American and European Art by Dallas Auction Gallery

DALLAS AUC TION GALLERY

AMERICAN and EUROPEAN ART WEDNESDAY • APRIL 30, 2014

For Telephone and Absentee Bidding Arrangements Contact Us at: PHONE: 214-653-3900 FAX: 214-653-3912 TOLL FREE: 866.653.3900 EMAIL: info@dallasauctiongallery.com Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262

DALLAS AUCTION GALLERY

AMERICAN and EUROPEAN ART W E D N E S D AY

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APRIL 30, 2014 PREVIEW: April 28 | 10am - 5pm April 29 | 10am - 5pm April 30 | 10am - 6pm AUC TION: April 30 | 6 pm CST

CONTENTS Texas, Southwest and American Art

European Art

Modern and Contemporary Art

Guide for Prospective Buyers

Terms and Conditions

TEXAS, SOUTHWEST AND AMERICAN ART LOTS 1-41

1 â&#x20AC;˘ VIRGINIA TRUE (American, 1900-1989)

Cactus Oil on canvas, 1931. Signed lower right, V-True 31. Verso inscribed with artists name and address in Boulder. Canvas: 24.5"H x 18.5"W; Frame: 31.75"H x 25.75"W. Note: True spent the years between 1929-1935 in Boulder, CO, within easy traveling distance of the New Mexico landscape. Greatly influenced by Victor Higgins, True took what she observed in the landscape and expressed it through bold geometric forms and sweeping lines. $2000 - 4000

2 • ROBERT WILLIAM WOOD (American/Texas, 1889-1979)

Spring Landscape Oil on canvas laid on board. Signed lower left “Robert Wood.” Stamped en verso “Painted by Robert Wood.” Board: 8"H x 9.875"W; Frame: 13.75"H x 15.75"W. Exhibited: Zigler Museum of Art, Jennings, Louisiana, 2004. $2000 - 3000

3 • JOSEPH ACEVES (American, 1909-1968)

Landscape Oil on canvas. Signed lower right with artist’s thumbprint “joseph aceves.” Canvas: 30"H x 36.25"W; Frame: 35.25"H x 41.5"W. $2500 - 4500

4 • FRANK GERVASI (American, 1895-1986)

Cattle Oil on canvas. Signed lower left “F. Gervasi.” Inscribed en verso “Frank Gervasi Cattle.” Canvas: 20"H x 30"W; Frame: 26.75"H x 36.75"W. Provenance: Elmer Fox & Company, Wichita, KS. Note: Frank Gervasi was the only artist from whom G. Harvey ever took a painting lesson. $2000 - 3000

5 • MORRIS RIPPEL (American, 1930-2009)

Sunrise at Kayenta Watercolor on board, 1989. Signed, dated, and copyrighted lower right, “M. Rippel 1990.” Inscribed “Nawa” – National Academy of Western Arts. En verso: “To Jack and Suzanne with best regards – enjoy the painting – Morris.” Sight: 7.5"H x 12"W; Frame: 14"H x 18.5"W. $2000 - 3000

6 • PETER HURD (American, 1904-1984)

New Mexico Landscape Watercolor on paper. Signed lower left “Peter Hurd.” Sight: 21.375"H x 30"W; Frame: 33.375"H x 41.375"W. $10,000 - 15,000

7 • PORFIRIO SALINAS (American, 1910-1973)

Countryside with Bluebonnets Oil on canvas. Signed lower left “Porfirio Salinas.” Canvas: 20"H x 24"W; Frame: 31.5"H x 35.5"W. $15,000 - 25,000

8 • CHARLES UMLAUF (American, 1911-1994)

Nude Bronze sculpture. 35"H x 8.5"W x 8"D. $15,000 - 20,000

9 • OTIS DOZIER (American, 1904-1987)

South & West, 1977 Oil on canvas. Signed lower right, “Otis Dozier ‘77.” Inscribed on stretcher, “Sep, 1977.” Canvas: 30"H x 48"W; Frame: 34.25"H x 52.5"W. $12,000 - 18,000

10 • K E L LY F E A R I N G (American, 1918-2011)

The Poet, 1955 Oil on canvas. Signed lower left, “Kelly Fearing.” Titled, signed, and dated en verso, “The Poets Kelly Fearing, 1955.” Canvas: 38"H x 27.875"W; Frame: 46.75"H x 36.75"W. Provenance: Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Note: Fearing has been referred to “as magical realist, mystical naturalist and Romantic surrealist.” (askart.com). He was a member of the Ft. Worth Circle. In the present example we see the artist combining his interest in spirituality and his meticulous representation of the landscape. $7000 - 9000

11 • P O R F I R I O S A L I N A S (American, 1910-1973)

Texas Wild Flowers Oil on canvas. Signed lower left “Porfirio Salinas.” Inscribed en verso “Texas Wild Flowers 25 x 30 Porfirio Salinas, Jr.” Canvas: 25"H x 30"W; Frame: 36.875"H x 41.75"W. Provenance: J.R. Mooney Galleries of Fine Art, San Antonio, Texas. $20,000 - 30,000

12 • G E R A L D H A R V E Y (American/Texas, b. 1933)

A Spring Soaking Oil on canvas, 2013. Signed and copyrighted lower right “G. Harvey.” Inscribed and copyrighted en verso “#KBEE A Spring Soaking g. harvey.” Canvas: 20"H x 16"W; Frame: 35"H x 31.125"W. $40,000 - 50,000 14

1 3 • LO R E N M O Z L E Y (American, 1905-1989)

View of Queretaro Oil on canvas. Signed lower right, “Mozley.” Canvas: 28.125"H x 44.75"W; Frame: 36.5"H x 44.75"W. Note: The artist was know for his Cezanne-like scenes of the American Southwest and Mexico. As a highly respected professor and artist, he was called upon to help found the art department at University of Texas at Austin in the 1930s. The proceeds of this lot will benefit the Tyler Foundation, the charitable arm of Tyler Technologies (NYSE:TYL) responsible for gifts to charities, in which their employees are involved. $30,000 - 50,000 15

14 • D A N I E L S M I T H (American, b. 1954)

Echo Bay- Loon Family Oil on canvas. Signed and copyrighted lower right “Smith 93.” Inscribed en verso liner “Dan Smith-Loons.” Board: 19"H x 36"W; Frame: 25.75"H x 42.75"W. Note: “No other bird can evoke feelings of nostalgia like the common loon. It’s always thrilling to hear their unique calls echoing through the glacial shield wilderness. On a still night, their calls seem to reverberate for miles. I truly hope these unique and wonderful birds will have a place in our fragile ecosystem for all future generations to enjoy.” - Daniel Smith. $6000 - 8000

15 • B R I A N G R I M M (American, b. 1968)

High Plains Drifters Oil on canvas, 2005. Signed and dated lower right, “Brian Grimm 05.” Signed, titled and dated verso. “High Plains Drifters © Brian A. Grimm 2005.” Board: 30"H x 48"W; Frame: 40.75"H x 58.75"W. $5000 - 8000

16 • PA U L G R I M M

17 • LO R E N E N T Z

(American, 1891-1974)

(American, b. 1949)

Barrel Cacti in Devils Garden

Life on the Farm

Oil on board. Signed lower left “Paul Grimm.”

Pencil on paper. Signed lower left “Loren Entz.” Inscribed by artist en verso, “Thanks Jack, you purchased this the day I was elected to the Cowboy Artists of America. Oct 21, 92 Loren Entz CA.”

Board: 16"H x 20"W; Frame: 18.5"H x 22.5"W. $1500 - 2500

Sight: 13"H x 10"W; Frame: 20.5"H x 17.5"W. Provenance: Pierce Fine Art, Scottsdale, Arizona. $3000 - 5000

19 • J O H N G R AV E S Of Birds and Texas, 1986 27.75"H x 22"W. Gentling Editions, Ft. Worth Texas, illustrated by Scott and Stuart Gentling, 1986. Edition 112 of 500 copies featuring 50 bird and landscape plates. Issued loose leaf in two linen portfolios inside a linen covered case. The limitation page numbered and signed by Graves and Gentling brothers. $2500 - 4500

18 • M E LV I N C H A R L E S W A R R E N (American/Texas, 1920-1995)

Rio Grande River Oil on canvas laid on board, 1966. Signed lower right “Melvin C. Warren 1966.” Inscribed en verso “Rio Grande River, Big Bend Nat. Park, painted on location by Melvin C. Warren Spring 1965.” Canvas: 17.625"H x 21.5"W. Frame: 22.125"H x 26.125"W. $3000 - 5000

20 • LO W E L L E L L S W O R T H S M I T H (American, 1924-2008)

Holy Week at Cholula Watercolor and pencil on paper. Signed and copyrighted lower right “Lowell Ellsworth Smith.” Inscribed “A.W.S.” and “N.A.W.A.” (meaning American Watercolor Society and National Academy of Western Arts, respectively). Sight: 14"H x 21"W; Frame: 25.5"H x 32.75"W. $1500 - 2500

21 • R O L L A S I M S TAY LO R

23 • G R A N T M A C D O N A L D

(American, 1872-1970)

(American/Texas, b. 1944)

Irish Flats SA

Sunset in the Mountains

Oil on canvas laid on board. Signed lower right “Rolla Taylor.” Inscribed en verso “Irish Flats SA Rolla Taylor.”

Oil on board, 1989. Signed, dated, and copyrighted lower right “Grant MacDonald 1989.”

Canvas: 12.125"H x 16"W; Frame: 20.25"H x 24"W.

Board: 18"H x 24"W; Frame: 22.875"H x 31.875"W.

$1500 - 2500

$1800 - 2500

22 • M O R R I S R I P P E L

24 • M I C H A E L S TA C K

(American, 1930-2009)

(American, b. 1947)

Sunburst

Summer Clouds

Watercolor on board, 1989. Signed, dated, and copyrighted lower right “M. Rippel 1989.” Inscribed lower right, “NAWA” – National Academy of Western Arts.

Oil on canvas, 1983. Signed lower right, “Michael Stack 83.”

Sight: 13.5"H x 22"W; Frame: 21.5"H x 30"W.

Canvas: 12"H x 24"W; Frame: 17.125"H x 29.125"W. $1500 - 2500

$1500 - 2500 19

25 • G E O R G E E L B E R T B U R R (American, 1859-1939)

Three George Elbert Burr Etchings. (1) “Springtime, Paradise Valley Arizona” Titled lower right; Signed lower left “George Elbert Burr.” Sight: 11.75"H x 9.75"W; Frame: 21.875"H x 17.875"W. (2) “Arizona Canal - Evening” Titled lower right; Signed lower left “George Elbert Burr.” Sight: 5.875"H x 8.875"W; Frame: 13"H x 15.75"W. (3) “Evening - Navajo Country - Arizona” Titled lower right; Signed lower left “George Elbert Burr.” Sight: 9.625"H x 19.25"W; Frame: 17.875"H x 19.25"W. $1200 - 1800

26 • C Y R U S A F S A R Y (American, b. 1941)

Afternoon Stroll Oil on board. Signed lower right “Cyrus Afsary.” Board: 8"H x 10"W; Frame: 16.5"H x 18.5"W. $1200 - 1800

27 • J U L I A N O N D E R D O N K (American, 1882-1922)

Countryside at Sunset Oil on board. Signed lower left “Julian Onderdonk.” Board: 6"H x 9"W; Frame: 13"H x 15.875"W. $5000 - 7000

28 • H A M I LT O N H A M I LT O N (American, 1847-1928)

Landscape Oil on canvas, 1887. Signed lower right “HH 87.” Canvas: 22"H x 36"W; Frame: 30"H x 43.75"W. Re-lined. $4000 - 6000

29 • W I L L I A M L E S T E R S T E V E N S (American, 1888-1969)

North Head Oil on board. Signed lower right “W. Lester Stevens N.A. A.W.S.” Inscribed en verso “North Head Grand Manan W Lester Stevens N.A.” Board: 32"H x 35.75"W; Frame: 41.25"H x 45.5"W. Note: After moving away from Cape Ann in 1944, Stevens spent the summers in Vinalhaven, ME, painting the coastal areas of nearby Bay of Fundy. Grand Manan is the largest of the Fundy Islands. $6000 - 8000

30 • E M I L E A L B E R T G R U P P E (American, 1896-1978)

Winter Splendor Oil on canvas. Signed lower right “Emile A. Gruppe.” Canvas: 30.25"H x 36.25"W; Frame: 38.75"H x 44.75"W. $12,000 - 18,000 23

31 • A L F R E D H E N R Y M A U R E R (American, 1868-1932)

Hudson River Oil on canvas. Partial abraded signature, lower right. Inscribed en verso, “Hudson River Ulster County.” Canvas: 20.5"H x 25.75"W; Frame: 26.25"H x 31.5"W. Note: Every year from 1916-1932, Maurer stayed at the Shady Brook Boarding house, in Ulster County, from April-November. $8000 - 12,000

32 • EMILE ALBERT GRUPPE (American, 1896-1978)

The Clamer Oil on canvas. Signed lower left, “Emile A Gruppe.” Inscribed on stretcher, “The Clamer by Emile A Gruppe.” Canvas: 25"H x 30"W; Frame: 29.625"H x 34.75"W. $8000 - 12,000

33 • J O H N FA B I A N C A R L S O N (American, 1875-1947)

Winter Stream Oil on board. Signed lower right, “John F. Carlson.” Inscribed en verso, “John F. Carlson Winter Stream.” Board: 19.125"H x 26"W; Frame: 24"H x 30.5"W. $4000 - 6000

34 • W I L L I A M L E S T E R S T E V E N S (American, 1888-1969)

Gloucester Docks Oil on canvas. Signed lower right “W Lester Stevens.” Inscribed en verso “W Lester Stevens Gloucester Docks.” Canvas: 23.5"H x 30"W; Frame: 27"H x 33.25"W. $4000 - 6000

35 • J U L I A N O N D E R D O N K (American, 1882-1922)

Landscape with Stream Oil on board. Signed lower right “Julian Onderdonk.” Board: 4.375"H x 7.5"W; Frame: 11.25"H x 14.375"W. $5000 - 7000

36 • ALFRED THOMPSON BRICHER (American, 1837-1908)

Fishing Boats, the Thames Watercolor on paper. Signed lower right “AT Bricher.” Titled and inscribed en verso “Fishing Boats, the Thames – Pool of England.” Paper: 15"H x 20.5"W; Frame: 24.75"H x 30.5"W. $3000 - 5000

37 • T H O M A S H I L L (American, 1829-1908)

Ride at Dawn Oil on canvas. Signed lower right, “T. Hill.” Canvas: 9.5"H x 13.25"W; Frame: 14.125"H x 17.875"W. $4000 - 5000

3 8 • F R A N K S O LT E S Z (American, 1898-1972)

Their Last Run (Penn Station) Watercolor on paper, 1975. Signed lower right “Frank Soltesz AWS.” Sight: 21.5"H x 28.5"W; Frame: 32.875"H x 38.875"W. $3500 - 4500

39 • A L F R E D T H O M P S O N B R I C H E R (American, 1837-1908)

Coastal View with Sailboats Watercolor on paper laid down on board. Signed lower right “AT Bricher.” Board: 10"H x 21.25"W; Frame: 18"H x 29.5"W. $1000 - 2000

41 • S A M U E L C O L E M A N (American, 1832-1920)

Church of San Fernando, City of Mexico 40 • C H A R L E S B U R C H F I E L D

Watercolor on paper, 1892. Titled and dated lower left “The Church of San Fernando, City of Mexico March 15, 1892.”

(American, 1893-1967)

Paper: 8"H x 18.75"W; Frame: 15"H x 18.75"W.

Tree

Provenance: Alexander Gallery, New York, New York.

Charcoal on paper, 1912. Signed lower right “Chas Burchfield.”

$500 - 700

Paper: 17"H x 11"W; Frame: 23.75"H x 17.75"W. Provenance: Gemini Gallery, Palm Beach, Florida. $1200 - 1800 29

EUROPEAN ART LOTS 42-70

42 • D E L P H I N E N J O L R A S (French, 1857-1945)

A Good Book Oil on canvas. Signed lower left/center “D Enjolras.” Canvas: 23.75"H x 36.375"W; Frame: 32.75"H x 45.25"W. Provenance: Kurt E. Schon Ltd., New Orleans, Louisiana; Private Collection, Austin, TX. Note: Enjolras was noted as an accomplished genre painter and excelled in conveying a sensual tone as expressed in this example. $20,000 - 30,000

43 • W E N C E S L A S V A C L AV B R O Z I K (Czech, 1851-1901)

A Dashing Cavalier Oil on canvas. Signed lower right “Brozik.” Canvas: 30"H x 17.75"W; Frame: 38"H x 25.75"W. Provenance: Kurt E. Schon Ltd., New Orleans, Louisiana; Private Collection, Austin, TX. Note: Brozik was noted for his exacting detailed portraiture and genre scenes. $12,000 - 18,000

44 • P I O R I C C I (Italian, 1850-1919)

Music Master Oil on canvas. Signed lower left “Pio Ricci.” Canvas: 20.375"H x 15.125"W; Frame: 28.625"H x 23.375"W. Provenance: Kurt E. Schon Ltd., New Orleans, Louisiana; Private Collection, Austin, TX. $8000 - 12,000

45 • R O S A B O N H E U R (French, 1822-1899)

Landscape with Cattle Oil painting on canvas. Signed lower right, “Rosa Bonheur.” Canvas: 19.25"H x 25.5"W; Frame: 26.5"H x 32.75"W. $6000 - 8000

46 • J A M E S B A L D O C K (British, 1822-1898)

The Hunt Oil on canvas, 1855. Signed and dated lower left, “J. Baldock, 1855.” Canvas: 26"H x 36"W; Frame: 31.5"H x 41.375"W. $6000 - 8000

47 • C H A R L E S S PA L D I N G (British, 1810-1871)

Elis Oil on canvas, 1888. Signed lower left, “CB Spalding 1888” and titled in the center, “ELIS.” Canvas: 27.875"H x 35.875"W; Frame: 34.25"H x 42"W. $3000 - 5000 35

48 • E D M U N D J O H N N I E M A N N (British, 1813-1876)

Richmond Castle Oil on canvas. Signed and titled lower center, “Richmond Yorks Niemann.” Canvas: 39.75"H x 60"W; Frame: 44.5"H x 64.75"W. $6000 - 8000

49 • K AT E N E W E N H A M G R AY (British, fl. 1880-1920)

Cottage Music Oil on canvas. Signed lower right and dated indistinctly, “Kate Gray 18—.” Site: 19.5"H x 23.5"W; Frame: 25"H x 29"W. Re-lined. Provenance: Estate of Mrs. W.A. “Betty” Criswell, Dallas, Texas. $1500 - 2500 36

50 • E U G E N E G A L I E N - L A LO U E (French, 1854-1941)

Sortie de théâtre Gouache and watercolor. Signed lower left, “E. Galien Laloue.” Image: 7.5"H x 12.5"W; Frame: 13.25"H x 18"W. Provenance: Paul Daudon, Paris; Private Collection, Dallas, TX. Note: The authenticity of this work has been confirmed by Noe Willer. $10,000 - 15,000

51 • A N T O I N E B L A N C H A R D (French, 1910-1988)

Quai du Louvre Oil on canvas. Signed lower right, “Antoine Blanchard.” Canvas: 18"H x 21.5"W; Frame: 26"H x 30.5"W. Provenance: Rehs Galleries Inc., New York. Note: This work is included in the Rehs Galleries’ Antoine Blanchard online catalogue, registration number: LVQLW1821.0001. $8000 - 12,000

52 • E D O U A R D L E O N C O R T E S (French, 1882-1969)

Marché de Lagny Oil on canvas. Signed lower right “E. Cortes.” Inscribed en verso “Cortes Ed Marché de Lagny.” Canvas: 19.75"H x 25.5"W; Frame: 26.75"H x 32.75"W. Provenance: 1969, Atelier Edouard Cortes; Collection Particuliere, France; Andrew Roughton Fine Art; Private Collection, Texas. Literature: “Edouard Cortes raisonne de l’oeuvre peint”, 2002, Nicole Verdier, No. 131. Note: Cortes was born in Lagny. This particularly sunny and active market scene was painted between 1930-1935. $25,000 - 35,000

53 • J U L E S R . H E R V E (French, 1887-1991)

Flower Market Oil on canvas. Signed lower right, “Jules R. Herve” and inscribed en verso “Jules R. Herve.” Canvas: 24.875"H x 31.25"W; Frame: 34"H x 40.5"W. $7000 - 9000

54 • A N T O I N E B L A N C H A R D (French, 1910-1988)

Champs Elysees Oil on canvas, 1960. Signed lower right “Antoine Blanchard.” Inscribed en verso. Canvas: 13"H x 18"W; Frame: 21.75"H x 26.75"W. Provenance: Rehs Galleries Inc., New York. Note: This work is included in the Rehs Galleries’ Antoine Blanchard online catalogue, registration number: ATCEN1318.0003. $5000 - 7000

55 • E D O U A R D L E O N C O R T E S (French, 1882-1969)

Coin de jardin, Lagny Gouache on paper board laid on panel. Signed lower right “Ed. Cortes.” Sheet: 18.5"H x 11"W; Frame: 31"H x 24.5"W. Provenance: 1969, Atelier Edouard Cortes; Collection Particuliere, France; Andrew Roughton Fine Art; Private Collection, Texas. Literature: Nicole Verdier, “Edouard Cortes Catalogue raisonne de l’oeuvre peint,” 2002, No. 98. $8000 - 12,000

56 • J U L E S R E N E H E R V E (French, 1887-1981)

Place de L’Opera Oil painting on canvas. Signed lower right “Jules R. Herve.” Inscribed en verso “Jules R. Herve.” Canvas: 25.5"H x 32"W; Frame: 33.375"H x 39.625"W. $7000 - 9000

57 • A N T O I N E B L A N C H A R D (French, 1910-1988)

Place de Bastille, 1960 Oil on canvas. Signed lower right “Antoine Blanchard.” Inscribed en verso. Canvas: 13"H x 18"W; Frame: 21.5"H x 26.75"W. Provenance: Rehs Galleries Inc., New York. Note: This work is included in the Rehs Galleries’ Antoine Blanchard online catalogue, registration number: PBRL1318.0001. $5000 - 7000

58 • VU C AO DAM (Vietnamese, 1908-2000)

Les Musiciennes Oil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled and signed en verso, “Les Musiciennes Vu Cao Dam.” Canvas: 35.25"H x 45.75"W; Frame: 40.125"H x 50.75"W. Provenance: Wally Findlay Galleries. $15,000 - 20,000

59 • C O N S TA N T I N E K LU G E (French, 1912-2003)

Le Carrefour Soufflot Oil on canvas. Signed lower right “C. Kluge”, titled on the stretcher. Canvas: 28.25"H x 35.75"W; Frame: 36.625"H x 44.125"W. Provenance: Wally Findlay Galleries. $5000 - 7000

60 • A N T O I N E B L A N C H A R D (French, 1910-1988)

Place de la Concorde Oil on canvas. Signed lower right “Antoine Blanchard.” Signed and titled en verso, “Place de la Concorde Antoine Blanchard.” Canvas: 13.125"H x 18.125"W; Frame: 20.5"H x 25.75"W. Provenance: Rehs Galleries Inc., New York. Note: Included in the Rehs Galleries’ Antoine Blanchard online catalogue, registration number: CCPCMD1318.0000. $5000 - 7000

61 • VU C AO DAM (Vietnamese, 1908-2000)

Le Poète Oil on canvas, 1984. Signed and dated lower left, “Vu Cao Dam 84.” Titled and signed en verso, “Le Poète Vu Cao Dam.” Canvas: 32"H x 39.375"W; Frame: 37"H x 44.5"W. Provenance: Wally Findlay Galleries. $10,000 - 15,000

62 • H U G H E S C L A U D E P I S S A R R O (French, b. 1935)

Le Petit Fils Oil on canvas. Signed lower left, “H. Claude Pissarro.” Inscribed en verso, “H. Claude Pissarro Le Petit Fils La Maison des Trois Safins, au confluent de la Vèze et du Noizeau, à Pont-Esanbourg.” Canvas: 21.5"H x 25.625"W; Frame: 30.5"H x 34.75"W. $5000 - 7000

63 • N I C O L A S I M B A R I (Italian, 1927-2012)

Summer Breeze Oil on canvas. Signed lower right “Simbari.” Canvas: 35.5"H x 39.5"W; Frame: 41.25"H x 45"W. Provenance: Florence Art Gallery, Florence, Italy; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. $3000 - 4000

65 • VU C AO DAM (Vietnamese, 1908-2000)

Le Poète 64 • VU C AO DAM (Vietnamese, 1908-2000)

La Rencontre Oil on canvas, 1977. Signed and dated lower right, “Vu Cao Dam 77.” Titled, signed, and dated en verso, “La Rencontre Vu Cao Dam 1977.” Canvas: 28.875"H x 21.625"W; Frame: 36.5"H x 29"W.

Oil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled, signed, and dated en verso “Le Poète Vu Cao Dam 1984.” Canvas: 15.125"H x 18.25"W; Frame: 18.875"H x 22"W. Provenance: Wally Findlay Galleries. $4000 - 6000

Provenance: Wally Findlay Galleries. $7000 - 9000 45

66 • M A R C E L M O U LY (French, 1918-2008)

Dans le Jardins de Paradeniya Oil on canvas, 2006. Signed lower right “M. Mouly 06.” Inscribed en verso “M. Mouly Dans le Jardins de Paradeniya (Ceylon).” Canvas: 23.75"H x 28.5"W; Frame: 31.5"H x 36.625"W. $3000 - 5000

67 • VU C AO DAM (Vietnamese, 1908-2000)

Les Fiancés Oil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled, signed, and dated en verso, “Les Fiancés Vu Cao Dam 1984.” Canvas: 21.75"H x 18.375"W; Frame: 25.5"H x 22"W. Provenance: Wally Findlay Galleries. $4000 - 6000

68 • VU C AO DAM (Vietnamese, 1908-2000)

Composition Oil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled, signed, and dated en verso, “Composition Vu Cao Dam 1984.” Canvas: 18.125"H x 15.25"W; Frame: 22"H x 18.875"W. Provenance: Wally Findlay Galleries. $4000 - 6000

70 • VU C AO DAM (Vietnamese, 1908-2000)

La Robe Rose Oil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled, signed, and dated en verso, “La Robe Rose Vu Cao Dam 1984.” Canvas: 13"H x 9.5"W; Frame: 17"H x 13.5"W. Provenance: Wally Findlay Galleries. $3000 - 5000

69 • G U Y B A R D O N E (French, b. 1927)

Barques à Altea Oil on canvas, 1958. Signed lower center “Bardone.” Inscribed en verso “G. Bardone 58 Barques à Altea.” Canvas: 32"H x 25.25"W; Frame: 39.5"H x 33"W. Provenance: Marlborough Fine Art, Ltd., London. $1800 - 2500 47

MODERN AND CONTEMPORARY ART LOTS 71-119

72 • H E N R I D E T O U LO U S E - L A U T R E C (French, 1864-1901)

À Table Pencil drawing on paper, 1881. Signed lower right “H T L 1881.” Sheet: 6.375"H x 10.875"W; Frame: 21.75"H x 25.5"W. Provenance: Mrs. Norman Laski, London. Literature: M.G. Dortu, “Toulouse-Lautrec et son oeuvre”, New York, 1971, vol. V, p. 320, no. D.1.924 (illustrated, p. 321). Maurice Joyant, “Lautrec II”, Arno Press, New York, 1968, pg. 181. Exhibited: Nice, 1957, Palais de la Méditerranée, Toulouse Lautrec Exhibition, cat no. 29. $2000 - 3000

71 • G E O R G E R O D R I G U E (American, 1944-2013)

7 3 • B R YA N H U N T (American, b. 1947)

Buddha Contemplating Youth

Board: 14"H x 11"W; Frame: 15.75"H x 12.75"W.

Pencil, linseed oil and watercolor on paper, 1982. Titled, signed, and dated lower right, “Buddha Contemplating Youth Bryan Hunt ‘82.”

Provenance: The Rodrigue Gallery, New Orleans, Louisiana.

Sheet: 22.25"H x 30"W; Frame: 31"H x 38.5"W.

$8000 - 12,000

Provenance: Blum Helman Gallery Inc., NY; Acquired from the above in November 1982. From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. $2500 - 3500

74 • T H O M A S D O W N I N G (American, 1928-1985)

Wing Acrylic on unprimed canvas, 1966. Inscribed en verso “Downing - ‘66 Wing.” Canvas: 20.5"H x 44.5"W; Frame: 22.5"H x 46.5"W. Note: The proceeds of the sale of this lot will benefit the Hollycroft Foundation. The Hollycroft Foundation, a non-profit 501(c)(3) corporation, is committed to developing a public awareness of cultural values. Dedicated to affirming that design and the arts influence every facet of our daily lives, the Foundation has promoted lectures, seminars, multi-media curricula and various exhibitions. $4500 - 6500

75 • R O B E R T A R T H U R G O O D N O U G H (American, 1917-2010)

Colors on Pale Purple-Green Oil and acrylic on canvas, 1976. Inscribed en verso “Colors on Pale Purple-Green.” Canvas: 36"H x 47.5"W; Frame: 37.25"H x 49.25"W. Provenance: M. Knoedler & Co., New York; Acquired from the above in May 1977, Estate of Mary Jo Vaughn Rauscher, Dallas, TX. $3000 - 5000

76 • D M I T R I H A D Z I (American, b. 1921)

Thebes III Bronze sculpture, 1980. 65.5"H x 44"W. Provenance: Albert Landry, NY; Acquired from the above in June 1980; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Note: Hadzi’s sculpture often incorporate mythological themes in abstracted forms as is the case in this example. $8000 - 12000

77 • S TA N L E Y W I L L I A M H AY T E R (British/American, 1901-1988)

Nereides Oil and acrylic on canvas, 1958. Signed and dated lower right, “Hayter 58.” Titled, signed, and dated en verso, “Nereides Hayter ‘58.” Canvas: 78.75"H x 67.25"W; Frame: 80"H x 68.5"W. Provenance: Howard Wise Gallery, New York; Acquired from the above in 1964, Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Exhibited: University of Texas Art Museum, Austin, TX (partial exhibition label on reverse). Literature: “Hayter”, Limbour, Georges, Le Musee de Poche, Paris, 1962. Pg. 51; “Studio”, Watt, Alexander, Volume 166, No. 843, July 1963. Illustrated pg.35. Note: According to a letter dated March 12, 1964, from the artist to Mrs. Vaughn, “Sir John Rothenstein wanted to buy it (Nereides) for the Tate Gallery London.” The artist continues his dialog discussing his process, “For your drawings the Rembrandt use some of the same pigments; the way I use them only three to five pure colours are used in each one… the variants coming from interference of transparencies. Suggest Blue, Green, Orange, Red Violet (blue shade) and Yellow only… experiment with one field color predominant and see what happens. Almost any three of these can give equivalent of saturated full color.” $10,000 - 15,000

78 • B A R B A R A H E P W O R T H (British, 1903-1975)

Summer Dance Painted, polished, and patinated bronze in two parts, 1971. Inscribed, “Barbara Hepworth 3/6 1971;” with the foundry mark, “Morris Singer Founders London.” 36"H x 38"W x 14"D. Provenance: Marlborough Gallery NY, acquired July 1984; Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Exhibited and Illustrated: Marlborough Galerie, Zurich, ‘Barbara Hepworth’ exhibition, August-October 1975, cat. 19, reprod. p. 41; “Barbara Hepworth Carvings and Bronzes” May 5-June 29 1979, Marlborough Gallery, New York; catalogue no. 51, illustrated pg. 15. Note: This work is recorded in the Catalogue Raisonne as BH No. 540, that is being revised by Dr. Sophie Bowness; :“Summer Dance” was created while the artist lived and worked in the Trewyn Studio. Nicholas Wadley suggests that, “The use of colour on bronze evolved from her painted carvings, as did the relation of the internal and external lives of a form.”* The artist felt strongly that her sculpture should be used employing all one’s senses and viewed from all angles. *”Barbara Hepworth Carvings and Bronzes” May 5-June 29 1979, Marlborough Gallery, New York. $500,000 - 700,000

7 9 • V I C T O R PA S M O R E (British, 1908-1998)

Linear Motif Relief painting with gravure and oil on plastic and panel, 1967. Initialed, signed, and dated en verso, “VP Victor Pasmore 1967.” Panel: 48"H x 48"W. Provenance: Marlborough Fine Art, London; Acquired from above in January 1986; Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Literature: Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions, and Graphics, 1926-1979,” Rizzoli: New York, 1980, pg. 309, illustrated pg. 308. Marlbourgh-Gerson Gallery, catalog by Dennis Duerden, “Victor Pasmore: The Space Within, New Paintings and Constructions,” Marlbourgh-Gerson Gallery: New York, 1967, pg.12. Exhibited: Marlbourgh-Gerson, New York, 1967. Arts Council of Great Britain. Cartwright Hall, Bradford, February 2-March 1980. Walker Art Gallery, Liverpool, March 15-May 11 1980. Sainstbury Centre, UEA, Norwich; May 20-June 1980. Leicestershire Museum & Art Gallery, Leicester June21-July 20 1980. Laing Art Gallery, Newcastle upon Tyne, July 26-August 25 1980. Diploma Galleries, Royal Academy, London; September 19-October 1980. Note: Alan Bowness remarks, “The projective reliefs of 1954-1966 demonstrate clearly Pasmore’s new ideas of a space-time continuum. The spectator needs to move in order to see the work, and because of the projecting forms and the way they are colored and lit, the painting changes as we view it. Although we know intellectually that the art object is static and determined, our senses tell us that it is variable and undetermined. Again, there is a creative tension built into the work by the artist, a dialectic established that invites further experiment towards resolution.” (Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions, and Graphics, 1926-1979,” Rizzoli: New York, 1980.) $80,000 - 120,000

8 0 • V I C T O R PA S M O R E (British, 1908-1998)

Linear Motif Gravure and oil on plastic and panel, 1966-1967. Initialed, signed, and dated en verso, “VP Victor Pasmore 1967.” Panel: 48"H x 48"W. Provenance: Marlborough Fine Art, London; Acquired from the above January, 1986, Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Exhibited: Marlbourgh-Gerson, New York, 1967. Literature: Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions, and Graphics, 1926-1979,” Rizzoli: New York, 1980, pg. 308, illustrated pg. 78. Marlbourgh-Gerson Gallery, catalog by Dennis Duerden, “Victor Pasmore: The Space Within, New Paintings and Constructions,” Marlbourgh-Gerson Gallery: New York, 1967, pg.13. Note: “There is a direct connection between Pasmore’s compositional practices and topological mathematics, where the properties of indeterminate shapes are investigated… works are often sequential, each picture taking one idea a stage further, as with the Linear compositions of 1961-67.” (Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions, and Graphics, 1926-1979,” Rizzoli: New York, 1980). $80,000 - 120,000

81 • JACQUES LIPCHITZ (French, 1891-1973)

The Meeting Lead sculpture, 1913. Inscribed, “J Lipchitz 1913” with the artist’s thumbprint. 31.5"H Provenance: Otto Gerson Gallery – acquired from the artist; Marlborough-Gerson Gallery, NYC; Acquired in November 1964, Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Exhibited: “Sculpture Twentieth Century,” Dallas Museum of Fine Arts, May 12-June 13, 1965, No. 44; “Dallas Collects: Impressionist and Early Modern Masters,” Dallas Museum of Fine Arts, January 24-February 26, 1978; No.11. Literature: “The Sculpture of Jacques Lipchitz A Catalogue Raisonne Volume One The Paris Years 1910-1940,” by Alan G. Wilkinson, No. 15; “Jacques Lipchitz His Sculpture” by Harry N. Abrams, No.12 (illustrated); “Lipchitz in Otterlo,” A.M. Hammacher, pg. 2. Note: Upon seeing “The Meeting,” the viewer is “immediately struck by the geometrical scheme, the symmetry, straight lines and curves and strong places that determine the structure.” One could also observe that although the figures are embraced there is no overt sexuality to the piece. (“Lipchitz in Otterlo,” A.M. Hammacher, 1977). $600,000 - 800,000

8 2 • PA B LO P I C A S S O (Spanish, 1881-1973)

Sebastia Junyer-Vidal a Majorque Pencil and color crayon on paper, Summer/Fall 1903. Signed lower right, “Picasso.” Sheet: 14"H x 11"W; Frame: 22.5"H x 19.5"W. Provenance: Collection of Sebastia Junyer Vidal; Howard Samuel Esquire; Alex J. Rosenburg, NY; Acquired from the above in January 1981, Estate of Michael Rosenburg, Dallas, TX. Dallas Auction Gallery, May 13, 2004 Lot 298; Private Collection Dallas, TX. Exhibited: New York, Sidney Janis Gallery; London, O’Hana Gallery; “Picasso: Exhibition of Pastels and Drawings of the Blue Period,” 1960, No. 27; Geneva, Musée de l‘Athénée, “Exposition Picasso” July 11 - September 21 1963; London, Brook Street Gallery, illustrated in color in the catalogue “Picasso 60 Years of Graphic Work & Drawings 1900-1910,” 1967, No. 1. Literature: Christian Zervos, Pablo Picasso, Vol. 6, Supplement aux Volumes 1 A 5, illustrated pl. 346 (with incorrect date); OPP.03:012, Mallen, Enrique, ed. Online Picasso Project. Sam Houston State University. Accessed 2014. Josep Palau i Fabre, “Picasso en Cataluna.” Poligrafa: Barcelona, 1966, No. 62; Alexandre Cirici Pellicer, “Picasso antes de Picasso,” Iberia J. Gil Editores: Barcelona, 1946, No. 123. Alan Wofsy, “Picasso’s Paintings, Watercolors, Drawings & Sculpture,” Alan Wofsy Fine Arts: San Francisco, 2003, Vol. 3, No. 156. Josep Palau i Fabre, “Picasso Vivent (1881-1907),” Ediciones Poligrafa: Barcelona, 1980, Vol 1., No. 870. Maria-Teresa Ocana, “Picasso Landscapes 1890-1912,” Little Brown, Boston, 1994, No. 82. Note: In “Picasso Landscapes 1890-1912,” the author notes, “The use of landscape as a means of plastic expression is not very common in the artist’s humorous production at this time. In spite of that, it serves at times to put more emphasis on what he wants to communicate. These works surprise us, often, with scenes which are an amusing description, precise and immediate, of the atmosphere which surrounds him, at times depicted in a natural way, at times in an allusive manner. In any case, they are nearly always related to one or several human figures, the artist’s own or those of his friends. They are an anecdotal account of the world in which he moves, in which between 1903-1904, his friend Junyer has a privileged place.” In the present example we see Picasso, “attempt to reinforce the artistic language through caricature is shown also in the multiple drawings, refreshing and impudent, of Sebastia Junyer. In four drawings Junyer is set in natural surroundings, enjoying the rocky coast and the sea… and even, in a true sublimation of the classic world, setting him, dressed in a tunic, in front of the sea, with a harp in his hand, as though he is about to pluck a rhapsody, surely dedicated to the beauty of nature in Mallora. Not in vain was he passionate about this place, ‘the delicate painter of Mallora’ Cirici called him. Junyer is distinguished for the poetic manner in which he painted the island landscapes.” Here we see one on Picasso’s closest compatriots depicted in a place he holds dear. This drawing also from the artist’s blue period has a markedly different tone than that of his "Portrait of Sebastia Junyer Vidal” also painted in Barcelona in the same year. This lot is accompanied by a letter of authenticity from Jacques Kaplan. Condition: Hinged at top edge. Overall foxing accurately shown in images. Lower left corner with approximate one inch silver loss, see image. Top edge of paper slightly uneven. $250,000 - 350,000

83 • J U L E S O L I T S K I (American, 1922-2007)

Other Flesh 12 Acrylic on canvas, 1972. Signed, titled, and dated on verso, “Jules Olitski 1972 Other Flesh 12.” Canvas: 73"H x 23"W; Frame: 74"H x 24"W. Provenance: Lawrence Rubin, NY; acquired from the above in May 1973; Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Note: With his use of glazing and subtle impasto as seen in this work, Olitski, “produced a surface which could literally be seen into, and which therefore appeared more or less saturated with color as it thickened and thinned.” (“Jules Olitski and The Tradition of Oil Painting,” Terry Fenton; 1979). $14,000 - 18,000

84 • J U L E S O L I T S K I (American, 1922-2007)

Irkutsk Dawn Acrylic emulsion on canvas, 1970-71. Signed, titled, and dated en verso, “Jules Olitski Irkutsk Dawn 1970-71 3rd Years.” Canvas: 80.5"H x 180.5"W; Frame: 81.5"H x 181.5"W. Provenance: M. Knoedler & Co., Inc, NY; Acquired from the above in February 1982; Estate of Mary Jo Vaughn Rauscher, Dallas, TX. Exhibited: Whitney Museum of American Art Jan 25-March 19, 1972, No. 85; Dallas Central Library, April 1984-April 1986. Note: Jules Olitski (American 1922-2007). Olitski’s spray gun paintings are perhaps the most recognizable of his oeuvre. “Sprayed paint is the antithesis of the sculptural. It suggest mists and atmosphere and optical, illusionistic pictorial space (we see fogs by seeing into them).” In, “Irkutsk Dawn”, the artist adjusts our view of the picture by drawing the left margin. With this he, “exploits the fact that the tension and implied space across an empty picture surface isn’t equal through-out, that the surface becomes more literally flat and immediate as it approaches an edge.” (“Jules Olitski and The Tradition of Oil Painting,” Terry Fenton; 1979). $20,000 - 30,000

85 • B Y R O N G Á LV E Z (Mexican, b. 1941)

Sitting Sculpture Bronze, 1989. Signed, dated, and editioned on base “Byron 89 005/100.” 21.25"H x 17.5"W x 12.375"D. Note: During his European travels the artist was exposed to the works of Henry Moore, Brâncus, and Chillida. Their influence is reflected in his sculptural works. $7000 - 10,000

86 • A H M E D PA R V E Z (Pakistani, 1926-1979)

Untitled Gouache and ink on paper, 1960. Signed center right, “Parvez ‘60.” Sheet: 7.75"H x 9.625"W; Frame: 14.25"H x 15.875"W. Note: The proceeds of the sale of this lot will benefit the Hollycroft Foundation. The Hollycroft Foundation, a non-profit 501(c)(3) corporation, is committed to developing a public awareness of cultural values. Dedicated to affirming that design and the arts influence every facet of our daily lives, the Foundation has promoted lectures, seminars, multi-media curricula and various exhibitions. $1500 - 2500

87 • G E O R G E D U N B A R (American/Louisiana, b. 1927)

Beige Lady Clay relief wall sculpture, 1991. 16.5"H x 20"W x 4.5"D including wooden base. Provenance: Galerie Simonne Stern, New Orleans, LA; Estate of Mary Jo Vaughn Rauscher, Dallas, TX. $2500 - 3500

88 â&#x20AC;˘ C H A R L E S A B E R G (American, 1945-1982)

Untitled Oil on canvas wrapped around wood. Overall: 72.5"H x 108"W. $4000 - 6000

89 â&#x20AC;˘ M A R K N E W S O N (Australian, b. 1963)

for Cappellini modern wood chair Of uniform strips of bent natural beech heartwood, Circa 1988-1992. 26.5"H x 34" W x 41"D (14"H seat). $2000 - 3000

90 • M A R G A R E T B O U R K E - W H I T E (American, 1904-1971)

Dahlonega, Georgia, from the Collection “Have You Seen Their Faces?” Gelatin silver print, 1937. Hand stamped in purple en verso “A Margaret Burke-White Photograph” and inscribed in pencil the number 605. Sheet: 9.25"H x 13.25"W; Frame: 16.625"H x 20.5"W. Provenance: Erskine Caldwell’s wife (Mt. Vernon, Maine); to consignor’s father through descent, James D. Julia, 08/2010; Private Texas Collection. Note: Bourke-White and Erskine Caldwell spent eighteen months traveling the south documenting the daily hardships faced by sharecroppers. “The south has been taking a beating for a long time, and the pain and indignity is beginning to tell. It can be seen any day now in the lean and hungry faces of men. It means unrest.” Erskine Caldwell. This image deftly captures Caldwell’s sentiment and yet manages somehow to re-enforce the steadfastness of the resolve of the people of the South to make it through those lean times. This image was chosen as the cover of their book, “Have You Seen Their Faces,” originally published in 1937. $15,000 - 20,000

92 • M A R G A R E T B O U R K E - W H I T E (American, 1904-1971)

Gaze of an Old Man Gelatin silver print, 1936. Sheet: 14"H x 11"W; Frame: 21"H X 18"W. Provenance: Erskine Caldwell’s wife (Mt. Vernon, Maine); to consignor’s father through descent, James D. Julia, 08/2010; Private Texas Collection.

(American, 1886-1958)

Note: Margaret Bourke-White and Erskine Caldwell spent eighteen months traveling the south documenting the daily hardships faced by sharecroppers. This intimate portrait shows the weathered face of a man who has clearly known years of hard work. His steely gaze intimating his resoluteness to soldier on with little hope of improving his circumstances.

Gulf Oil Tanker

$3000 - 5000

91 • E D W A R D W E S T O N

Gelatin silver print. Inscribed en verso in center “Ltd Ed Club, Inc.” and lower right “EWP53.” Paper clipping with typing pasted en verso “Song of the Exposition: #7) ‘With latest connections, works, the inter-transportation of the world, steam power…petroleum…with lines of steamships,’ etc…W 36.” Photograph: 7.625"H x 9.5"W; Paper: 8.875"H x 11"W; Frame: 17"H x 21.125"W. $8000 - 12,000 69

93 • J O A N M I R O (Spanish, 1893-1983)

Grand Triptyque Noir Color etching and aquatint with carborundum, 1969. Signed lower right “Miro” and numbered lower left “21/50.” Sheet: 62.875"H x 47.75"W; Frame: 75.5"H x 59.25"W. Provenance: Waddington Galleries Ltd. London; Acquired from the above in February 1982, From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Jacques Dupin, No. 504. $20,000 - 30,000

94 • J O A N M I R O (Spanish, 1893-1983)

Le Charivari Aquatint, 1976. Signed center right “Miro” and initialed lower right “H C” aside from the edition of 50. Sheet: 63"H x 47.375"W; Frame: 75.5"H x 59.75"W. Provenance: Waddington Galleries Ltd. London; Acquired from the above in February 1982, From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Jacques Dupin, No. 927. $20,000 - 30,000

95 • R O B E R T M O T H E R W E L L (American/New York, 1915-1991)

Wave Color lithograph on white Somerset mold-made paper, 1989. Signed and numbered lower right “Motherwell 84/92.” Sheet: 41"H x 56.5"W; Frame: 50.5"H x 71"W. Publisher: Tyler Graphics Ltd., Mount Kisco, New York. Provenance: Tyler Graphics, NY; Acquired from the above in February 1990, From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Siri Engberg, “Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonne,” Hudson Hills Press, New York, 2003, No. 475, Pg. 368. $12,000 - 15,000 72

96 • S A M F R A N C I S

97 • S A M F R A N C I S

(American, 1923-1994)

SFM 80-800

SFM 79-067

Monotype with woodcut, oil, ink and powdered pigments on handmade paper, 1980. Signed lower right, “Sam Francis,” inscribed on verso, “EXP-SF-30-#8-1980, 30 1/4" X 25" SFM 80-800.”

Monotype with woodcut, oil, ink and powdered pigment on handmade paper, 1979. Signed lower right, “Sam Francis,” inscribed on verso, “30 1/8" x 25 3/8" SFM 79-067.”

Sheet: 30.25"H x 25"W; Frame: 35"H x 29.25"W.

Sheet: 30.125"H x 25.375"W; Frame: 35"H x 29.25"W.

Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Note: This work is identified by the Sam Francis Foundation with the interim identification number of SFM80-800. $10,000 - 15,000

Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Pontus Hulten, “The Monotypes of Sam Francis,” Nancy Mozur and Garner Tullis, Stuttgart, Germany: Daco-Verlag, 1994, pg. 80, illustrated pg. 81. Note: This work is identified by the Sam Francis Foundation with the interim identification number of SFM79-067. $10,000 - 15,000 73

98 • S A M F R A N C I S (American, 1923-1994)

SFM 81-001 Monotype with woodcut, oil, ink and powdered pigment on handmade paper, 1981. Signed lower right. “Sam Francis,” inscribed on verso, “30 1/4" x 25 3/4" SFM 81-001.” Sheet: 30.25"H x 25.75"W; Frame: 35"H x 29.25"W. Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Pontus Hulten, “The Monotypes of Sam Francis,” Nancy Mozur and Garner Tullis, Stuttgart, Germany: Daco-Verlag, 1994, pg. 112, illustrated pg. 113. Note: This work is identified by the Sam Francis Foundation with the interim identification number of SFM81-001. $10,000 - 15,000

99 • S A M F R A N C I S (American, 1923-1994)

SFM 81-021 Monotype with woodcut, oil, ink and powdered pigment on handmade paper, 1981. Signed lower right. “Sam Francis,” inscribed on verso, “30 1/2" x 25 1/16",“ “SFM 81-021.” Sheet: 30.5"H x 25.625"W; Frame: 35"H x 29.25"W. Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Pontus Hulten, “The Monotypes of Sam Francis,” Nancy Mozur and Garner Tullis, Stuttgart, Germany: Daco-Verlag, 1994, pg. 134, illustrated pg. 135. Note: This work is identified by the Sam Francis Foundation with the interim identification number of SFM81-021. $10,000 - 15,000

100 • M . C . E S C H E R (Dutch, 1898-1972)

Dragon Wood engraving, 1952. Signed lower left “MC Escher.” Inscribed lower right “Eigendruk.” Sheet: 12.625"H x 9.5"W; Frame: 20"H x 16.5"W. Literature: F.H. Bool, “M.C. Escher, His Life and Complete Graphic Work: With a Fully Illustrated Catalogue,” H.N. Abrams: New York, 1982, Pg. 303 and 340, No. 379. $14,000 - 18,000

101 • M A R C C H A G A L L (French/Russian, 1887-1985)

Bonjour Paris Color lithograph, 1972. Inscribed, dated, and signed in blue crayon lower margin “1972 Pour Gerard – Marc Chagall.” Artist’s proof aside from the edition of 10,000. Sheet: 33.75"H x 22"W; Frame: 52.25"H x 39.5"W. Literature: No. 43, Fernand Mourlot and Charles Sorlier, “The Lithographs of Chagall,” Braziller: New York, 1960-1986. $10,000 - 15,000 76

103 • S A M F R A N C I S (American, 1923-1994)

Senza Titolo I Etching and aquatint on fabriano paper, 1987. Signed lower right, “Sam Francis” and numbered lower left, “10/58.” Sheet: 49.25"H x 53"W; Frame: 55.5"H x 59.5"W. Publisher: 2RC Edizioni d’Arte, Rome, Italy (watermarked lower left corner of sheet).

102 • S A M F R A N C I S (American, 1923-1994)

Untitled Aquatint and etching on Rives paper, 1987. Signed lower right “Sam Francis” and numbered lower left “18/20.” Sheet: 55.75"H x 32.25"W; Frame: 61.625"H x 38.625"W. Publisher: The Litho Shop, Inc., Santa Monica, CA.

Provenance: The Litho Shop, CA; acquired from the above in October 1990, Provenance: Waddington Galleries Ltd. London; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Connie W. Lembark, “The Prints of Sam Francis, A Catalogue Raisonné 1960-1990,” Hudson Hills Press, New York, 1992, No. I87, pg. 102. $5000 - 7000

Provenance: The Litho Shop, CA; acquired from the above in October 1990, From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. Literature: Connie W. Lembark, “The Prints of Sam Francis, A Catalogue Raisonné 1960-1990,” Hudson Hills Press, New York, 1992, No. I77, pg. 90. $6000 - 8000

105 • PA B LO P I C A S S O (Spanish, 1881-1973)

Colombe Volant à L’Arc en Ciel Color lithograph, 1952. Signed lower right, “Picasso,” and numbered lower left, “76/200.” Sheet: 21.5"H x 30"W; Frame: 30.75"H x 36.5"W. $3000 - 4000

106 • R O B E R T I N D I A N A (American/New York, b. 1928)

Love Etching with aquatint in colors, 1981.

104 • R E M B R A N D T H A R M E N S Z V A N R I J N (Dutch, 1606-1669)

St. Jerome Praying Etching, 1632. Paper: 10.8 cm x 8.1 cm; Frame: 23.5"H x 22.5"W. Literature: Biörklund’s state I/IV, with the broken line on the right side of the arch; Usticke’s state I/IV; White and Boon’s state I/IV. Bartsch 101; Biörklund 32-B; Hollstein (White and Boon) 101. $5000 - 7000

Signed and dated lower right “R Indiana ‘81.” Titled lower left “Love, Red/Blue” and numbered 18/25. Sheet: 29.125"H x 29.625"W; Frame: 34.25"H x 34.25"W. Note: Printed by Vinalhaven Press with their blindstamp, published by Susan Sheehan Gallery to coincide with the release of “Robert Indiana Prints Catalogue Raisonne 1951-1991.” $2500 - 3500

108 • H E N R I T O U LO U S E - L A U T R E C (French, 1864-1901)

Sagesse Lithograph, 1893. Signed and numbered lower left “T-Lautrec No. 7.” Stamped lower left “E.D. Kielmann, Paris, 3 Rue de la Victoire.” Sight: 13.125"H x 10.375"W; Frame: 21.125"H x 18.325"W. $2500 - 3500

109 • S A M F R A N C I S (American, 1923-1994)

Untitled Lithograph on rives paper, 1987. Signed lower right “Sam Francis” and numbered lower left “41/50.” Sheet: 37"H x 28.5"W; Frame: 43.25"H x 34.625"W. Publisher: The Litho Shop, Inc., Santa Monica, CA.

107 • S A M F R A N C I S (American, 1923-1994)

Untitled Lithograph on PTI #120 waterleaf paper, 1989. Signed lower right “Sam Francis” and numbered lower left “50/50.” Sheet: 46.5"H x 29.75"W; Frame: 52.375"H x 35"W. Publisher: The Litho Shop, Inc., Santa Monica, CA.

110 • PA B LO P I C A S S O

111 • J O A N M I R O

(Spanish, 1881-1973)

(Spanish, 1893-1983)

La Ronde de la Jeunesse

Composition II

Color lithograph on Arches, 1961. Signed in pencil lower right, “Picasso,” numbered in pencil lower left, “119/200.”

Color lithograph. Signed lower right “Miro” and initialed lower left “HC” aside from the edition of 125.

Sheet: 25.75"H x 19.75"W; Frame: 28.25"H x 22.25"W.

Sight: 16.75"H x 12.875"W; Frame: 25.75"H x 21.75"W.

$1500 - 2500

Publisher: Centre Georges Pompidou, Paris. Provenance: Edward Dean Gallery, South Windsor, Connecticut. Note: Patrick Cramer, “Joan Miro, lithographs,” Maeght Editeur, Paris, Vol. 6, Pg. 35, No. III0. $1200 - 1800

112 â&#x20AC;˘ F R A N C E S C O G U A R D I (Italian, 1712-1793)

Attributed to Francesco Guardi Landscape with Arch and Figures Brown ink, sepia wash, sanguine pencil with highlights on grey-brown vellum. Sheet: 5.625"H x 8"W; Mat: 20"H x 22.5"W. Provenance: Estate of Don ZanFagna. $1200 - 1800

113 â&#x20AC;˘ F O L LO W E R O F A N B I B A L C A R R A C C I (Italian, 1560-1609)

The Wine God, Dionysus Sanguine on laid paper, pasted at the corners. Sheet: 8"H x 11.25"W; Mat: 20"H x 24"W. Provenance: Estate of Don ZanFagna. $1400 - 1800

114 • R . C . G O R M A N (American, 1932-2005)

Thistle Jar Color lithograph, 1987. Signed and dated lower left “R.C. Gorman 1987” and numbered 20/200. Sight: 30"H x 39.5"W; Frame: 44.75"H x 54.25"W. $1500 - 2500

115 • R . C . G O R M A N (American, 1932-2005)

Harvest Color lithograph, 1987. Signed and dated lower left “R.C. Gorman 1987” and inscribed lower right “A/P.” Sight: 27.25"H x 35"W; Frame: 42"H x 49.75"W. Provenance: Houshang’s Gallery, Dallas, Texas (label en verso). $2000 - 3000

116 • R . C . G O R M A N (American, 1932-2005)

Woman Harvesting Corn Lithograph, 1986. Signed and dated lower left “R.C. Gorman 1986.” Inscribed lower right “A/P.” Sight: 26"H x 36"W; Frame: 40.5"H x 50.75"W. Provenance: Houshang’s Gallery, Dallas, Texas (label on reverse). $1500 - 2500

117 • G E O R G E R O D R I G U E (American, 1944-2013)

Home on the Moon Offset lithograph. Signed lower right “Rodrigue.” Sight: 10.75"H x 22"W; Frame: 22.75"H x 30.75"W. $800 - 1200

118 • G E O R G E R O D R I G U E (American, 1944-2013)

Carmel Edition I Silkscreen, 1991. Signed lower right “George Rodrigue” and numbered 30/90. Sight: 33.875"H x 25.625"W; Frame: 35.625"H x 27.25"W. $800 - 1200

119 • T E R R Y W I N T E R S (American, b. 1949)

Bomb Color lithograph, 1987. Signed, dated, and editioned upper left, “T. Winters 41/71 1987.” Sheet: 32.25"H x 23.25"W; Frame: 36.5"H x 27.625"W. Provenance: From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas. $600 - 900

GUIDE FOR PROSPECTIVE BUYERS Dallas Auction Gallery is an established international antiques and fine art auction house known for integrity, simplicity and personal service for both the buyer and seller. When it comes to auctions, some people find the buying process complicated. Our experienced auction specialists are available to work with you personally to ensure an experience that is clear and straight forward. We welcome you to attend an auction or two, in person before ever bidding on anything. Ask an auction specialist questions about the process and items. This will allow you to become comfortable and knowledgeable within the auction environment. Today’s technology and global marketplace allow for buyers around the world to participate in auctions. Dallas Auction Gallery provides several options for you to preview items prior to the auction. You can view our online catalogues two weeks prior to each sale. There is a detailed description and photographs of each lot offered in the auction. In addition to our catalogues, Dallas Auction Gallery offers an open house preview for several days prior to each auction. Items are professionally displayed in the gallery and our auction experts are available to consult with clients. We encourage you to inspect each item of interest carefully as all items are sold “as is.” Antiques by nature, show signs of use and age, which often enhances their unique characteristics and creates their value, as in a fine patina. If you are unable to inspect the items of interest in person, please request a condition report and our experts will inspect the item for you and provide a written report of its condition. Items available at auction are valued at “auction estimates” in a range which is based on the research of what similar items have sold at auction. They do not necessary indicate the highest amount an item will sell for. The market and bidding will determine final hammer prices.

BID IN PERSON The traditional form of bidding is live, in person during the auction offering an exciting and fast paced experience. All buyers must register prior to bidding and receive a bid card which is raised to indicate a bid to the auctioneer. Once the auction starts, the lots are offered in sequential order. You will receive a printed catalogue to follow along. When your desired item is offered, be sure 86

to make your bid obvious by raising your card and make eye contact with the auctioneer. Auctions are fast paced and you must make decisions and communicate quickly. If you are the winning bidder, the auctioneer will close the item by saying “sold,” the final hammer price and announce your bid card number.

TELEPHONE BIDDING For buyers unable to attend the auction in person, Dallas Auction Gallery offers phone bidding. You participate live on the phone with one of our trained professionals who manages phone bids around the world during each auction. Our auction professionals are fluent in English and Mandarin. Telephone bid requests must be placed at least 24 hours prior to the auction. All telephone bidders are encouraged to leave an absentee bid or safety bid in the event a call should fail. Each registered phone bidder is bound by the terms and conditions of sale. Telephone Bid Form is available on our Website and by calling an auction specialists 214-653-3900.

ABSENTEE BIDDING For buyers unable to participate in the live bidding process, Dallas Auction Gallery accepts Absentee Bids. We bid on your behalf just as if you were in the auction house, up to your pre-determined maximum bid. Dallas Auction Gallery will not use your maximum bid as a starting bid and always attempt to purchase your desired item at the lowest possible price. You must provide a specified fixed maximum bid, we do not accept open ended “buy” bids. We execute absentee bids as a convenience for our clients, however under no circumstances will we be responsible for inadvertently failing to execute bids or for errors relating to execution of bids including technology related errors. In the event of identical absentee bids, the earliest received will take priority. Completed and signed bid forms must be received by Dallas Auction Gallery no later than 5pm (EST) on the evening of the auction.

ABSENTEE BIDDING ONLINE AT DAG When leaving an absentee bid online on our website, please click on the “view catalog” link, and then click “new bidder”. You will be asked to resubmit your personal information. Once registered online, you will be able to quickly log in and bid on any future auctions.

LIVE ON-LINE BIDDING

CONDITION REPORT REQUESTS

Dallas Auction Gallery conducts auctions live online through LiveAuctioneers. You can participate in real time via a live audio and video feed. LiveAuctioneers does require you to register in advance to bid.

Download a Condition Request Form from our website. (requires Adobe Acrobat Reader)

http://www.liveauctioneers.com/browse/seller/dallasauctiongallery Select Dallas Auction Gallery (you may have to click the link to “View all auctions”). Follow auction registration instructions.

PAYMENT OPTIONS

Domestic Clients: We accept bank wire transfers, cash, personal or company check with proper ID, cashier's check, travelers check, money order, Visa, MasterCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice. (a) Items purchased in person must be paid for on the day of the auction. If you leave without paying, your credit card will be charged the next day.

Submit an Condition Request Form Online. We encourage you to inspect each item of interest carefully as all items are sold “as is.” Antiques by nature, show signs of use and age, which often enhances their unique characteristics and creates their value, as in a fine patina. If you are unable to inspect the items of interest in person, please request a condition report via email (info@dallasauctiongallery.com) or telephone (866.653.3900) and our experts will inspect the item for you and provide a written report of its condition, and additional images if needed.

BID INCREMENTS $0 – 999

$ 50

(b) For items purchased via phone or absentee bidding, your credit card will be charged the day after the auction. If other payment arrangements have been made and good funds have not been received by the 5th business day after the auction, your credit card will be charged.

$1,000 – 2,499

$ 100

$2,500 – 4,999

$ 250

$5,000 – 9,999

$ 500

$10,000 – 24,999

$ 1,000

(c) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-6533900 or email at billing@dallasauctiongallery.com to make payment.

$25,000 – 49,999

$ 2,500

$50,000 – 99,999

$ 5,000

$100,000 – 249,000

$ 10,000

(d) If paying by check, DAG reserves the right to hold all purchases until the check has cleared to the satisfaction of DAG and its bank.

$250,000 – 499,999

$ 25,000

$500,000 – 999,999

$ 50,000

International Clients: We accept wire transfers, Visa, MasterCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice.

$1,000,000

$ 100,000

(a) For items purchased via phone or absentee bidding, your credit card will be charged the day after the auction. If other payment arrangements have been made and good funds have not been received by the 5th business day after the auction, your credit card will be charged. (b) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-6533900 or email at billing@dallasauctiongallery.com to make payment.

The following as amended by any posted notices or oral announcements during the sale, constitutes the entire terms and conditions on which property listed in the catalogue shall be offered for sale or sold by Dallas Auction Gallery, Ltd. (“DAG”) and any consignor of such property for whom we act as agent. By bidding at an auction, whether in person or by agent, absentee bid, telephone or other means, the buyer or bidder agrees to be bound by these Conditions of Sale.

3. The successful bidder is the highest bidder acknowledged by the auctioneer. In the event of any dispute between bidders, or in the event of doubt on DAG’s part as to the validity of any bid, the auctioneer will have the final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, DAG’s sale record is conclusive. DAG records the audio portion of each auction.

TERMS AND CONDITIONS OF SALE

4. The purchaser assumes full responsibility for items at the fall of the hammer.

1. All items are sold “AS IS, WHERE IS” with all faults. There are no warranties or representations of merchantability, of fitness, nor of any other kind, express or implied. All items are available for your examination prior to bidding. Written and oral descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authenticity, age, condition, materials or any other feature of items being sold. DAG attempts to catalog every lot correctly and will attempt to point out any defects but will not be responsible or liable for the correctness of the catalog or other descriptions of the lot. We recommend prospective bidders examine all items in which they have an interest. By placing a bid, either in person, by phone, absentee or via the Internet, you signify that you have examined the items as fully as you desire to or that you have chosen not to examine them. If you require absolute certainty in all areas of authenticity, and the results of your evaluation leave uncertainty in your mind, we recommend you have an expert examine the lot for you or do not bid on the item in question. If your item(s) are damaged in shipping, you will need to contact the shipper to file a claim. If your item(s) are being shipped and there is a condition problem upon receipt, you are expected to notify us immediately by phone at 866-653-3900. Any condition concerns will be null and void after the 10th business day following the end of the auction. Please note that if you pay late and thus receive your item(s) late, this does not qualify you for special privileges. We do not give refunds! All sales are final! 2. All property is sold “AS IS, WHERE IS” and neither DAG nor the consignor makes any warranties or representations of any kind or nature with respect to property or its value, and in no event shall be responsible for the correctness of description, genuineness, attribution, provenance, authenticity, authorship, completeness, condition of property or estimate of value. No statement (oral or written) in this catalog, at the sale, or elsewhere shall be deemed such a warranty or representation, or any assumption of responsibility. All measurements are approximate.

5. As a convenience to customers, absentee bids and phone bids will be executed by DAG personnel in a competitive and confidential manner. Phone bid arrangements must be made 24 hours prior to start of the auction. DAG will not be responsible for failure to execute absentee or phone bids. 6. There will be a buyer’s premium of 25% added to the hammer price of each lot for the portion up to and including $50,000; 20% on the portion from $50,001 through $1,000,000, and 12% on the portion exceeding $1,000,000 and all will be considered part of the total purchase price. All purchases will be subject to an 8.25% Texas sales tax unless (1) you are an out-of-state resident and your purchases are being shipped out of Texas or (2) if you are a Texas resident and you possess a valid tax-exempt number. DAG must have a blanket exemption certificate with permit number and signature on any tax exempt sale. 7. PAYMENT: DOMESTIC CLIENTS: We accept bank wire transfers, cash, personal or company check with proper ID, cashier's check, travelers check, money order, Visa, MasterCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice. (a) Items purchased in person must be paid for on the day of the auction. If you leave without paying, your credit card will be charged the next day. (b) For items purchased via phone or absentee bidding, your credit card will be charged the day after the auction. If other payment arrangements have been made and good funds have not been received by the 5th business day after the auction, your credit card will be charged. (c) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-653-3900 or email at billing@dallasauctiongallery.com to make payment. (d) If paying by check, DAG reserves the right to hold all purchases until the check has cleared to the satisfaction of DAG and its bank.

INTERNATIONAL CLIENTS: We accept wire transfers, Visa, MasterCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice. (a) For items purchased via phone or absentee bidding, your credit card will be charged the day after the auction. If other payment arrangements have been made and good funds have not been received by the 5th business day after the auction, your credit card will be charged. (b) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-653-3900 or email at billing@dallasauctiongallery.com to make payment. 8. SHIPPING: It is the buyer’s responsibility to arrange for and pay for shipping. On the 30th calendar day following the auction, all lots that have not been removed from DAG will be moved to an off-site storage facility and incur storage fees of $10.00 per lot per day until removed. For a recommended list of shippers and a Shipping Authorization Form, please click the "Shipping" link under the "Services" tab of our homepage at www.dallasauctiongallery.com. We must have a signed, completed Shipping Authorization to release your lots. 9. If we are prevented by fire, theft, or any other reason whatsoever from delivering any property to the purchaser, our liability shall be limited to the sum actually paid, by the purchaser for such property.

14. In the unlikely event that we lose our internet connection, DAG reserves the right in its sole and absolute discretion to cancel the remainder of the auction. 15. Some lots may be offered with a “reserve” which is the minimum price below which the lot will not be sold. DAG may act to protect the reserve by bidding through the auctioneer. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the consignor. The auctioneer may continue to bid on behalf of the consignor up to the amount of the reserve, either by placing bids in response to other bidders or by placing consecutive bids. In no event will the reserve exceed the low estimate. 16. These terms and conditions of sale, as well as the respective rights and obligations of DAG and any purchasers or bidder at any sale of DAG, shall be governed by and construed and enforced in accordance with the laws of the State of Texas. 17. The auctioneer is licensed and regulated by the Department of Licensing and Regulation. Licensure with the Department does not imply approval or endorsement by the State of Texas. If you have an unresolved complaint, it should be directed to: Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711, 512-463-6599. Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262

10. DAG reserves the right to withdraw any lot at any time before the auction without liability. 11. The auctioneer reserves the right to reject any bid not commensurate with the value of the property offered. 12. A range of estimates is given on each lot with a low and a high estimate. Estimates should not be relied on as a prediction of the actual selling price. 13. If any applicable conditions herein are not complied with by the purchaser, in addition to other remedies available to it by law, including without limitation the right to hold the purchaser liable for the total purchase price, DAG at its option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or (b) resell the property at public auction without reserve or minimum selling price, and the purchaser will be liable for any deficiency and costs, including handling charges, expenses of both sales, the commission on both sales at regular rates, all other charges due hereunder and incidental damages.

214.653.3900 2235 MONITOR STREE T DALLAS T X 75207 DA L L A S AU C T I O N G A L L E RY.CO M

DALLAS AUCTION GALLERY MAY

SALE

DATES

FINE JEWELRY – MAY 21, 2014

VINTAGE COUTURE AND CONTEMPORARY LUXURY GOODS MAY 22, 2014

2235 MONITOR STREET

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DALLAS, TEXAS 75207 214.653.3900

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W W W . D A L L A S A U C T I O N G A L L E R Y. C O M

DALLAS AUCTION GALLERY

AMERICAN and EUROPEAN ART W E D N E S D AY

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APRIL 30, 2014

DEPARTMENT OF FINE ART: Adriane Shuford Crosland, Director of Fine Art asc@dallasauctiongallery.com Elizabeth Rhodes, Fine Art Associate emr@dallasauctiongallery.com

PHOTOGRAPHY: Gary Heiner

CATALOGUE DESIGN: WinshipPhillips www.winshipphillips.com

DALLAS AUCTION GALLERY CALL

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CONSIGN

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COLLEC T

2235 Monitor Street â&#x20AC;˘ Dallas T X 75207 214-653-3900 w w w.da lla sa uc t ionga ller y.com