Hendrick ............................................357Hale, Philip Leslie ........................................................................541Hamaguchi, Yozo ..................................................................120-122Hambourg, Andre ........................................................................521Hamilton, Robert G. ....................................................................652Hammond, Arthur J. ....................................................................406Han, Raymond ............................................................................698
Hardwick, Melbourne Havelock ....................................................381Hare, John Cuthbert ....................................................................503Hartung, Hans........................................................................123-126Haynes, Frank Jay ........................................................................280Hays, George Arthur ....................................................................375Hecht, Joseph ..............................................................................127Heckel, Erich ................................................................................129Heinrich, Franz (Francis H.) ..........................................................324Henry, George ..............................................................................539Hepworth, Dame Barbara..............................................................130Herring Jr., John Frederick ..........................................................349Hibbard, Aldro Thompson ....................................437, 447, 448, 450Hill, John William ........................................................................393AHills, Laura Coombs ....................................................................546Hinckley, Thomas Hewes (Attributed to) ........................................369Hine, Lewis Wickes ......................................................................281Hoffbauer, Charles Constantine ....................................................562Hoffman, Irwin D. ..........................................................................131d’Hondecoeter, Melchior (Attributed to) ........................................303Hornby, Lester George ..........................................................132, 133Hussain, Faiq ..............................................................................656Hutchens, Frank Townsend ..........................................................453Hutty, Alfred Heber ........................................................................134
Ingle, John Stuart ........................................................................696Italian School, 18th Century ..........................................................302Italian School, 18th/19th Century ..................................304, 307, 314Italian School, 19th Century ................................................325A, 342
Johnston, John S...................................................................282-284Johnstone, Henry James ..............................................................331Jones, Hugh Bolton ....................................................................423Joyce, Marshall Woodside ............................................................495de Juan, Ronaldo ........................................................................648
Kaber, George Frederick ..............................................................548Kappel, Philip ........................................................................135-137Kasimir, Luigi ..........................................................................138-140Kavalec, Gregory ..........................................................................636Kay, Reed ............................................................................693, 695Kelley, Donald Castell ..................................................................655Kirk, Frank Cohen ................................................................511, 552Kirmse, Marguerite ................................................................141, 142Kisling, Moïse ................................................................................143Knapp, Charles Wilson ................................................................378Knaths, Karl ................................................................................677Kolin, Sacha ..................................................................................144Kreyder, Alexis ..............................................................................346Kubinyi, Kalman ............................................................................145
Lansere, Nikolay Evgenyevich ......................................................531Lareuse, Jean ......................................................................528, 530Lasar, Charles Augustus C. ..........................................................368Lauritz, Paul ................................................................................464Lazarev, Vladimir ..........................................................................519Leavitt, Edward Chalmers ............................................................544Lee-Hankey, William ....................................................................524Leheutre, Gustave ........................................................................146Lehrer, Leonard......................................................................147-149Leif, Florence ................................................................................489Leighton, Clare Veronica Hope ......................................................150Leprince, Robert Léopold ............................................................343de Leub, Fr. ..................................................................................328Levine, Jack ..........................................................................151-156Lewis, Martin ................................................................................157Lichtenstein, Roy ..........................................................................158Lockwood, Wilton Robert ............................................................540Loeb, Lee M. ............................................................................500ALord, Elyse Ashe ....................................................................159-163Loving, Jr., Alvin Demar ................................................................642Lyford, Cabot ......................................................................597, 601Lynes, George Platt ......................................................................285
394
Macdonald, Christopher ..............................................................637Macy, William Ferdinand ............................................................371AMajor, Ernest Lee ........................................................................481Maldarelli, Oronzio ........................................................................570Margo, Boris ........................................................................166, 167Marini, Marino................................................................................168Marsh, Reginald ..........................................................................527De Martelly, John Stockton............................................................169van Mastenbroek, Johann Hendrick ............................................365Mathewson, Frank Convers ..........................................................550Matisse, Henri ......................................................................170, 599Matsubara, Naoko ........................................................................171Matthey, L. ..................................................................................172Maufra, Maxime ..........................................................................507Mazini, Ciro ..................................................................................400McAfee, Ila Mae ..........................................................................409McBey, James ..............................................................................173McIlvaine, Jr., William A. ..............................................................380Melbye, Fritz Sigfried Georg ........................................................361Meltzer, Davis Paul ........................................................................174Metcalf, Conger A. ......................................................................596Mettenhoven, Marcel ....................................................................523Meucci, Michelangelo ................................................................343BMeurer, Charles Alfred ..................................................................388Michals, Duane..............................................................................286Millar, Addison Thomas ................................................................356Miller, Sylvia ..........................................................................646, 658Milton, Peter Winslow....................................................................175Miró, Joan..............................................................................176-182Moore, Henry ................................................................................183Morley, Malcolm ............................................................................185Morrell, Wayne Beam ..................................422, 432, 433, 435, 440
................................................................460, 488, 490, 497, 517Müller, Henry ..............................................................................337AMunninger, Ludwig ......................................................................438Murphy, John J. A. ........................................................................186Murray, Elizabeth ..................................................................187, 188Musgrave, Arthur Franklyn (Attributed to) ......................................505
Neopolitan School, 17th Century Style ..........................................310Nesbitt, Lowell Blair ......................................................................697Nevelson, Louise Berliawsky ................................................189, 631Neyland, Harry A. ........................................................................467Nicholls, Burr H. ........................................................................395ANichols, Carroll Leja ......................................................................451Nicholson, William ................................................................190, 191Nierman, Leonardo M. ..................................................................664Nixon, Nicholas ............................................................................287Noland, Kenneth ..........................................................................614Nooney, Ann..................................................................................192Norton, William Edward ................................................................360
O’Higgins, Pablo Esteban..............................................................194O’Keeffe, Georgia ........................................................................608O’Leary, Angela ............................................................................535Ogé, Eugène ................................................................................193Ohashi, Yutaka ............................................................................644Olgyai, Ferenc ..............................................................................419
de Paléologue, Jean, known as Pal ..............................................195Papart, Max ..........................................................................196-198Pape, Eric L. (Frederic) ........................................................426, 555Paradise, Philip Herschel ..............................................................199Parsons, Sheldon ......................................................................406APauli, Richard ..............................................................................383Pavlosky, Vladimir ........................................................................480Pearce, David ..............................................................................661Pearson, Marguerite Stuber ..........................................................553de la Peña, Narcisse Virgile Diaz (School of) ..................................321Pepper, Beverly Stoll ............................................................615, 634Pereira, Irene Rice ........................................................................665Pérez, Mariano Alonso ................................................................566
Perlman, Joel Leonard ................................................................633Perry, Lincoln ......................................................................688, 689Peterson, Jane ............................................................................533Petlin, Irving ..................................................................................602Peyton, Alfred Conway ................................................................529Pfaff, Judy ....................................................................................200Phelps, William Preston ................................................................389Picasso, Pablo ..............................................................................201Piccillo, Joseph ............................................................................668Piot, Adolphe (Attributed to) ..........................................................334Pollak, Max....................................................................................202Pomodoro, Arnaldo ......................................................................620Poncet, Antoine ............................................................................626Pye, Fred ......................................................................................474
Quence, Raymond ......................................................................515
Redon, Odilon ..............................................................................203Reiss, Lionel S. ............................................................................499Richards, Walter Dubois ................................................................205Richards, William Trost ..............................................................353ARico y Ortega, Martin ..................................................................404van Rijn, Rembrandt......................................................................204Ripley, Aiden Lassell ..............................................................414-416Rix, Julian Walbridge ............................................................384, 482Rodin, Auguste..............................................................................206Rosebee........................................................................................587Rosenquist, James........................................................................207Rost, Ernest Christian ................................................................382ARoth, Jack ....................................................................................647Rothenberg, Susan ..............................................................208, 209Rouault, Georges ..................................................................210, 211Row, David....................................................................................212Rowbotham, Charles ....................................................................405Rozmainski, Vladimir ....................................................................567Rumert, Bengt ..............................................................................213Ryan, Anne ..........................................................................214, 651
Saito, Kiyoshi ........................................................................215, 216Salmon, Robert ............................................................................353Sample, Paul Starrett ..................................................................455Schlesinger, Felix ..........................................................................332Schön, Erhard ..............................................................................217Schreyer, Adolf ............................................................................401Scott, John White Allen ................................................................370de Segonzac, Andre Dunoyer........................................................571Sen, Yong Mun......................................................................473, 476Serra, Richard ..............................................................................218Severini, Gino ................................................................................219Shannon, Charles Haslewood ......................................................576Shapleigh, Frank Henry ................................................................396Sheahan, Joseph Gary ................................................................579Sheehan, Richard ........................................................690-692, 694Sherwood, Walter J. ....................................................................397Sichel, Nathaniel ........................................................................322ASicilia, José María..........................................................................220Sidney, Andrew Fisher Bunner, Thomas (After) ..............................184Simon, Tavik Frantisek ..................................................................221Siqueiros, David Alfaro ..................................................................222Siskind, Aaron........................................................................288-291Sisson, Laurence Philip ................................501, 502, 504, 662, 663Sloane, Eric ..................................................................................444Smillie, George Henry ..................................................................374Smith, Frank Vining ......................................................................417Smith, Harry ..............................................................................387ASmith, Hope ................................................................................526Sobin, Peter ................................................................................654Solliday, Tim ........................................................................408, 412Soto, Jesus Rafael ......................................................................629Soulages, Pierre ............................................................................223Soyer, Moses ..............................................................................590Soyer, Raphael ......................................................................224-227
395
Spanish or Spanish Colonial School, 18th Century Style ..............312Spanish School, 16th Century/Style ..............................................313Sprinchorn, Carl ..........................................................................676Steinberg, Saul ............................................................................613Steinheil, Adolphe Charles Edouard ............................................323Steir, Pat........................................................................................228Stella, Frank ................................................................................612Stevens, William Lester ................................................................496Stevovich, Andrew ................................................................229-234Stewart, Reba ..............................................................................659Stone, Don ..........................................................................468, 485Storch, Karl (Attributed to) ............................................................545Strisik, Paul ................................................................................443AStrozzi, Bernardo (Attributed to) ..................................................318ASummers, Carol ....................................................................235-241Sung, Chin ....................................................................................242Surber, Paul ..............................................................................409ASvendsen, Svend Rasmussen ......................................................458Swan, Emma Levinia ....................................................................395Symons, George Gardner ............................................................439
Tabuena, Romeo Villalva ..............................................................667Tanguy, Yves ................................................................................611Tchelitchew, Pavel ........................................................................598Teniers, David, the Younger (Manner of) ........................................305Thom, James Crawford ................................................................390Thomas, Alice Blair ....................................................................350AThompson, Albert ......................................................................380ATing, Walasse ..............................................................682, 685-687Tobiasse, Théo ......................................................................243-246Tojetti, Virgilio ............................................................................329AToledo, Francisco ........................................................................671Tolman, Stacy ..............................................................................492de Toulouse-Lautrec, Henri....................................................247, 569Triscott, Samuel Peter Rolt ..........................................................493Trova, Ernest Tino ................................................................621-623Tumarkin, Igael ............................................................................617Tyler, James Gale ........................................................................364
Vasarely, Victor ............................................................................619Vernon, Paul ................................................................................403Vierra, Carlos ................................................................................478Villon, Jacques ............................................................................248Vincent, Harry Aiken ....................................................................487Vos, Hubert ..................................................................................420Vuillard, Edouard ..........................................................................249
Walker, John G. ............................................................................649Walkley, David Birdsey ..............................................................378AWalraven, Jan ..............................................................................335Walton, William ............................................................................632Ward, Lynd Kendall ......................................................................250Warhol, Andy ................................................................................251Warren, Elizabeth Boardman ........................................................421Warren, Harold Broadfield ............................................................425Washburn, Bradford ..............................................................292-296Waters, George Wattles ................................................................359Watson, William R.C. ....................................................................350Way [Wei Letang], John ................................................................681Webber, Wesley Elbridge ......................................................355, 371Wedin, Elof ..................................................................................660Weekes, William ..........................................................................347Wei, Liu Tian ................................................................................679Wely, Jacques ..............................................................................578Weissman, Charles M. ..................................................................142Wengenroth, Stow ................................................................252-255Wesselmann, Tom ........................................................................256Wesson, Robert Shaw ..................................................................454Whistler, James Abbott McNeill ..............................................257-263Whitaker, George William (Attributed to) ........................................339Whitman, Sarah De St. Prix Wyman ............................................557Whittingham, Bonnie ............................................................607, 670
Whorf, John ................................................................465, 477, 479Wilbur, Lawrence Nelson ..............................................................463Willison, Thomas Jefferson ..........................................................424Wilson, Jeremiah ..........................................................................372Wilson, Robert ..............................................................................264Wilson, Sol ..................................................................................606Winter, Charles Allen ............................................................561, 565Wood, Stanley Huber ..................................................................512Woodbury, Charles Herbert ..........................................................471Woodward, Mabel May ................................................................536Woodward, Robert Strong ..................................................456, 491Woodward, Stanley Wingate ........................................................441
Youngerman, Jack ................................................................265, 627
Zadkine, Ossip ..............................................................................266Zerbe, Karl ..................................................................................666
396
397
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 andSkinner, 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 exceedthe estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not alot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot.
2. All property is sold “as is,” and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature withrespect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, ofdescription, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement madeat 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 disputedbid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lotfor sale.
4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and thepurchaser 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 ofthe 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. Ifany 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, andthe 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 threedays, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and afterdeducting 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 bankauthorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal checkuntil the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by thedrawee. 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 allitems for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, withoutlimitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b)offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation topay 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 suchpurchaser 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 theUnited States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items thatinclude material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting oflicensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitutecancellation or delay in payment for the total purchase price of these lots.
9. All purchases are subject to the Massachusetts 6.25% sales tax unless the purchaser possesses a Massachusetts sales tax exemption number.Exemption numbers from other states are accepted in Massachusetts if presented with a business card or letterhead. Dealers, museums, and otherqualifying parties can apply for a Massachusetts exemption number prior to the auction by contacting the Massachusetts Department ofCorporations and Taxation at 100 Cambridge Street in Boston.
10. Except for property purchased via on-line Live Auctions, a premium equal to 18.5% of the final bid price up to and including $200,000, plus10% of the final bid over $200,000, will be applied to each lot sold, to be paid by the Buyer as part of the purchase price. The buyers premium onproperty purchased via on-line Live Auctions will be in the amount equal to 22.5% of the final bid price up to and including $200,000, plus 15%of the final bid over $200,000.
11. Bidding on any item indicates your acceptance of these terms and all other terms 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 orreproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalogue. Thecopyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of thiscatalogue, 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 ourprior written consent.
13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts orchoice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner inconnection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or anyfederal court sitting therein. The bidder/buyer consents to the nonexclusive jurisdiction of such courts and waives objections that it may now orhereafter have to the venue of any such suit.
Skinner, Inc. - Conditions of Sale
Revised September 29, 2009
Board of Directors
Administration
ExpertDepartments
SKINNER, INC.Auctioneers andAppraisers of Antiquesand Fine Art
63 Park PlazaBoston, MA 02116617.350.5400Fax 617.350.5429
274 Cedar Hill StreetMarlborough, MA 01752508.970.3000Fax 508.970.3100
www.skinnerinc.com
Chairman of the Board - Nancy R. SkinnerRichard AlbrightBarnet FainStephen L. FletcherKaren M. Keane
President/Chief Executive Officer - Karen M. KeaneChief Financial Officer - Don KellyExecutive Vice President - Stephen L. FletcherVice Presidents- Gloria Lieberman, Carol McCaffrey, Kerry Shrives,Stuart G. Slavid, Stuart P. Whitehurst
American & European Paintings & Prints - Robin S.R. StarrAssistants: Kathy Wong, Elizabeth C. HaffAmerican Furniture & Decorative Arts - Stephen L. Fletcher, Martha HamiltonAssistants: LaGina Austin, Karen Langberg, Chris Barber, Susan ZachariasAmerican Indian & Ethnographic Art - Douglas DeihlAsian Works of Art - James F. CallahanAssistant: Tianyue JiangBooks & Manuscripts - Stuart P. WhitehurstAssistant: Sara C. WishartBottles, Flasks & Early Glass - Stephen L. FletcherCeramics - Stuart G. SlavidClassic Automobiles & Motorcycles - Jane D. PrentissCouture - Kerry ShrivesDiscovery Sales - Kerry ShrivesAssistants: Garrett J. Sheahan, Harry B. McNabb, Melissa RiebeEuropean Furniture & Decorative Arts - Stuart G. SlavidAssistants: Stuart P. Whitehurst, Sara C. WishartFine Wines - Marie KeepJewelry - Gloria LiebermanAssistants: Sheila Barron Smithie, F.G.A., G.G.; John ColasaccoJudaica - Kerry ShrivesModernism: 1896–Present: Art Glass, Pottery, Metalwork & Furniture -Jane D. PrentissMuseum & Collections Services - Martha HamiltonMusical Instruments - David BonseyOriental Rugs & Carpets - Gary RichardsScience, Technology & Clocks - Robert C. CheneyAssistant: Chris BarberSilver - Stuart G. SlavidAssistant: Sara C. WishartToys & Dolls - Kerry ShrivesAuctioneers - LaGina Austin, David Bonsey, Robert C. Cheney,Stephen L. Fletcher, Karen M. Keane, Marie C. Keep, Gloria Lieberman,Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney,Stuart P. Whitehurst
Marlborough: Warehouse Manager - Jonathan Dowling, ext. 3280Property Manager - Samuel Combs, ext. 3262508.970.3000
Boston: Elisabeth Benson-Allott, ext. 4312; Kerryn Murphy, ext. 4329Property Distribution Manager - Jessica R. Lincoln, ext. 4308617.350.5400
Marlborough: Accounts Receivable - Denise Johnson, ext. 3269Accounts Payable - Kathleen Hayes, ext. 3268Credit Supervisor - Joe Monteyro, ext. 3266
Marlborough: Karen Skinner, ext. 3240508.970.3000
Appraisal & Auction Services - Patricia Walker King, Beth Zwicker,Katharine Holtman, Leah SkowronAdvertising Production - Pamela Van de HoutenBoston Gallery Director - Laura V. SweeneyAssistant Gallery Director: Paige LewellynGallery Assistant: Katharine E. HampsonCatalogue Production - Pamela Van de Houten, Kristina HarrisonAssistant: Cheryl FreemanCustomer Relations - Carol McCaffreyHuman Resources - Carol McCaffreyInformation Technology & Internet Auctions - Kerry ShrivesAssistants: Timothy Shaughnessey, Melissa RiebeConsignment Services - Deanna Williams, Megan J. Blomgren, Carol ZeiglerManaging Director - Marie C. KeepMarketing & Public Relations - Catherine Riedel, Anne M. Trodella,Karen SkinnerPhotographers - Stanley P. Bystrowski, Jeffrey R. AntkowiakReceptionists - Marlborough: Elizabeth H. Wilson, Judy McLeodBoston: Erica BoccardTransportation - Eric JonesAssistants: Mark McCaffrey, John Williams
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Name (Please Print) Business Name
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SKINNERAuctioneers and Appraisers of Antiques and Fine Art
63 Park Plaza , Bo s t on , MA 02116 Te l : 617 .350 .5400 Fax : 617 .350 .5429274 Cedar Hi l l S tre e t , Mar lborough , MA 01752 Te l : 508 .970 .3000 Fax : 508 .970 .3100
www. sk inner inc . c om
I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids asa 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 catalogue of this sale.
Absentee Bid Form
Marlborough Boston Phone Fax Mail Person Employee:
FOR OFFICE USE
Lot # Description Bid Price
Signature (Required) Date
Sale Title Sale Date
First Time Bidder? YES NO Customer #
Directions to Skinner's Boston Gallery/63 Park Plaza, Boston, MATelephone: 617-350-5400
From the West:Take the Massachusetts Turnpike to the Prudential/Copley exit located in the Prudential tunnel.
Once on the exit ramp, stay in the right hand lane and follow the signs for Copley.The ramp exits onto Stuart Street. Drive straight through five sets of lights and take a left onto
Charles Street South. Take your first left off of Charles St. South onto Park Plaza.Skinner is at 63 Park Plaza, one block up on the right.
From the South:Take 93-N to Exit 20 for I-90 W toward Worcester. Follow signs for Chinatown/South Station.Bear left at the fork to continue towards Kneeland Street. Turn left onto Kneeland Street. KneelandStreet becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza.
Skinner is at 63 Park Plaza, one block up on the right.
From Logan Airport:Take the Ted Williams Tunnel. Take Exit 25 toward South Boston and bear left at the fork in theramp. Bear right onto B St. Turn left onto Northern Ave which becomes Seaport Blvd. Turn leftonto Surface Rd. Turn right onto Kneeland Street which becomes Stuart Street. Turn right onto
Charles Street South. Turn left onto Park Plaza.Skinner is at 63 Park Plaza, one block up on the right.
From the North:Take I-93 South towards Boston. Take exit 26 towards Storrow Drive. Merge onto MA-28 Southvia the ramp on the left. Turn left onto Beacon Street. Turn right onto Arlington Street. Turnleft onto Boylston Street. Turn right onto Hadassah Way. Skinner is on the right at 63 Park Plaza.
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Quarterly Brochure No charge No charge
Included with catalogue subscription
American Furniture & Decorative Arts $120 $143
European Furniture & Decorative Arts $120 $143
American & European Paintings & Prints $120 $143
Fine Jewelry $120 $143
20th Century Furniture & Decorative Arts $60 $73
Asian Works of Art $60 $73
Fine Oriental Rugs & Carpets $18 $25
American Indian & Ethnographic Art $60 $73
Fine Books & Manuscripts $30 $36
Toys, Dolls & Collectibles $60 $73
Fine Ceramics $60 $73
Fine Musical Instruments $60 $73
Science & Technology $60 $73
Fine Wines $60 $73
All Above Departments $800 $975
SUBTOTAL
MA RESIDENTS 6.25% SALES TAX
TOTAL
PLEASE ENCLOSE PAYMENT WITH SUBSCRIPTION FORM AND MAIL OR FAX TO:
Skinner, Inc., Subscription Department, 274 Cedar Hill Street, Marlborough, MA 01752 508.970.3100
PLEASE CHECK THE APPROPRIATE BOXES : U.S./Canada Foreign (payable in U.S. dollars only)
SKINNER CATALOGUE SUBSCRIPTION FORMPRICES EFFECTIVE JANUARY 1, 2008. Catalogue subscription price includes quarterly brochure. Subscription effectiveone year from date processed. No refunds for previous subscriptions. Renewal notice will be sent one month prior to expiration.Subscriptions do not include Discovery, Estates, and other special sales. Post-auction prices are available online at www.skinnerinc.com
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DOMESTICATEDphotographs by AMY STEIN
January 22 through April 18, 2010
Harvard Museum of Natural History26 Oxford StreetCambridge, MA 02138617.495.3045
www.hmnh.harvard.edu
© Amy Stein
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