The Fine Art Auction • November 4, 2015 by Dallas Auction Gallery

Featuring Works from the Collection of Sam Wyly, Dallas, Texas. 1

FOR TELEPHONE AND ABSENTEE BIDDING ARRANGEMENTS, CONTACT US AT: P: 214.653.3900 F: 214.653.3912 TOLL FREE: 866.653.3900 E: info@dallasauctiongallery.com

Scott Shuford, TXL #13769 | Jerry W. Holley, TXL # 10262 | Brandon Kennedy, TXL # 17622 FRONT COVER: Gilbert Stuart, Lot 20 (detail) | INSIDE COVER: Jean Béraud, Lot 6 (detail) 2

Featuring Works from the Collection of Sam Wyly, Dallas, Texas.

CONTENTS American & European Paintings

American Historical

John James Audubon

American, Western & Illustration

Picassoâ&#x20AC;&#x2122;s Unique Ceramics

102

AMERICAN & EUROPEAN PAINTINGS

1 Eugenio Zampighi (Italian, 1859-1944) Baby’s Meal Oil on canvas. Signed lower left, “E. Zampighi”. Canvas: 23.75”H x 18.125”W; Frame: 29.75”H x 20.125”W. Eugenio Zampighi was known for his genre scenes depicting the domestic lives of Italian peasants. $7,000 – $10,000

2 Edouard Cortés (French, 1882-1969) Le Repas du Soir, Effet de Lampe Oil on canvas. Signed lower right, “Edouard Cortés” Canvas: 15”H x 18.25”W; Frame: 21”H x 24.25”W N OT E

This painting will be included in Nicole Verdier’s forthcoming Edouard Léon Cortès catalogue raisonné Vol. III. $5,000 – $7,000

3 Charles Euphrasie Kuwasseg (French, 1838-1904) Vieux Port Romain de S. Martin Italie Oil on canvas. Signed lower left, “C. Kuwasseg”. Canvas: 23.25”H x 39.75”W; Frame: 31.25”H x 48”W PROVENANC E

Guarisco Gallery, Washington, D.C. From the Collection of Sam Wyly, Dallas, Texas. $3,000 – $5,000

4 Pr. John Frederick Herring, Jr. (British, 1815-1907) Farmyard Scenes Oil on canvas. Canvas: 24”H x 24”W; Sight: 23.75” Dia.; Frame: 29.75”H x 29.75”W. PROVENANC E

Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas. $6,000 – $8,000

5 John Frederick Herring, Sr. (British, 1795-1865) Noon Day Rest Oil on canvas, 1859. Signed and dated lower right, “J. F. Herring Senr. / 1859”. Canvas: 40.875”H x 71.125”W; Frame: 48”H x 78”W. PROVENANC E

Sotheby’s London: Wednesday, July 10, 1996, Lot 00126. From the Collection of Sam Wyly, Dallas, Texas. John Frederick Herring, Sr. was known for his portraits of animals, especially racehorses, earning the patronage of the Duc d’Orleans, HRH Duchess of Kent, and Queen Victoria. $30,000 – $50,000

6 Jean Béraud (French, 1849-1936) Le jour d’emprunt (Loan Day) Oil on canvas. Signed lower left, “Jean Béraud”. Canvas: 24.75”H x 34”W; Frame: 32.25”H x 41.25”W. PROVENANC E

M. Combe (acquired in 1936). Louis Ferri (acquired in 1963). Drouot, Paris, February 1st, 1967 (h.c., ill.). Max Schweitzer Gallery, Inc., New York (acquired from the above). Christian Humann (acquired from the above in 1970). Sotheby’s New York: May 23, 1997, Lot 00286. From the Collection of Sam Wyly, Dallas, Texas. E XHIB ITED

“Jean Béraud: Peintre de la vie Parisienne”, Musée Carnavalet, Paris, November 1936 - January 1937, no. 48. “The Elegant Epoche”, New York, Hammer Galleries, 1969, no. 48 (illustrated). LI TERATU RE

P. Hermant, “Au temps des victorias”, Le Figaro illustré, December 1936 (illustrated, p. 48). A. Dauphin-Meunier, “La Banque à travers les âges”, Paris, 1937 (T. II, ill.). M. Mogenet, “Un siècle d’economie française 1863-1963”, Montrouge (France), 1963 (ill, p. 105). J.-P. Crespelle, “Les Maîtres de la Belle Époque”, Paris, 1966 (no. 215, ill. p. 138). Chantelou, “À l’hôtel Drouot, 30.100 F pour ‘Le Jour de l’emprunt’ de Jean Béraud”, Le Monde, February 4, 1967. “Notable Works of Art now on the Market”, The Burlington Magazine, June 1967 (ill. pl. 28). Auction, February 1970, ill. (advertisement for Schweitzer Gallery). P. Offenstadt, “Le Paris disparu de Jean Béraud”, L’Œil, March 1987, p. 34. P. Offenstadt. “Jean Béraud: The Belle Époque, A Dream of Times Gone By. Catalogue raisonné”, Cologne: Taschen, Paris: Wildenstein Institute, 1999 (éditions française et anglaise), no. 315, p. 241 and ill. in color pp. 9 and 240. NOTE

Jean Béraud was regarded as one of the premier illustrators of the Belle Époque era in Paris during the late 19th century. Much like his Impressionist contemporaries, Béraud depicted scenes from everyday Parisian life, observing and chronicling the lives of the working class, bourgeoisie, and aristocrats. Le jour d’emprunt captures a scene of “the launch of a state loan, attracting subscribers to the banks and the town halls on the appointed day. Long queues sometimes resulted.” (P. Offenstadt, p. 241). $150,000 – $250,000

7 Alfred W. Boisseau (French, 1823-1901) Flood of the Mississippi Oil on canvas, 1896. Signed lower right, “A Boisseau / 1896”. Canvas: 37”H x 52.75”W; Frame: 51.25”H x 67.25”W.

PR OVENANC E

Parke-Bernet Galleries, New York. Altmayer Limited Partnership, Mobile, Alabama (until 2003). Hammer Galleries, New York (label verso). From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 2003). E X HI BITED

“Downriver: Currents of Style in Louisiana Paintings, 1800-1950”, New Orleans Museum of Art, 1990. LI T ERATU RE

Ashurst, Suzanne and Jessie Halverson, “Jay P. Altmayer’s Princely Digs”, Mobile Bay Monthly, 8 (October 1973), ill. p. 52. Pennington, Estill Curtis, “Downriver: Currents of Style in Louisiana Paintings, 1800-1950”, Gretna, Louisiana: Pelican Publishing, 1991, p. 107, color ill. p. 107. NOT E

Although little is known about Parisian born Alfred Boisseau, his time spent in New Orleans during the 1840s would serve as inspiration for many of his works, like this powerful piece titled Flood of the Mississippi. Executed in 1896, Boisseau illustrates a dramatic, emotion filled scene of a family being rescued from the roof of their home by a rowboat. While natural disasters were not uncommon in this region of the Deep South, this particular image is thought to allude to the disastrous flood of the Mississippi in 1882. $8,000-$12,000 14

8 Joseph Rusling Meeker (American, 1827-1889) Achafalaya River Scene Oil on canvas, 1887. Signed lower left, “J. R. Meeker 1887”. Canvas: 20.125”H x 36.125”W; Frame: 33.125”H x 49.25”W PROVENANC E

Hammer Galleries, New York (label verso). From the Collection of Sam Wyly, Dallas, Texas. NOTE

Joseph Rusling Meeker brought the mystical landscapes of the South to life through his rich depictions of the Mississippi River delta. Stationed on a gunboat during the Civil War, Meeker spent his days traveling up and down the river and sketching the surrounding landscape. Upon his return to St. Louis, Missouri, he would use these drawings as inspiration for his Bayou swamp scenes. Heavily influenced by the style of J.M.W. Turner, this painting of Achafalaya River Scene depicts cypress trees dramatically rising out of a tranquil marsh just as the morning sun rises and the mist settles. $25,000 – $35,000

9 George Inness (American, 1825-1894) Pastoral Landscape Oil on canvas, 1857. Initialed and dated lower left, “G. I. 1857”. Canvas: 26”H x 36”W; Frame: 38.25”H x 48.25”W. PR OVENAN CE

Pearle Houston, Wichita, Kansas. W.C. Findlay, Kansas City. Berry-Hill Galleries, New York (c. 1985-1986). Mr. Burns, Michigan (acquired from the above in 1986). Hirschl & Adler Galleries, New York. From the Collection of Mrs. Charles J. Wyly, Jr., Dallas, Texas (acquired from the above in 1998). LIT ER AT UR E

Quick, Catalogue Raisonne, no. 101 (Pl. 32, Illustrated p. 128). George Inness is one of the most highly celebrated painters of American landscape from the 19th century. Drawing influence from Theodore Rousseau and Jean-Baptiste-Camille Corot, he departed from the dramatic, large scale vistas of the Hudson River School and opted for more subdued and glorified depictions of nature. Rather than illustrating scenes of man engulfed by his rugged and unruly environment, Inness portrayed quiet scenes of his innate oneness with nature. His landscapes exude a poetic softness and tranquility that show mankind and God’s creation coexisting in harmony. As illustrated here in Pastoral Landscape, the trees and fields glow in a post-dawn mist as two men relax at the center of the scene, in peaceful, unencumbered existence with their surroundings. $100,000 – $150,000

10 Albert Bierstadt (American, 1830-1902) Indian Camp Oil on canvas, 1899. Signed lower right, “A Bierstadt”. Canvas: 14”H x 19”W; Frame: 23.5”H x 28.5”W. P R OV EN AN CE

Private Collection, San Francisco, CA. c. 1920. By descent in the above family through 1998. Private collection. Wind River Gallery, Aspen, CO. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 1998). L I TER ATU R E

“18th, 19th & 20th Century American Masters”, Elliot Yeary Gallery, Aspen, Colorado, pp. 11 - 12 (illustrated in color, p. 12). N OTE

Special thanks to Melissa Webster Speidel of the Albert Bierstadt Catalogue Project for her assistance in cataloging this lot. Albert Bierstadt (American, 1830-1902) is widely known for his grand, dramatic vistas of the American West, serving as a prime example of the 19th century Romanticism that was popular in the decades before the turn of the century. His career-defining subject matter came as a result of a western military expedition surveying the wagon routes of Wyoming in 1859. On this journey, he studied flora, fauna, and human inhabitants, drafting sketches, taking stereo photographs, and collecting items to bring back to his New York studio. With this vast collection of firsthand prompts, Bierstadt was able to produce his monumental landscapes, in addition to smaller paintings featuring wildlife, Indians, and artifacts, as illustrated here in Indian Camp. $15,000 – $25,000

11 Sir Alfred East (English, 1849-1913) An Idyl Oil on canvas. Signed lower left, “Alfred East”. Canvas: 58.25”H x 44.25”W; Frame: 65.75”H x 52”W. EXH I BI TED

“Exhibition of Paintings by Alfred East of London”, Art Institute of Chicago, January 4 30, 1910; National Arts Club, Gramercy Park, New York City, April 6 - 30, 1910. $2,500 – $3,500

12 Colin Campbell Cooper (American, 1856-1937) The Enchanted Wood Oil on canvas mounted on board, 1922. Signed and dated lower left, “Colin Campbell Cooper / 1922”. Titled on label verso. Canvas: 33”H x 36”W; Frame: 39.25”H x 42.25”W. E X HI BITED

Carmelita Garden House, Pasedena, California, 1926. NOT E

Colin Campbell Cooper, a renowned painter of impressionistic scenes, studied at the Pennsylvania Academy of the Fine Arts with Thomas Eakins and in Paris at the Academies Julian, Vitti, and Delecluse. Influenced by the style of Frederick Childe Hassam, Cooper’s paintings had an atmospheric quality and delicate handling that gave his paintings an element of airiness. In 1921, Cooper and his wife moved to Santa Barbara, California, where he became the Dean of Painting at the Santa Barbara Community School of the Arts. It was there that he developed The California Style, a unique handling of watercolor on canvas that could be mistaken for oils. Distinguished on both the East and West Coasts, Cooper earned an international reputation with his impressionistic, sublime scenes, as demonstrated here in The Enchanted Wood. $6,000 – $8,000 21

13 (top left) Eugenio Alvarez Dumont (Spanish, 1864-1927) Untitled (Beach scene with view of coastline) Oil on canvas. Signed lower right, “Eugenio Dumont”. Canvas: 6.5”H x 12.25”W; Frame: 12.75”H x 18.5”W. $1,500 – $2,500

14 (top right) Eugenio Alvarez Dumont (Spanish, 1864-1927) Untitled (Beach scene with boat and flag) Oil on canvas. Signed lower left, “Eugenio Dumont”. 6.5”H x 12.25”W; Frame: 11.75”H x 17.5”W. $1,500 – $2,500

15 (lower left) Jules Cavaillès (French, 1901-1977) Parc a Albi Oil on canvas,1945. Signed and dated lower right, “J. Cavaillès 45”. Inscribed on verso, “J. Cavaillès / Parc a Albi”. Canvas: 36.25”H x 25.5”W; Frame: 39”H x 28.5”W. N OT E

This painting is registered in the online Jules Cavaillès Research Centre under L_11_110. $1,500 – $2,500

AMERICAN HISTORICAL

16 King George III document signed “George R” One page (docketing on the verso), partially printed on parchment, n.p., June 11, 1778. The document gives royal assent to an appropriation by the British Parliament of £27,457 12s 1/2d to be paid to Arnold Nesbitt, Adam Drummond, and Moses Frank, “contractors for virtualizing the forces in North America.” British Forces in North America numbered 12,000 men at the time of the appropriation. Countersigned by Lord Westcote and Viscount Beauchamp, Commissioners for the Office of Lord High Treasurer of England and the Lord of the Treasury, Henry Temple, 2nd Viscount Palmerston. Sold with the comptroller’s accounting of the appropriation, one page (docketing on the verso), n.p., June 11, 1778, signed by Comptroller of Army Accounts Thomas Bowlby. Royal document: 15”H x 9.75”W; Comptroller document: 13.5”H x 9.75”W; Frame: 25”H x 35.5”W. PROVENANC E

From the Collection of Sam Wyly, Dallas, Texas. NOT E

By 1778 the cost to Great Britain of the revolution in British North America was growing and the conflict was spreading. In February 1778 a Franco-American Treaty of Amity and Commerce was signed in Paris bringing the Kingdom of France closer to openly supplying the American revolutionaries. On March 13, the French minister in London informed King George III’s government that France officially recognized the United States. Three days later, on March 16, 1778, a peace commission was created by the British Parliament to negotiate with the Americans. The commissioners traveled to Philadelphia where they offered to grant all of the American demands, except independence. The British concessions were rejected by Congress. By June 1778, France entered the war as a military ally of the United States and was at war with Great Britain. No longer a confined revolution, the North American conflict became an international war. $5,000 – $6,000 24

17 David Brega (American, b. 1948) Unfinished Business Oil on board, 1993. Signed and dated top left,”David Brega ‘93”. Board: 26.25”H x 16.5”W; Frame: 33.5”H x 23.625”W. P ROVE N A N C E

Hollis Taggart Galleries, New York (label verso). From the Collection of Sam Wyly, Dallas, Texas. E X HI B I T E D

Museum of Fine Arts, Springfield, Massachusetts, “David Brega and Douglas Brega: Oil and Water”, September 20 December 31, 2000 (label verso). Albrecht-Kemper Museum of Art, St. Joseph, Missouri, March 2 - June 6, 2001. N OT E

This whimsical play on Gilbert Stuart’s famous unfinished portrait of the first President has several humorous visual asides. Firstly, the noted portrait takes on a postcard form here and is taped to the backside of what appears to be a well-worn piece of furniture. However, not to be outdone by Stuart’s original, the ruse is up at the bottom of the work as the wooden texture falls away, giving way to a neutral surface and the punctuation of a gently-folded red dot. David Brega is one of the foremost contemporary American practitioners of the tromp l’oeil painting style. $3,000 – $5,000 25

18 David Brega (American, b. 1948) Thomas Jefferson Trompe L’Oeil Oil on board, 2004. Signed and dated lower right, “David Brega ‘04”. Board: 43.25”H x 33.75”W; Frame: 51.25”H x 42.375”W. PR OVENANC E

Hammer Galleries, New York (label verso). From the Collection of Sam Wyly, Dallas, Texas. NOT E

This painting was a special commission by Mr. Wyly and incorporates several key elements of what Jefferson considered to be his milestone historical achievements. The portrait itself is a reproduction of Rembrandt Peale’s famous portrait of Jefferson, painted in 1805 and now in the collection of the New York Historical Society. Visible at left behind the painting is a page from Jefferson’s “An Act for establishing Religious Freedom”, written into law in 1786. At the bottom right, we see a handwritten draft of the Declaration of Independence, with plans for the Rotunda at the University of Virginia just above. Also positioned behind the founding father’s likeness we see portions of two letters both from and to the patron’s forebears. David Brega (American, b. 1948) is one of the foremost contemporary American practitioners of the trompe l’oeil painting style. $12,000 – $18,000

19 William J. Stone for Peter Force The Declaration of Independence Single oversized sheet, copperplate engraving on rice paper. Originally folded and placed in Volume I of Peter Force’s 18371853 series of books, American Archives. Paper: 29.5”H x 24.75”W; Frame: 42.5”H x 39”W. P ROVE N A N C E

From the Collection of Sam Wyly, Dallas, Texas. N OT E

United States Secretary of State John Quincy Adams commissioned William J. Stone of Washington to engrave an exact copy of the original Declaration of Independence onto copperplate in 1820. The undertaking took three years. Stone used a Wet-Ink transfer process to create a copperplate from which facsimile copies could then be made. By wetting the original document, some of the original ink was transferred to the copperplate, which was then engraved and used for printing. There were 201 official parchment copies printed from the Stone copperplate. In 1833, historian and printer Peter Force was contracted by the Department of State to compile the “American Archives, a Documentary History of the English Colonies in North America”. It was to include legislative records, official documents, and historic private correspondence. Six volumes were published between 1837 and 1846 and an additional three more volumes between 1846 and 1853. The completed volumes covered the years 1774 to 1776. Bound into in the first volume was a paper copy of the William J. Stone Declaration of Independence. The original copperplate created by William J. Stone was retrieved from storage and Force printed copies on rice paper. In the lower left of each copy, Force printed: “W. J. STONE SC. WASHN.” These copies were then folded and inserted into the American Archives collection. Congress authorized up to 1500 copies of the series to be produced, but advanced subscriptions fell far short of that number and the actual number of copies printed was far smaller, with estimates ranging from between 500 and 1,000. Today, there are only a few hundred of Peter Force’s printing of the Declaration of Independence known to exist. $20,000 – $30,000

20 Gilbert Stuart (American, 1755-1828) Portrait of George Washington Oil on canvas, 1798. Canvas: 28.5”H x 24”W; Frame: 39.25”H x 34”W. PROVENANC E

James Yard, Philadelphia. C. N. Robinson, Philadelphia. Joseph Swift, Philadelphia (acquired from the above in April 1853). Thence by descent to Mrs. Thomas Balch (daughter of Mr. Swift), Philadelphia (1882). The Balch Foundation, Philadelphia. Private collection, Alabama (for two decades). Hammer Galleries, New York. From the Collection of Mr. Sam Wyly, Dallas, Texas (acquired from the above in 2000). LI TERATU RE

Mantle Fielding, “Gilbert Stuart’s Portraits of George Washington”, Private Printing, Philadelphia, 1923, p. 159, no. 38. Lawrence Park, “Gilbert Stuart - An Illustrated Descriptive List of His Works”, New York, 1926, Vol. II, pp. 867 - 68, no. 39. John Hill Morgan and Mantle Fielding, “Life Portraits of Washington and Their Replicas”, Philadelphia, 1931, p. 277, no. 38. Gustavus A. Eisen, “Portraits of Washington”, Vol. I, New York: Robert Hamilton & Associates, 1932, p. 191 (referred to as the “Yard-Balch” portrait). “18th, 19th & 20th Century American Masters”, Elliott Yeary Gallery, Aspen, Colorado, pp. 3-4 (illustrated in color, p. 4). NOTE

This 1798 portrayal of George Washington was modeled after the original 1796 portrait of George Washington painted by Stuart in the Athenaeum style. The earlier portrait, jointly owned by the National Portrait Gallery in Washington D.C. and the Museum of Fine Arts in Boston, MA, illustrates the most popular of Stuart’s three styles of Washington portraiture, the other two which are named the Vaughan and the Lansdowne types. The Athenaeum type depicts the President in warm flesh tones seated against a dark background and dressed in a black velvet suit with a white ruffled lace shirt. As the most popular image of Washington, this portrait was famously illustrated on stamps and the one dollar bill. Gilbert Stuart was regarded as the premier portraitist of the late 18th and early 19th centuries and was renowned for his portrayals of the country’s wealthiest and most politically prominent citizens, namely George Washington, Thomas Jefferson, John Adams, and Paul Revere. $150,000-$250,000

21 Benjamin Franklin Letter signed “B. Franklin” as Commissioner at the Court of France One page, Passy, near Paris, June 27, 1778. In the letter of safe passage, Franklin certifies that “Capt. Solomon Townsend of New York, Mariner, hath this Day appeared voluntarily before me and hath taken the Oath of Allegiance to the United States of America according to the Resolutions of Congress, thereby acknowledging himself a Subject of the said States.” Letter: 7.75”H x 6”W; Frame: 16.5”H x 28.5”W. P ROVE N A N C E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 2002). N OT E

Townsend was captain of the merchant vessel, Glasgow, which was berthed in London when hostilities caused the end of trade between the States and England. Stranded in London, he made his way to Passy, near Paris. There he met Benjamin Franklin, who had him sign the Oath of Allegiance to the United States, effectively giving him safe passage back home. Solomon was commissioned into the United States Navy. The Townsend family were staunch supporters of the revolution. Solomon’s father, Peter Townsend, manufactured the massive iron chain that extended across the Hudson River in defense against the British Royal Navy. It protected the fort at West Point and prevented the British from sailing further up the Hudson and connecting with British Forces from Canada. $8,000-$10,000

22 John Adams Land grant signed “John Adams” as President One page, partially printed, Philadelphia, February 27, 1801. The document grants 100 acres to David Atkins. Countersigned by John Marshall as acting secretary of state. Blind embossed seal of the United States affixed at lower left. Letter: 10”H x 11.75”W; Frame: 14”H x 12”W. P R OV EN AN CE

From the Collection of Sam Wyly, Dallas, Texas. $4,000-$5,000

23 Andrew Jackson Letters patent signed “Andrew Jackson” as President Two partially printed vellum pages (docketing on verso), Washington, D.C., April 12, 1833, acknowledging that Joseph Ross, has developed improvements for “the machine of shelling corn”. Countersigned by the Acting Secretary of State Edward Livingston and Attorney General Roger B. Taney. The blind embossed paper Seal of the United States is affixed at lower left. The pages are attached with pink ribbon to the above letters patent. Sight: 14”H x 11”W; Frame: 31”H x 20”W. P ROVE N A N C E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 2002). $1,000-$2,000

24 Annie Braidwood (American, 19th Century) Portrait of Andrew Jackson Oil on canvas, 1866. Signed and dated in pencil on verso, “Annie L. Braidwood / 1866”. Additionally, below it reads, “From a portrait from life by / E. D. Marchant at New Orleans / in 1839”. Canvas: 24.25”H x 20”W; Frame: 34.5”H x 30.5”W. P ROVEN AN CE

Private collection, Arkansas. Hammer Galleries, New York From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 2003). N OT E

As mentioned in the note on the verso of this work, this portrait of Andrew Jackson was based on the portrait by Edward Dalton Marchant, drawn from life in New Orleans. The artist, Mrs. Braidwood (née Colladay), was a graduate of the School of Design for Women in Philadelphia (now the Moore College of Art) as well as having studied at the Pennsylvania Academy of Fine Arts. In 1865, she married the Principal of the School of Design for Women, Thomas W. Braidwood. The following year, she painted this stately likeness of the seventh President of the United States. As part of a larger donation, Mr. Braidwood (on behalf of the School of Design) donated the painting in 1867 to a State Gallery of Art and it was placed in the new Library room as adopted by the Pennsylvania House of Representatives. $12,000-$18,000

25 James K. Polk letter autograph signed “James K. Polk” as President One page, n.p. [Washington, D.C.], June 12, 1846. Housed in a custom tooled leather chemise. The letter asks Secretary of War William L. Marcy to forward copies of General Zachary Taylor’s battlefield reports to the House and Senate, “Should there not be duplicate copies of Genl. Taylor’s Reports, that one may be sent to each House? It strikes me it would be proper. If you think so, will you have a second copy prepared, before 12. O, clock that I may send the message to day.” Letter: 10”H x 8”W; Chemise: 10.5”H x 12”W. PROVENANCE Sotheby’s Parke Bernet: January 25, 1979, Lot 144 (“American Historical Documents, Autograph Letters and Manuscripts: The Nathaniel E. Stein Collection”). Christie’s New York: March 27, 2002, Lot 68 (Sale 1032, “Forbes Collection of American Historical Documents”). From the Collection of Sam Wyly, Dallas, Texas. NOTE The annexation of the Republic of Texas as a state in the union in 1844, angered Mexico. The new state’s vague southern border became the center point of dispute, with the Mexican government asserting that the border lay at the Nueces River and the United States claiming a line 150 miles south along at the Rio Grande. President Polk, an enthusiastic supporter of Manifest Destiny, sent a force of 4000 troops under command of General Zachary Taylor to the banks of the Nueces River. On April 25, 1846 Mexican cavalry attacked a group of United States cavalrymen in the disputed zone, killing about a dozen. The Mexican Army laid siege to an American outpost along the Rio Grande. Taylor dispatched reinforcements and was able to defeat the Mexicans at the battles of Palo Alto and Resaca de la Palma. Polk told the U.S. Congress that the “cup of forbearance has been exhausted, even before Mexico passed the boundary of the United States, invaded our territory, and shed American blood upon American soil.” Two days later, on May 13, Congress declared war, despite opposition from some northern lawmakers. Abraham Lincoln, a freshman congressman from Illinois, dramatically challenged Polk to prove his claim that American blood had been spilled on American soil. The detailed reports referred to in Polk’s letter are of the operations between the American and Mexican forces at Palo Alto and Resaca de la Palma.

$2,000-$3,000 34

26 Andrew Johnson draft copy of an autograph letter signed “Andrew Johnson” as Congressman Two pages, integral blank, Greeneville, Tennessee, May 15, 1851. Housed in a custom tooled leather chemise. In the letter to John H. Keyser, Johnson denies that he is a candidate for vice president of the United States, but proclaims his commitment to the working class, “I am a democrat in the enlarged and spoken sense of the term and have devoted the best efforts of my life to ameliorate the condition of the laboring man. The time has arrived when the toiling thousands in the U.S. should be honored with a laboring man for the Presidency. A man who in fact has been a laboring man-one whose sympathies are with the mass”. He expounds on his belief that the passage of a Homestead Bill, that he had long championed, was essential with national goals of the expansion of free labor into the West. He adds that he would support any other “…scheme that will elevate the oppressed condition of my kind.” Letter: 9.75”H x 7.75”W; Chemise: 10.05”H x 12”W. P ROVE N A N C E

Christie’s New York: March 27, 2002, Lot 108 (Sale 1032, “Forbes Collection of American Historical Documents”). From the Collection of Sam Wyly, Dallas, Texas. $4,000-$5,000

27 Jules Emile Saintin (French, 1829-1894) Portrait of John Brown Graphite and gouache on card, 1859. Inscribed beneath image, “J. E. Saintin / New York / 1859 / John . Brown / 1859”. Paper: 6”H x 4.75”W; Frame: 11.5”H x 10.25”W. P ROVE N A N C E

Alexander Gallery, New York, NY (label verso). Heritage Auctions Texas: October 29, 2005, Lot 24019 (sold in set of 3). From the Collection of Sam Wyly, Dallas, Texas. $2,000-$3,000

28 Jules Emile Saintin (French, 1829-1894) Portrait of Stephen A. Douglas Graphite and gouache on card, 1860. Inscribed along top and bottom edges of oval paper, “1861 Hon. Stephen. A . Douglas of Illinois / J. Emile Saintin New York 1860”. Paper: 5”H x 3.75”W; Frame: 10.5”H x 9.25”W. P R OV E N A N C E

Alexander Gallery, New York, NY (label verso). Heritage Auctions Texas: October 29, 2005, Lot 24019 (sold in set of 3). From the Collection of Sam Wyly, Dallas, Texas. $2,000-$3,000

29 Jules Emile Saintin (French, 1829-1894) Portrait of Abraham Lincoln Graphite and gouache on card, 1860. Inscribed along top and bottom edges of oval paper, “1860 Hon. Abraham Lincoln of Illinois President of the US / J. Emile Saintin New York 1860”. Paper: 4.25”H x 3.25”W; Frame: 9.5”H x 8.5”W. P ROVE N A N CE

Alexander Gallery, New York, NY (label verso). Heritage Auctions Texas: October 29, 2005, Lot 24019 (sold in set of 3). From the Collection of Sam Wyly, Dallas, Texas. $2,000-$3,000 35

30 69th Regiment, New York State Volunteers Veterans parade banner Utilizing a variety of fabrics, including silk, silk damask, velvet, and cotton, with design elements that are both stitched and painted. The large parade banner pays homage to the Civil War veterans of the 69th Regiment, New York State Volunteers, Irish Brigade. The banner is post-Civil War, of undetermined age. Banner: 83”H x 87”W; Frame: 91”H x 98.75”W. PROV EN AN CE

From the Collection of Sam Wyly, Dallas, Texas. NOT E

In the center of the banner is a large heraldic garter with the legend, “United We Stand Divided We Fall,” inside the garter is an eagle with spread wings above a riband with “Union Forever,” below the riband is an American shield with thirteen stars and fourteen stripes, to each side of the shield is a draped flag with a total of eighteen visible stars. The rim of the garter has rococo flourishes and, on each side, the Harp of Erin with clouds and lightning bolts, on a bed of shamrocks. A large riband at the top reads, “69th Regiment N.Y.S.V.” with three shamrocks at each end. Below the central garter is a riband with “Irish Brigade” flanked by single shamrocks. The green silk central field is surrounded by a dark red velvet border with seven stars on each side, and below another American shield flanked by flags showing twenty-three stars and a blue riband with a total of eighteen stars. The top of the banner has loops for a pole and two silk tassels. The bottom of the banner has a knotted fringe. NOT E

The 69th Regiment, New York State Volunteers predates the Civil War and perpetuates units that date back to the Revolutionary War. The successor units to the 69th Regiment have participated in every American conflict of the last 150 years. $8,000-$12,000

31 Silk Confederate company presentation flag of the Lake Providence Cadets, 4th Louisiana Infantry, February 22, 1861 This extremely rare original silk Confederate presentation company flag of the Louisiana Lake Providence Cadets was presented to the officers and men of the unit at its formation on February 22, 1861 by the ladies of the Lake Providence community. It was the first Confederate unit flag made in Louisiana after the state seceded from the union on January 26, 1861. One side is painted with, “Presented / To The / Lake Providence / Cadets By the / Young Ladies. / Feb.’y 22d. 1861.” According to an authenticity report by Howard Michael Madaus the reverse of the flag, unseen due to mounting, “bears the coat-of-arms of the State of Louisiana: a nesting Pelican feeding her young, surrounded by a rococo outline border of vines, at the base a cornucopia, a cannon barrel, and sprouting sugar cane, all painted in gold, shaded or outlined in brown paint. Overhead in a 3-3/8 inch high gold Roman stylized letters with a black shadow high and to the viewer’s right is the painted motto, ‘God and Our Country.’” Only four other silk Louisiana “Pelican” are believed to have survived and all are in institutional collections. The flag is professionally mounted and under Plexiglas. Sold with a copy of the authenticity report by Howard Michael Madaus. Flag: 75.75”H x 115.75”W (including the fringe). PROV EN AN CE

Family of Lieutenant Joseph Collier, 95th Illinois Infantry, 1863-1918. Chicago Historical Society, 1918-1974. From the Collection of Sam Wyly, Dallas, Texas (acquired in 1998). NOTE

The Lake Providence area of Louisiana first opened for European-American settlement in the late 1830s with settlers draining the cypress swamps and clearing the land for cultivation. By 1861, the region consisted entirely of large, profitable cotton plantations worked by thousands of laborers. Secession was greeted with enthusiasm. When the call went out for a local volunteer company, the Lake Providence Cadets, over 120 local men, answered the call, making it the largest company in the entire State of Louisiana. The Cadets were assigned to the 4th Louisiana Infantry (Confederate) in May 1861 and ordered to the Mississippi coast to defend against invasion. In February 1862, the regiment was ordered north to Jackson, Tennessee, a move that would lead it to the Battle of Shiloh in April 1862. In the spring of 1862 news reached the Cadets that General U. S. Grant’s forces occupied Lake Providence as a supply depot. Many of the cotton planters were serving in the Confederate Forces or just abandoned their plantations rather than endure Union occupation. The 4th Louisiana Infantry, and specifically, the remainder of the Lake Providence Cadets Company, defended the Confederate stronghold at Port Hudson on the Mississippi River. The Federals launched repeated frontal assaults against the Confederates, all were repulsed, but the flag of the Lake Providence Cadets Company was captured in battle by Lieutenant Joseph Collier of the 95th Illinois Infantry. Lt. Collier died on June 25, 1863. The flag was sent home to his family with his personal effects. After a Federal siege which lasted for 48 days, the Confederate garrison of Port Hudson surrendered upon hearing news of the fall of Vicksburg. The Mississippi River was open to Union navigation from its source to New Orleans. The remaining officers and men of the Lake Providence Cadets went into prolonged Union captivity. In 1918, the Lake Providence Cadets Company flag was presented to the Chicago Historical Society by Lt. Collier’s son. The flag was deaccessioned by the Historical Society in 1974. It was purchased by Sam Wyly and conserved in 2000. $30,000-$50,000

32 WINSTON CHURCHILL The Story of the Malakand Field Force, An Episode of Frontier War... Longmans, Green & Co., London, 1898. First edition, second issue with errata slip at first fold-out map. Octavo. Original apple green cloth with gilt spine and front cover titles. With frontispiece and six maps and plates. A very nice copy of this rare and important first book of Winston Churchill. L I T E RAT U RE

Woods, A1(a). $800-$1,200 33 THEODORE ROOSEVELT African Game Trails: An Account of the African Wanderings of an American Hunter-Naturalist. Signed limited first edition. New York: Charles Scribner’s Sons, 1910. Limited to 500 sets, of which this is number 417. Signed by Roosevelt on the limitation page in the first volume. Two large octavo volumes. 268; 529 pages. Bound in original threequarter tan pigskin rebacked with original spines laid down. Numerous illustrations throughout. This book was the culmination of a ten-month hunting trip through central and northern Africa after Roosevelt left the Presidential office in March of 1909. $3,000-$5,000

34 FRANKLIN D. ROOSEVELT Typed letter signed “F. D. Roosevelt” as Assistant Secretary of the Navy with vignetted certificate. One page, Navy Department, Assistant Secretary’s Office letterhead, Washington, D.C., May 4, 1918, also included is a certificate with naval vignettes top and bottom and facsimile signature. Letter: 10.5”H x 8”W; Certificate: 12”H x 8”W; Frame: 19”H x 30”W. In the letter to Charles B. Wetherell of Cambridge, Massachusetts, Roosevelt writes, “Your prompt and patriotic response to the Navy’s call for binoculars, telescopes, and spy-glasses, is most appreciated. The glasses will be very useful in the prosecution of Naval Operations until victory is won./ At the termination of war, if possible, every effort will be made to return them to you, when it is hoped that you will feel compensated for any evidence of wear, by the knowledge that you have supplied ‘Eyes for the Navy’ during a very trying period./ On behalf of the Navy, I wish to thank you most heartily.” P R OVE N A N C E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 2002). $400-$500 40

35 FRANKLIN D. ROOSEVELT AND WINSTON CHURCHILL Signed document Signed broadside of Longfellow’s verse, “Sail on, O Ship of State!”, from the Atlantic Conference, August 9-12, 1941, “Franklin D. Roosevelt” and “Winston S. Churchill”. One page, printed in calligraphic style with an illumination of a galleon in full sail at the top, n.p. [aboard U.S.S. Augusta, Placentia Bay, Newfoundland], n.d. [August 9-12, 1941]. Paper: 8.75”H x 6.5”W; Frame: 21.75”H x 19.75”W. This document was printed at the direction of British Prime Minister Winston S. Churchill for presentation to United States President Franklin D. Roosevelt and his top aides. Roosevelt used the verse, “Sail on, O ship of state, Sail on, O Union, strong and great! Humanity with all its fears, With all the hopes of future years, Is hanging breathless on thy fate,” from Henry Wadsworth Longfellow’s poem “Building of the Ship” in a private letter to the prime minster in January 1941. The verse had a profound impact on Churchill who quoted the letter in an address to the British people in February 1941. The broadside is signed by Roosevelt at the top and Churchill at the bottom. A printed note identifies the text as, “The Longfellow verse in Mr. Roosevelt’s message to Mr. Churchill.” Both Churchill and Roosevelt kept copies and very few additional copies were signed for senior advisors present aboard Augusta. On the back, the original red silk loop for hanging the broadside, with the printed label of Raphael Tuck & Sons Ltd., “Fine Art Publishers to Their Majesties the King and Queen and to Her Majesty Queen Mary.” P ROVE N A N C E

Kenneth W. Rendell, 1975. Christie’s New York: March 27, 2002, Lot 162 (Sale 1032, “Forbes Collection of American Historical Documents”). From the Collection of Sam Wyly, Dallas, Texas. N OT E

This document is a personal keepsake of the first wartime meeting between the American President and the British Prime Minister during the Second World War. The secret Atlantic Conference, codenamed “Riviera,” was held August 9-12, 1941 aboard the warships U.S.S. Augusta and H.M.S. Prince of Wales anchored in Placentia Bay, Newfoundland. At the historic meeting, Winston Churchill and Franklin Roosevelt agreed upon policies for the war against Germany even though the United States was still a neutral power. The conference resulted in the issuance of the Atlantic Charter, a declaration of principles for the post-war world. The Charter was the foundation for the United Nations Declaration signed by twenty-six allied nations in January 1942. $10,000-$15,000

36 ALBERT EINSTEIN Typed letter, signed One page, on personalized stationary, Caputh bei Potsdam, Germany, June 20, 1931, in German. Signed “A. Einstein”. Sight: 11.5”H x 10”W; Frame: 23.5”H x 25”W. In the letter to Dr. Bergmann of the Verlag Eugen Diederichs in Jena, Thuringia, Einstein asks the publisher to consider a manuscript written by Arnold Schwarz of Leipzig. Schwarz’s work is a study of religious symbols of all times and all people. Although Einstein admits his knowledge of the subject is “full of holes,” he expresses a lively interest in the subject. P ROVE N A N C E

From the Collection of Sam Wyly, Dallas, Texas. $3,000-$4,000

37 WORLD WAR II IMPERIAL JAPANESE FLAG signed by political, military and naval war criminals Flag: 20”H x 36”W; Frame: 39”H x 48.5”W. This fine silk Imperial Japanese flag is signed in ink by 21 of the “Class A” defendants in the International Military Tribunal for the Far East (IMTFE), also known as the Tokyo War Crimes Tribunal. Convened on April 29, 1946, the Tribunal was to try the leaders of the Empire of Japan for war crimes. Those charged with “Class A” crimes were those who participated in a “joint conspiracy to start and wage war” and were those in the highest decision-making positions of the government, army and navy. The defendants signing the flag were: Ambassador Toshio Shiratori; Lord Keeper of the Privy Seal Marquis Koichi Kido; General Heitaro Kimura; War Minister Baron Sadao Araki; Director of General Affairs for Manchukuo Naoki Hoshino; Minister of Finance Okinori Kaya; Prime Minister Baron Kiichiro Hiranuma; Navy Minister Admiral Shigetaro Shimada; Foreign Minister Shigenori Togo (2); War Minister Field Marshal Shunroku Hata (2); Prime Minister General Kuniaki Koiso; General Kenji Doihara; Prime Minister Baron Koki Hirota; Colonel Kingoro Hashimoto; Ambassador Hiroshi Oshima; War Minister Field Marshal Shunroku Hata; General Jiro Minami; Admiral Naomasa Sakonju. General Seishiro Itagaki; General Kenryo Sato; Admiral Takasumi Oka; and, General Yoshijiro Umezu. The flag in undated, but undoubtedly dates to 1946 - 1948. P ROVE N A N C E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 2002). N OT E

The names are signed in Japanese with English translations. Five of those signing the flag, Kimura, Hirota, Itagaki, Sakonju, and Doihara, were convicted and executed by hanging in 1948. Two defendants signed the flag twice, Shigenori Togo and Shunroku Hata. $5,000-$7,000 42

38 Louis Lupas (American, 20th Century) Portrait of the 35th U.S. President John Fitzgerald Kennedy Pastel on paper, 1961. Signed and dated lower left, “Lupas / © 1961”. Sheet: 28.25”H x 20.25”W; Frame: 37”H x 28.75”W. PR OVEN AN CE

Heritage Auctions Texas: Saturday, October 29, 2005, Lot 24179. From the Collection of Sam Wyly, Dallas, Texas. $10,000-$15,000

fter struggling to secure financial support, Audubon left the United States for the United Kingdom in 1826 in search of willing subscribers and engravers and colorists to reproduce his original drawings while overseas. Audubon’s first arrangement ended after only ten plates were completed as members of William H. Lizars’ studio went on strike. Therefore in 1827, Audubon entrusted his works to the father-son studio of Robert Havell Sr. & Jr., with the latter seeing it through to its completion in 1838. While copperplate etching was the primary printing technique utilized in these groundbreaking ornithological plates, engraving and aquatint were also used with all aspects of color being added later by hand using watercolor. These large prints were issued in groups of five at a time and were unbound when subscribers received them. Only later would Audubon issue the supplementary text under separate cover, published in collaboration with Scottish naturalist William MacGillivray.

JOHN JAMES AUDUBON All of the Audubon prints here are “Double Elephant Folio” pages of Audubon’s Havell first edition of “The Birds of America”. The size of the pages varies due to Audubon’s practice of depicting the subjects approximately life-sized, when possible. As the largest heron living in North America, the Great Blue Heron fills its page. Arching down in a dramatic profile, the striking lines and intricate detail of his plumage and legs mimic in high detail the graceful reeds bowed in the wind. The vertical composition struggles to confine this wondrous specimen with a six-foot wingspan.

The Louisiana Heron, with its distinctive blue, grey, and white plumage, stands as if posed. Its graceful arching neck and cascade of tail feathers create an exquisite camouflage in the subtropical swaps depicted in the background. The Heron dominates 44

the horizontal composition, even though it is considered to be of middling size with a mere threefoot wingspan. Labeled as Purple Heron, the print actually features two Reddish Egrets in a horizontal composition. The two species are frequently confused for one another due to their average wingspans of four to five feet and similar reddish-brown coloring. However, the Reddish Egret stands apart with blue-black legs, and white morphs are common. Additionally, the Purple Heron is native to parts of Africa, Europe, and Asia, whereas the Reddish Egret is found in the Americas. Depicted here approximately life-sized are the two variations of the Reddish Egret in their watery habitat. The smallest of all species of pelicans, the Brown Pelican boasts a six- to eight-foot wingspan. Perched on a branch in this vertical composition, the Brown Pelican does not appear as if it could possess such a span. With such a minimal background, attention is focused on its carefully rendered beak, plumage, and webbed feet. Through the exquisite detail, it is easy to conclude that the Brown Pelican is wellsuited for its environment in the marshes and swaps of the American Southeast. Since Audubon drew this grouping of three IvoryBilled Woodpeckers over a century and a half ago, the species’ population has plummeted, earning it a place on the critically endangered, possibly extinct lists of the International Union for Conservation of. That said, there have been unconfirmed reports of sightings in recent years. Before habitat destruction, the Ivory Billed Woodpecker lived in the forests of the southeast United States, with a subspecies in Cuba. Shown in the vertical composition in various postures on a series of branches, the woodpecker is considered to be one of the largest of its kind, with a wingspan of 30 inches. Male Ivory-Billed Woodpeckers are distinguished by their brilliant red crest, whereas females and juveniles maintain a black crest. The White Headed Eagle, now widely known as the Bald Eagle, possesses a wingspan ranging from just under six feet to seven feet. Confined to a horizontal composition, however, the eagle depicted by Audubon leans forward, wings tucked tightly to its sides, conveying a sense of energy and potential motion, as if defending its meal of fresh catfish. Behind the fierce bird is a storm-grey sky that melds into the stones of the foreground, highlighting the pale yellow of the hooked beak and sharp talons of the bicolored eagle.

39 After John James Audubon (American, 1785-1851) Scaup Duck Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1834. Marked upper left, “No. 46” and upper right, “Plate CCXXIX”. Plate: 12.25”H x 19.375”W; Frame: 34.25”H x 43.25”W. PR OVENANC E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $2,000-$3,000

40 After John James Audubon (American, 1785-1851) Pin Tailed Duck Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1834-1836. Marked upper left, “No. 46” and upper right, “Plate CCXXVII”. Plate: 20.75”H x 25.75”W; Frame: 39.75”H x 46”W. PROVENAN CE

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $6,000-$8,000 47

41 After John James Audubon (American, 1785-1851) Belted Kingfisher Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1830. Marked upper left, “No. 16” and upper right, “Plate LXXVII”. Plate: 25.5”H x 20.5”W; Frame: 44.5”H x 35”W. P ROVEN AN CE

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $3,000-$5,000

42 After John James Audubon (American, 1785-1851) Ivory-Billed Woodpecker Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1829. Marked upper right, “Plate LXVI”. Plate: 38.125”H x 25.75”W; Frame: 52.75”H x 40”W. P ROVE NAN CE

Buffalo Public Library. Private collection. From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $10,000-$15,000

43 After John James Audubon (American, 1785-1851) Purple Heron and Reddish Egret Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1835. Marked upper left, “No. 52” and upper right, “Plate CCLVI”. Plate: 25.25”H x 37.25”W; Frame: 38”H x 49”W. PR OVENANC E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $10,000-$15,000

44 After John James Audubon (American, 1785-1851) Louisiana Heron Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1834. Marked upper left, “No. 44” and upper right, “Plate CCXVII”. Plate: 25.125”H x 30.125”W; Frame: 39.25”H x 45”W. PROVENAN CE

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $15,000-$20,000 51

45 After John James Audubon (American, 1785-1851) Great Blue Heron Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1834. Marked upper left, “No. 43” and upper right, “Plate CCXI”. Plate: 38”H x 25”W; Frame: 52.5”H x 39.25”W. P R OV EN A N C E

Buffalo Public Library. Private Collection. From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $25,000-$35,000

46 After John James Audubon (American, 1785-1851) Turkey Buzzard Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1832. Marked upper left, “No. 31” and upper right, “Plate CLI”. Plate: 39”H x 26”W; Frame: 51.25”H x 39.25”W. P ROVENAN CE

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $2,000-$3,000 53

47 After John James Audubon (American, 1785-1851) Swallow-Tailed Hawk Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1829-1831. Marked upper left, “No. 15” and upper right, “Plate LXXII”. Plate: 20.25”H x 27”W; Frame: 36.25”H x 45”W. PROVENANC E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $3,000-$5,000

48 After John James Audubon (American, 1785-1851) White Headed Eagle Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1828. Marked upper left, ”No. 7” and upper right, “Plate XXXI”. Plate: 25.25”H x 38”W; Frame: 37.25”H x 49”W. PR OVENANC E

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $4,000-$6,000 55

49 After John James Audubon (American, 1785-1851) Brown Pelican Engraving with etching, aquatint, and handcoloring on wove paper by Robert Havell, 1835. Marked upper left, “No. 51” and upper right, “Plate CCLI”. Plate: 37.75”H x 25”W; Frame: 51”H x 38”W. P ROVEN AN CE

From the Collection of Sam Wyly, Dallas, Texas (acquired in 1997). $10,000-$15,000

AMERICAN WESTERN & ILLUSTRATION

50 Frederic Remington (American, 1861-1909) The Herd at Night Oil en grisaille on paper mounted on canvas, ca. 1888. Signed lower right, “Remington”. Canvas: 18.25”H x 14”W; Frame: 25.25”H x 21”W. PROV EN AN CE

Private collection. Troy’s Western Heritage Gallery, Scottsdale, Arizona. From the Collection of Sam Wyly, Dallas, Texas. L ITER ATU R E

Theodore Roosevelt, “The Round-Up” from Ranch Life and the Hunting-Trail, The Century Magazine, Vol. XXXV, No. 6, April 1888, pp. 849-867 (illustrated p. 863, one of twelve Remington illustrations). Theodore Roosevelt, “Ranch Life and the Hunting-Trail”, New York: The Century Co., 1896 (illustrated). Peter Hassrick and Melissa Webster, “Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings”, Wyoming: The Buffalo Bill Historical Center (in association with the University of Washington Press), 1996, Cat. 00288 (online). James K. Ballinger, “Frederic Remington”, New York: Harry N. Abrams, 1989. “18th, 19th & 20th Century American Masters”, Elliott Yeary Gallery, Aspen, Colorado, p. 13 (illustrated in color). As an early and important artwork in the oeuvre of Frederic Remington, The Herd at Night exemplifies the mastery of the artist’s compositional order and pared-down illustration style that transcends the subject matter at hand. By allowing us to view the horse and rider from a direct rear vantage point, we survey the cattle and landscape much like the frontiersman himself, save for having the hatted watchman figure prominently in the foreground with his white steed front and center, drawing us into the painting at once. The sweeping areas of grey tones alternate from landscape to livestock to sky and to the rider in the middle. The white of the horse’s coat is contrasted by the dark shadow on the ground, indicating a high and bright moon as it lights up the forms below. The attention given to detail in the monochromatic illustration—like the fringe and folds of the rider’s garb, the slight turn of the horse’s head, the mirroring of another rider keeping watch on the opposite side—make the understated subject and style all the more eloquent and altogether captivating as a scene. The Herd at Night is one of a total of eighty-three illustrations commissioned by Theodore Roosevelt for his book Ranch Life and the Hunting Trail, originally published in his Century Magazine over a period of several months in 1888. The future president felt that the artist and he shared an unspoken bond as they both had faced similar losses when trying to establish themselves as ranchers in years previous. Perhaps more to the point, Roosevelt communicated that “the artist’s somewhat crude, direct images embodied his own image of the strenuous life on the Western frontier.” (J. K. Ballinger, Frederic Remington, New York, 1989, p. 35). Remington had been issued commissions a few years before for Harper’s Weekly and had also been published in other magazines, but this important project—given the size, scope and the influential patron—has been credited with possibly changing the overall arc of the artist’s career. “The integration of Remington’s illustrations with Roosevelt’s text, especially in the hard-bound volume, is masterful. Picking up the volume a century later, one is struck by the quality of the imagery and the directness of the communication.” (Ballinger, p. 38) $80,000-$120,000 58

51 Frederic Remington (American, 1861-1909) Study of Bellini, A Trotter Oil on canvas, 1900. Signed, dated, and subtitled lower right, “Frederic Remington / 1900 / A Study”. Canvas: 32”H x 40”W; Frame: 43.25”H x 51”W. PROV EN AN CE

Commissioned by Mr. Watson Dickerman in 1900. Given by Mr. Dickerman to his employee, Mr. John Gary. Thence by descent to his daughter, Mrs. Alice Knobloch. Sotheby’s, Parke Bernet, New York: American Paintings, October 17, 1980, Lot 42 (mistakenly cataloged as “Bellani” and erroneously dated “1909”). Private collection. Troy’s Western Heritage Gallery, Scottsdale, Arizona. From the Collection of Sam Wyly, Dallas Texas (acquired from the above in 1999). EXH I BI TED

Midwest Museum of Art, Elkhart, Indiana, 1987. Remington Race Track, Oklahoma, 1988. The Lamb Foundation Collection, 1989. Sheldon Swope Art Museum, Indiana, 1992-1993 (label verso). L ITER ATU R E

Peter Hassrick and Melissa Webster, “Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings”, Wyoming: The Buffalo Bill Historical Center (in association with the University of Washington Press), 1996, Cat. 02478 (online). “18th, 19th & 20th Century American Masters”, Elliott Yeary Gallery, Aspen, Colorado, p. 14 (illustrated in color). $70,000-$90,000

52 Frank Tenney Johnson (American, 1874-1939) Camp on the Overland Trail Oil on canvas, 1928. Signed lower right, “F. Tenney Johnson”. Additionally titled and signed at top stretcher verso, “Camp on the Overland Trail by F. Tenney Johnson”. Canvas: 36”H x 28”W; Frame: 43.5”H x 35.5”W. P R OV EN AN CE

Thomas Nygard, Inc., Bozeman, Montana (label verso). Gerald Peters Gallery, Santa Fe, New Mexico (label verso). From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 2001). L I TER ATU R E

Harold McCracken, “The Frank Tenney Johnson Book: A Master Painter of the Old West”, Garden City, New York, 1974, p. 117 (illustrated). $80,000-$120,000

53 Frank Tenney Johnson (American, 1874-1939) Don, the Horse Wrangler Oil on canvas, 1935. Signed lower left, “Frank Tenney Johnson / 1935”; additionally titled on top stretcher verso: “Don the Wrangler”. Canvas: 24.25”H x 30.25”W; Frame: 31”H x 37”W. PROV EN AN CE

Grand Central Art Galleries, New York (label verso). Fenn Galleries, Ltd., Santa Fe (label verso). Nedra Matteucci Galleries, Santa Fe. From the Collection of Sam Wyly, Dallas, Texas. $70,000-$90,000 63

54 Thomas Hart Benton (American, 1889-1975) A Social History of Missouri: Mural Study for the Jefferson City Capitol Building (Pioneer Days and Early Settlers - North Wall) Tempera and pencil on board, 1935. Signed lower right: “Benton”. Board: 18”H x 31.5”W; Frame: 26”H x 39.5”W. PR OVENANC E

The Thomas Hart Benton family. Graham Gallery, New York (circa 1975). Private collection. Sotheby’s New York: June 6, 1997, Lot 97. From the Collection of Sam Wyly, Dallas, Texas. E X HI BITED

“19th and 20th Century American Collection”, Hammer Galleries, New York. April 1 2003 - May 3, 2003. “Thomas Hart Benton: Paintings and Works on Paper”, Hammer Galleries, New York. March 15 - April 19, 2004. LI T ERATU RE

Henry Adams, “Thomas Hart Benton: An American Original”, New York, 1989, pp. 252 - 275 (Mural, illustrated in color, p. 253). Bob Priddy, “Only the Rivers are Peaceful”, Independence, Missouri, 1989. Verlyn Klinkenborg, “Thomas Hart Benton came from Misssouri--and he showed ‘em” Smithsonian Magazine: April 1989, pp. 82-101 (mural illustrated in color, pp. 90, 95). “Thomas Hart Benton: Paintings and Works on Paper”, Hammer Galleries, New York, March 15 - April 19, 2004, pp. 14 - 15 (illustrated in color, p. 15). “18th, 19th & 20th Century American Masters”, Elliott Yeary Gallery, Aspen, Colorado, pp.19 - 20 (illustrated in color, p. 20). “19th and 20th Century American Collection”, Hammer Galleries, New York. April 1 2003 - May 3, 2003. Pp. 26-27 (illustrated) Dr. Henry Adams. “Thomas Hart Benton: Paintings and Works on Paper, March 15 - April 19th, 2004”, Hammer Galleries, New York, pp. 14-15 (illustrated p. 9; in color, p. 15).

Having had the previous experience of working on several murals before he was commissioned with A Social History of Missouri…, Thomas Hart Benton had developed a detailed methodology that was instrumental in him ultimately realizing this important project. As he set forth on this task in 1935, Benton took to traveling around his home state, making numerous pencil sketches and drawings, which would then be transformed into a detailed clay model, resulting in both black-and-white and color painted studies, more preparatory drawings, and finally, the mural would be painted in situ. This vibrant and dynamic mural study was one of several similar color tempera on panel works that ultimately refined the narratives of the paintings that grace the walls of the House Lounge in the Jefferson City Capitol.

The native son had returned from a long stint in New York—having grown tired of the city’s art scene politics—and was to head up the Painting department at the Kansas City Art Institute in addition to completing the Capitol commission in the coming year and a half. While already a much celebrated artist on national scale, the subject matter Benton chose to portray in his expansive painting was not without controversy as many citizens and politicians alike objected to the artist’s portrayal of the commonplace while not focusing on the state’s important historical moments. As segmented by the architectural details of the North Wall of the mural, the Pioneer Days and Early Settlers has three main compositional areas with two smaller vignettes at the bottom. By extending upon the central door’s framing, the largest figures in the scenes at left and right drape or extend beyond the work’s frame, pushing the action into other separate compositions and allowing the narratives to seep beyond imaginary borders. At left, the central pioneer figure trades whiskey with an Osage Indian while settlers and pioneers are engaged in common activities like farming, shooting and trade transport in the areas surrounding them. On the opposite side at right, a black and white man work together in the construction of a house, while a river baptism can be seen just beyond with early architectural monuments behind; a slave auction takes place at right with a portrayal of blacksmithing at bottom. At the top central portion, Benton explores the mythology penned by another native son, Mark Twain, with Huck Finn and Jim figuring prominently in the foreground with the steamboat “Sam Clemens” chugging down the Missouri River under watch of a full moon. The smaller vignettes at the bottom of both sides feature less rosy tales of slavery and persecution in the early days of the “Show Me State.” (Adams, p. 253) In sum, Benton fully utilizes his skills as a prime organizer of visual space as well as those of a agile storyteller by allowing us to travel through one section and through to the next unencumbered by borders or differences of subject matter or handling. The convincing forms of the early inhabitants of his home state pull us in a swift motion through the entire composition of the North Wall, allowing us to explore the histories presented by the artist, however mundane or unsavory they may be. This wonderful mural study shows both the mastery of Benton’s honed working techniques and overall understanding of the form while allowing us to grasp the entirety of the finished work. Amid all the controversy and dissection of the work after its completion in December of 1936, Benton stated, “If I have any right to make judgments, I would say that the Missouri mural was my best work.” (Adams, p. 252) We would like to thank Dr. Henry Adams, the Ruth Coulter Heede Professor of Art History at Case Western Reserve University, for his assistance in authenticating and cataloguing this lot. $200,000 - $300,000

55 Thomas Hart Benton (American, 1889-1975) Cotton Loading Gouache on paper, 1945. Signed and dated lower right, “Benton ‘45”. Sheet: 23.5”H x 32.25”W; Frame: 30.75”H x 39.25”W. PROV EN AN CE

Private collection since 1990. Private collection, Texas. With Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 1997). L IT ER ATU R E

Dr. Henry Adams, “Thomas Hart Benton: Paintings and Works on Paper”, Hammer Galleries, New York, March 15 - April 19, 2004, pp. 36 - 37 (illustrated in color, p. 37). “18th, 19th & 20th Century American Masters”, Elliott Yeary Gallery, Aspen, Colorado, p. 22 (illustrated in color). In this wonderfully rich and vibrant work from 1945, Benton returns to similar subject matter that he had depicted several years before while on a sketching trip that took him through a large portion of the American South. From the truck at left to the outstretched arms of the loading workers through the middle, the composition flows through the elements of the landscape, sky and architecture, expertly utilizing the bold colors and striking line quality rendered by Benton in this evocative image. As noted by Benton scholar Dr. Henry Adams, this work was most likely produced during the artist’s trip through Georgia in conjunction with a commission from The American Tobacco Company. While the final results for the advertising campaign were thought to be ultimately unsuccessful by both parties, the southern trip resulted in several wonderful works like the captivating large-scale gouache on paper Cotton Loading (1945). We would like to thank Dr. Henry Adams, the Ruth Coulter Heede Professor of Art History at Case Western Reserve University, for his assistance in authenticating and cataloguing this lot. $70,000-$90,000

56 Newell Convers Wyeth (American, 1882-1945) The Mississippi Steamboat Charcoal on paper, ca. 1944. Initialed twice lower right, “N. C. W.” Sheet: 39.25”H x 50”W; Frame: 46”H x 56.5”W.

P R OV E N A N C E

The artist. Ann Wyeth McCoy, Chadds Ford, Pennsylvania. Somerville Manning Gallery, Greenville, Delaware. Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 1997). EXH I B I T E D

Somerville Manning Gallery, Greenville, Delaware, 1995. L I TER AT U RE

Brandywine River Museum’s N. C. Wyeth Catalogue Raisonné, No. 1502. N OTE

This work is a composition drawing for a 1945 New York Life Insurance Company calendar. It is included in the N. C. Wyeth Catalogue Raisonné database as compiled by The Brandywine River Museum, no. 1502, example 2. An alternative title for this work is “Down the Mississippi”. $30,000-$50,000 68

57 Andrew Wyeth (American, 1917-2009) Maine Door Watercolor on paper, 1970. Signed lower left, “Andrew Wyeth”. Sight: 29”H x 21”W; Frame: 44.25”H x 36”W. PR OVEN AN CE

Private collection, Tennessee. Private collection, New York. Hammer Galleries, New York (label verso). From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 1998). EX HIBIT ED

Brandywine River Museum, Chadds Ford, Pennsylvania, “Harvest Exhibition”, September 6 - November 24, 1974 (label verso). Greenville County Museum of Art, Greenville, South Carolina, “Andrew Wyeth in Southern Collections”, February 1 - March 31, 1978 (label verso). Museum of Art, Fort Lauderdale, Florida, “Andrew Wyeth from Public and Private Collections”, January 12 - February 28, 1983. Jacksonville Art Museum, Jacksonville, Florida, “Andrew Wyeth: Southeastern Collections”, January 19 - April 12, 1992 (label verso). David Findlay Jr., Inc., New York, New York, “Andrew Wyeth-Watercolors”, November 28, 1997 - January 3, 1998. LIT ER AT UR E

Surovek, John H., Exhibition Catalogue, “Andrew Wyeth from Public and Private Collections”, Fort Lauderdale, Florida, 1983 (illustrated in color). Jacksonville Museum of Art, Exhibition Catalogue, “Southeastern Collections”, Jacksonville, Florida, 1992 (illustrated in color). “18th, 19th & 20th Century American Masters”, Elliott Yeary Gallery, Aspen, Colorado, pp. 29 30 (illustrated in color, p. 30). N OT E

An alternative title for this work is, “Siri’s Pumpkin”. This work will be included in the forthcoming catalogue raisonné produced by Betsy James Wyeth. $40,000-$60,000 69

58 Norman Rockwell (American, 1894-1978) Easter (Soldier Watering Tulip) Oil on canvas, 1918. Signed lower right, “Norman / Rockwell”. Canvas: 27.25”H x 24”W; Frame: 34.5”H x 31.5”W. P R OV EN AN CE

Private collection. Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 2001). L I TER ATU R E

Leslie’s Illustrated Weekly Newspaper, March 30, 1918 (cover, illustrated). Laurie Norton Moffatt, “Norman Rockwell: A Definitive Catalogue”, Stockbridge, Massachusetts, 1956, Vol. I, no. C93, p. 36 (illustrated). “18th, 19th & 20th Century American Masters”, Elliott Yeary Gallery, Aspen, Colorado, pp.17 - 18 (illustrated in color, p. 18). N OTE

Norman Rockwell took a step away from the youthful subject matters seen in his illustrations for Boys’ Life and other publications of the time with his covers for Leslie’s Illustrated Weekly. The cover for March 1918 is a prime example of these more mature themes with its solemn tones of war. Though a simple image, Rockwell manages to convey battle through the scattered shells and rubble on which the soldier in full combat gear kneels, as well as with the warm red glow reflected on the left side of the soldier’s face. At a time when World War I seemed to be unending, Easter (Soldier Watering a Tulip) conveyed a touch of hope, that even though our husbands, sons, and fathers were off fighting a war, they were still able to find the simple beauties and small moments of peace in life. The Great War would end a little over six months later. $300,000-$500,000

59 Grandma Moses (American, 1860-1961) Home Oil on Masonite, 1944. Signed lower middle, “MOSES”. Titled on verso “Home”, dated November 25, 1944, and numbered 1060 (on an original artist’s label affixed to the backing with copyright reserved to Grandma Moses Properties, New York). Board: 9”H x 12”W; Frame: 15.125”H x 17.875”W.

PR OVENANC E

James Vigeveno Galleries, Los Angeles, California (label verso). Collection Laraine Day. Gilbert Galleries, San Francisco, California (label verso). Private collection, Texas. LI T ERATU RE

RB, p. 33. Otto Kallir, “Grandma Moses”, New York, 1973 (revised 1975), no. 456, p. 295, (illustrated). NOT E

Photo © Grandma Moses Properties Co., New York. Anna Mary Robertson (Grandma) Moses (American, 1860-1961) became internationally recognized for her nostalgic depictions of rural American life during the early 20th century. Her simplified realism, combined with her luminous use of colors, resulted in the unique style that we see illustrated in this piece. The scenes she painted of happy, country life were often based on memories of her childhood, time spent in the Shenandoah Valley, or her time in upstate New York on the farm she shared with her husband, Thomas Salmon Moses. Although Grandma Moses didn’t begin painting until the age of seventy-five once arthritis had prevented her from needlework, she quickly became one of the pivotal artists in the Folk Art movement. $20,000-$30,000 72

60 Guy Wiggins (American, 1883-1962) Looking East Along 59th Street Oil on canvas, ca. 1958. Signed lower right, “Guy Wiggins NA”. Additionally stamped at top verso, “205”, and titled and signed on verso, “Looking East along 59th Street / Guy Wiggins NA”. Canvas: 30.375”H x 25.25”W; Frame: 37.25”H x 32.25”W. P ROVE N A N C E

W. R. Fine Galleries, Dallas, Texas. Private collection, Wichita Falls, Texas (acquired from the above in 1958). N OT E

Included by the Wiggins committee in the Virtual Catalogue Raisonné with a letter authenticity from Brian Roughton, president of the Guy Carleton Wiggins Committee. (Catalogue ID: GW00464). Guy Carleton Wiggins was best known for his impressionistic snow scenes of New York City. Although his father, John Carleton Wiggins, was a prominent Barbizon artist, Guy was drawn to the Impressionist style at a very young age and was only eight when he began to attract the praise of critics for his watercolors. By the age of twenty, he had become a well-established artist with a permanent collection in the Metropolitan Museum of Art. This work, titled Looking East Along 59th Street, perfectly encapsulates Wiggins’ style with its characteristic combination of densely snowy skies, sprawling New York City architecture, and small pops of color. $30,000-$50,000

61 Johann Berthelsen (American, 1883-1972) 5th Ave. at 60th St. Oil on canvas board. Signed lower right, “Johann Berthelsen”. Titled and stamped on verso. Board: 10”H x 8”W; Frame: 15.25”H x 13.5”W. P ROVE N A N C E

Private collection, Texas. $2,500-$3,500

62 Peter Hurd (American, 1904-1984) A Rainy Day Watercolor on paper. Signed lower right, “Peter Hurd”. Titled on verso, “A Rainy Day”. Sight: 6.875”H x 10”W; Frame: 14.375”W x 17W. P R OV EN A N C E

Baker Gallery of Fine Art, Lubbock, Texas (label verso). Private collection, Lubbock, Texas. $1,000-$2,000

63 Peter Hurd (American, 1904-1984) Vista de la Ferreteria de Flores Dye Watercolor on paper. Signed and titled lower right, “Peter Hurd / Vista de la Ferreteria de Flores Dye”. Sight: 21.675”H x 29.5”W; Frame: 30.75”W x 36.875W. PROVENA N CE

Wyeth Hurd Gallery, Santa Fe, New Mexico (label verso). Nedra Matteucci Gallery, Santa Fe, New Mexico (label verso). Baker Gallery of Fine Art, Lubbock, Texas (label verso). Private collection, Lubbock, Texas. $6,000-$8,000 75

64 Clara Pancoast (American, 1873-1959) Untitled (Landscape) Oil on canvasboard. Signed lower left, "C. C. Pancoast". Board: 14.5”H x 28”W; Frame: 15.75”H x 29”W. $1,000-$2,000

65 Lloyd Goff (American, 1908-1982) Cowboy Crap Shooters Oil on canvas, ca. 1945. Signed and dated lower left, “Lloyd Goff 194?”. Additionally titled, signed, and location painted on top stretcher verso. Canvas: 30.5”H x 43.5”W; Frame: 38”H x 50.75”W. PR OVENANC E

Dr. Clarissa Parsons Fuller. Thence by decent to Clarissa Hester Fuller Eastham. Thence by decent to Clarissa Eastham. E X HI BITED

“An Exhibition of Paintings by Twelve Representative New Mexico Artists”, Clovis, New Mexico, November 11 - December 7, 1945; Gallup, New Mexico,

December 23 - January 16, 1946; Carlsbad, New Mexico, February 3 - March 1, 1946; El Paso, Texas, March 17 - April 9, 1946; Socorro, New Mexico, April 21 May 17, 1946; Silver City, New Mexico, June 2 - 27, 1946 (label verso). Modern Jury, Artists for Victory, Inc. 2nd Annual Portrait of America Competition & Exhibition (label verso). Lloyd Lozes Goff was a member of the “Dallas Nine” and studied at the Art Students League and the University of New Mexico. After his studies, he later became an Assistant Professor of Art at the University of New Mexico and eventually the Acting Head of the Art Department during the years 1944 through 1947. In addition to his paintings, such as this charming after-hours scene of working cowboys engaging in a friendly wager, Goff illustrated children’s books and was responsible for numerous murals. His Before the Fencing of Delta County from 1938-39, located in the post office of Cooper, Texas considers a similar theme on a grander scale. As a knowing nod to the viewer, Goff coyly paints his name on the mailbox at the center right of the composition. $5,000-$7,000

66 O. E. Berninghaus (American, 1874-1952) Floral Still Life Oil on canvas. Signed lower right, “O. E. Berninghaus”. Canvas: 22”H x 26”W; Frame: 28”H x 32”W. P R OV EN AN CE

Private collection, Lubbock, Texas. $6,000-$8,000 78

67 Fritz Scholder (Native American, 1937-2005) Untitled (Indians with Instruments) Oil on canvas board. Signed lower right, “Scholder”. Board: 23.5”H x 17.75”W; Frame: 28.25”H x 22.25”W. $6,000-$8,000

68 Melvin Warren (American, 1920-1995) Untitled (Old wooden barn) Oil on canvas, 1977. Signed lower left, “Melvin C. Warren R.R. 77”. Canvas: 24”H x 30”W; Frame: 29”H x 35”W. $2,000-$3,000 80

69 J. W. Thrasher (American, b. 1940) Untitled (Trails End Hotel) Oil on canvas. Signed lower left, “J. W. Thrasher”. Canvas: 24”H x 36”W; Frame: 33.5”H x 45.25”W. $2,000-$3,000

70 J. W. Thrasher (American, b. 1940) Untitled (Desert sunset) Oil on canvas. Signed lower left, “J. W. Thrasher”. Canvas: 24”H x 36”W; Frame: 33”H x 44.75”W. $2,000-$3,000

71 Howard Rogers (American, 1932) Bloody Basin Roundup Oil on canvas. Signed lower right, "H. Rogers ÂŠ". Titled on label verso, "Bloody Basin Roundup". Canvas: 28"H x 40"W; Frame: 37.75"H x 49.75"W. PR OVENANC E

DeMott Gallery, Vail, Colorado (label on verso). $6,000-$8,000 82

72 Wayne Wolfe (American, b. 1945) Icy Brook Canyon Oil on board. Signed lower right, "Wayne Wolfe". Titled on tag verso, "Icy Brook Canyon". Board: 34"H x 24"W; Frame: 43.25"H X 33.25"W. N OT E

Icy Brook Canyon is located in Rocky Mountain National Park near Estes Park, Colorado. $3,000-$5,000

73 Wayne Wolfe (American, 1945) Untitled (Snow scene with stream) Oil on board. Signed lower right, "Wayne Wolfe". Board: 30"H x 40"W; Frame: 40.5"H x 50.5"W. $5,000-$7,000

74 James Elwood Reynolds (American, 1926-2010) Untitled (Sunset in a valley) Oil on canvas. Signed lower right, "James Reynolds" and initialed "CA" for Cowboy Artists of America. Canvas: 34"H x 34"W; Frame: 44"H x 44"W. $8,000-$12,000

75 Aaron Bohrod (American, 1907-1992) Every Man Oil on board, 1960. Signed lower left, "Aaron Bohrod". Board: 24"H x 32"W; Frame: 35.25"H x 43"W. P R OV EN AN CE

Dr. and Mrs. Louis H. Barnett, Fort Worth, Texas. Thence by descent to present owner. L I TER ATU R E

Milwaukee Art Museum, "Leaders in Wisconsin art, 1936-1981: John Steuart Curry, Aaron Bohrod, John Wilde", April 4 - May 23, 1982, p. 34 (illustrated). Aaron Bohrod was a master of still life painting, best known for his use of tromp l'oeil, as we see demonstrated here in Every Man. This illusory work convincingly incorporates elements of a work by Daumier with two other portrait reproductions, adorned with various personal accoutrements casting realistic shadows, all affixed to a decorative wooden panel with peeling paint. $7,000-$9,000 85

76 Stephen Lorber (American, b. 1943) Polyhedra on the Wall Oil on canvas, 1973. Signed lower right, "Lorber 1973". Canvas: 60"H x 72"W; Frame: 60.5"H x 72.5"W. PROVEN AN CE

Delahunty Gallery, Dallas, Texas (label verso). $4,000-$6,000 86

77 Stephen Lorber (American, b. 1943) The Drawing Table Oil on canvas, 1974. Signed lower left, "Lorber '74". Canvas: 72"H x 60"W; Frame: 72.5"H x 60.5"W. P R OV EN AN CE

Delahunty Gallery, Dallas Texas (label verso). $4,000-$6,000 87

78 Millard Sheets, Octavio Medellin Millard Sheets (American, 1907-1989). Octavio Medellin (Mexican, 1907-1999). Pair of freestanding double-sided mosaic sculptures depicting owls and egrets perched in trees, ca. 1950 - 1954 Handcrafted Murano tiles with gold and platinum tiles with inset fused glass elements with oil-painted Bakelite contour armatures and encased in their original solid mahogany frames. Each 102"H x 36"W x 3.25"D. PR OVENANC E

Mercantile Bank, Dallas, Texas. Private collection, Dallas, Texas. NOT E

These unique works were created as a collaboration between Millard Sheets and Octavio Medellin. Commissioned by former Dallas mayor R.L. Thornton, for his Mercantile Bank building in 1950, they were installed circa 1954. Having been fabricated in the California studio of Mr. Sheets, these dazzling forms utilized both traditional Italian tesserae as well as the latest in cast plastics technology. Sheets designed the compositions for these works, using only native Texas birds nestled in local flora. Approximately a total of ten similar fixtures were completed and installed originally (now only three complete works are known to be extant, including these two). Each structure was installed flush from at the floor to the drop ceiling in the bank's lobby and they were surrounded by interiors outfitted with lavish mid-century furnishings. Several of the other collaborative mosaic works located inside the Mercantile were extracted in 2006, restored professionally and are now installed in The Joule Hotel in downtown Dallas. $15,000-$20,000

79 Li Chen (Taiwanese, b. 1963) Pure Land Bronze sculpture, 1998. Engraved on base, "Li Chen" in Chinese and dated, "1998". Signed and numbered on underside of foot, "Li Chen 8/8". 29"H x 52"W x 16"D. P R OV EN AN CE

Acquired in 2006 from Ode to Art, Contemporary Asian Art, Singapore by a private collector, Dallas, Texas. Li Chen is considered the most accomplished of the new generation of contemporary sculptors in Asia. His monumental figurative sculptures are influenced by Buddhist and classical Chinese traditions using contemporary styles of modeling. His powerful bronze figures express his spiritual commitment to his art practice and his respect for nature. Solo exhibitions of Li Chen's work have been held at The Frye Art Museum, Seattle, Washington; Singapore Art Museum, Singapore; National Museum of China, Beijing; and 52nd International Art Exhibition - La Biennale di Venezia, Venice, Italy. $100,000-$150,000

80 Marc Chagall (French/Russian, 1887-1985) Le Bouquet Rouge Color lithograph on Arches paper, October 1969. Signed lower right, "Marc Chagall" and inscribed lower left, "Epreuve l'artiste XVII / XXV". Image: 22"H x 15"W; Sight: 29.75"H x 20.875"W; Frame: 42"H x 33.375"W. L I TER ATU R E

Mourlot, 580. $7,000-$9,000

81 Joan Miro (Spanish, 1893-1983) L'Homme au Balancier Color etching, aquatint, and carborundum on paper, 1969. Signed lower right, "Miro". Inscribed lower left, "HC", aside from an edition of 75. Sheet: 26.75"H x 19.25"W; Frame: 35.25"H x 27.125"W. LIT ER AT UR E

Dupin, 507. $4,000-$6,000

82 Joan Miro (Spanish, 1893-1983) El Tapis de Tarragona Color lithograph, 1970. Monogrammed in print lower right, "M" and inscribed lower left, "H.C." Sheet: 14.875"H x 21.875"W. LI T E RAT U RE

Maeght, 685. $600-$800

83 Joan Miro (Spanish, 1893-1983) Two lithographs printed on Arches paper, 1930/1973 (1) Lithographie II signed lower right, "Miro" and inscribed lower left, HC". Sheet: 22.25"H x 17.75"W. (2) Lithographie III signed lower right, "Miro" and inscribed lower left, HC". Sheet: 22.25"H x 17.75"W. L I TER ATU R E

Mourlot, 1a - b. $3,000-$5,000 94

84 Joan Miro (Spanish, 1893-1983) Sobreteixims i escultures Color lithograph, 1972. Signed lower right, "Miro" and numbered lower left, "131/150". Sheet: 15"H x 22.375"W. LI TER AT UR E

Mourlot, 849. $1,000-$2,000

85 Joan Miro (Spanish, 1893-1983) Sense titol Color lithograph on Arches paper, ca. 1978. Signed lower right, "Miro" and inscribed lower left, "EA". Sheet: 14.375"H x 20.25"W. LI TER AT UR E

Maeght, 1159. $1,000-$2,000

86 Joan Miro (Spanish, 1893-1983) 42, Rue Blomet Color lithograph, 1977. Signed lower right, "Miro" and numbered lower left, "HC V/XIII". Sheet: 35.625"H x 23.75"W. LI T E RAT U RE

Mourlot, 1123. $2,000-$3,000

87 Joan Miro (Spanish, 1893-1983) Chanteur des Rues II Color etching with aquatint, 1981. Signed lower right, "Miro" and numbered lower left, "70/80". Embossed lower right, "Maeght". Plate: 14.5"H x 11"W; Sheet: 22.5"H x 16.75"W. LI T E RAT U RE

Dupin, 1137. $1,500-$2,500 96

88 [Picasso, Éluard] Paul Éluard (French, 1895-1952) Pablo Picasso (Spanish, 1881-1973) "Jours de Gloire. Histoire de la Liberation de Paris", Paris: D. Lambusier, [1945]. Quarto. Loose signatures as issued with original printed paper wrappers, uncut and partially unopened. Original glassine dust jacket. Housed in a custom clamshell box. Presentation copy, one of fifty hors commerce copies. This copy signed by Picasso, Daragnès, Touchagues and Digimont and by contributing authors Paul Éluard, Colette, Andre Billy and six other contributors. Additionally inscribed by the publisher to the Comedie Française. With a full-page etching and two in-text lithographed drawings by Picasso illustrating his friend Éluard's "Dans un Miroir Noir." Mezzotint frontispiece by Daragnès, four original etchings and 16 in-text illustrations by Dignimont, and four original etchings and 25 in-text illustrations by Touchagues. From a total edition of 1070, sponsored by the Ministry of Education. Proceeds went to the Red Cross to benefit the prisoners of war. Text in French. L ITERATU RE

Cramer, 41. $1,000-$1,500

89 After Pablo Picasso (Spanish, 1881-1973) L'Attente (from Barcelona Suite) Color offset lithograph on Arches paper, 1966. Signed lower right, "Picasso" and numbered lower right, "12/60". Image: 22.75"H x 18.125"W; Sheet: 29.75"H x 21.75"W. LI T E RAT U RE

Czwiklitzer, 233. $3,000-$5,000

90 After Pablo Picasso (Spanish, 1881-1973) MaternitĂŠ (from Barcelona Suite) Color offset lithograph on Arches paper, 1966. Signed lower right, "Picasso" and numbered lower left, "55/60". Image: 18.125"H x 16.25"W; Sheet: 29.75"H x 21.75"W. LI T E RAT U RE

Czwiklitzer, 231. $3,000-$5,000 98

91 Pablo Picasso (Spanish, 1883-1971) Homme en Gilet afghan songeant au armours d'un Mousquetaire et sa dulcinee, pl. 23 (from la Serie 347) Etching, 1968. Signed lower right, "Picasso" and numbered lower left, "11/50". Plate: 12.25"H x 16.125"W; Sheet: 17.875"H x 22.125"W. LI T E RAT U RE

Bloch, 1503. $3,000-$5,000

92 Pablo Picasso (Spanish, 1881-1973) Autour de la Celestine: Collation au jardin, avec jeune Bacchus gras, pl. 70 (from la Serie 347) Etching, 1968. Signed lower right, "Picasso" and numbered lower left, "33/50". Plate: 12.5"H x 16.25"W; Sheet: 18"H x 22.5"W. LI T E RAT U RE

Bloch, 1550. $5,000-$7,000

93 Pablo Picasso (Spanish, 1881-1973) Sala Gaspar Color lithograph on wove paper, 1961. Signed lower right, "Picasso" and inscribed lower left, "P.A." Sheet: 18.125"H x 14.125"W. LI T E RAT U RE

Bloch, 1018. $1,500-$2,500

94 Pablo Picasso (Spanish, 1883-1973) Celestine, maja et complice masculin, pl. 122 (from la Serie 347) Etching with aquatint and drypoint, 1968. Signed lower right, "Picasso" and numbered lower left, "40/50". Plate: 4.75"H x 2.375"W; Sheet: 12.875"H x 10.125"W. LI T E RAT U RE

Bloch, 1603. $1,000-$2,000

95 Pablo Picasso (Spanish, 1881-1973) Picador Partially glazed ceramic bowl, 1952. From an edition of 500. Stamped and marked, "Edition Picasso / Madoura Plein Feu / Edition Picasso" to underside. 5.75"H x 5.75" W x 1.25"D. LI T E RAT U RE

A. RamiĂŠ, 176. $1,000-$1,500 100

96 After Pablo Picasso (Spanish, 1881-1973) Arlequin y mujer con collar Embroidered wool tapestry, 1994. Woven signature, place and date lower right, "Picasso / Rome 1917". Limited edition, "142/500" published by Desso. 78"H x 78"W. N OTE

The original work, an oil on canvas, was painted in 1917 and is now in the permanent collection of the Centre Georges Pompidou in Paris. $2,500-$3,500 101

uring the summer of 1946, while on vacation in the South of France, Picasso visited a pottery exhibition with a close friend and was smitten with the medium. In particular, he was taken with the work of the Madoura studio and was invited to visit the workshop owned by Suzanne Douly and Georges Ramié, located in the town of Vallauris. As retold numerous times over, he was so captivated by the possibility of the process on his initial visit that he immediately sat down at a bench to craft several animal figures.

The following fall, Picasso returned to the renowned pottery studio with a sketchbook full of ideas, many of which would eventually become fully realized works over the next 27 years of the master’s experimentation in ceramics. During his time at Vallauris, Picasso worked closely with the Ramiés and the assistants at first, frequently challenging

PICASSO’S UNIQUE CERAMICS them with his formal experimentation and unorthodox glazes and exquisite decoration application. Eventually, he found confidence in his acquired technical expertise and was able to transform his sketches and ideas into hundreds of unique works, five of which we present here. Coincidentally, as Picasso’s relationship with Françoise Gilot was dissolving in the early 1950s, his future muse and wife, Jacqueline Roque, began to work at her cousin’s pottery studio in 1953 where the master was in residence. After the eventual break-up, Picasso romanced the much younger Jacqueline, eventually marrying her in 1961 after the death of his first wife, Olga Khokhlova in 1955. Three of the five following works (lots 97, 100 & 101) are from the Estate of Jacqueline Picasso as initially purchased by Etienne Sassi of Paris, whose brother, Dominic, worked 102

alongside Picasso at the Madoura Studio during his time there. Our offering of five unique works of Picasso begin with the humble Scene de tauromachique, 1959 (lot 97), a handpainted bullfighting tableau on a red terra cotta tile. Simple in its form, style, and execution, this familiar subject is one of the artist’s most famous pictorial themes. By a stroke of sheer luck, friend of Picasso and noted Irish photographer Edward Quinn happened to be visiting the Madoura studio the day Plat picador et toreador (lot 98) was being hand-painted by Picasso, with the date boldly noted on the front (23.3.53; March 23, 1953). Quinn’s eleven photos of the event capture the artist deftly adding the black linear elements to the outer rim, having already painted the bullfighting scene at center and yet to address the equally decorated and signed underside. This work initially sold through Picasso’s Parisian dealer, Galerie Louise Leiris, to the wife of the President of the Museum of Modern Art, Mrs. William A. M. Burden. The Plat Tête d'homme (lot 99) is an early variation on a serial form, set apart by the textured surface of the base and translucent washes of color and radiating lines on the outer edge. As noted by the painted date and the work’s Roman numeral on the verso, “17.10.47 IX”, at least nine of these variations exist. With a rhythmic intensity and a highly decorated surface, Plat taureau a l'oiseau (lot 100) exemplifies the unparalleled virtuosity and experimentation paired with the most traditional of forms. This large circular plate from 1951 is exquisitely detailed with loose grids, broken lines and a flurry of dots atop the silhouetted forms of the bull, bird, and setting, whilst also energizing the negative space surrounding them. While an anomaly with an all-over decorative treatment, the pleasant juxtaposition of subject matter and the sheer visual impact has a charm and simplicity all its own. Standing over twenty inches tall and with a commanding physical presence, the Vase deux anses grand oiseau (lot 101) has an elegance and power singularly stated within the oeuvre of Picasso’s unique ceramic works. By using darker hues and alternating the contours of the form separated by a white glaze, this large bird as two-handled vase gains recognizable definition and movement from one compositional element to the next. Somewhat bizarrely, a smiling anthropomorphic head with incised features rests on the center of the breast, as the wings become grotesque ears and the handles ringed horns. The alternating use of color and line guides the eye from the simple-footed base to the incised features of the bird’s head at top, always drawing us back into the plentiful middle, where we alternate between seeing both man and beast. We would like to extend our special thanks to Mr. Claude Picasso and Ms. Christine Pinault of the Picasso Administration, Paris, for confirming the authenticity of these five unique Picasso ceramics.

P hoto ÂŠ E dw ard Qui n n Arc h iv e AG / L td . / S A

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97 Pablo Picasso (Spanish, 1881-1973) Scene de tauromachique Unique ceramic, hand painted red terra cotta rectangular tile, 1959. Dated on verso, “14.7.59”. 5.875”H x 9.125”W x .5”D.

P R OV EN AN C E

Estate of the artist. Jacqueline Picasso, Paris (by descent from the estate). Etienne Sassi Inc., Paris. (acquired from the above). Hammer Galleries, New York. Elliott Yeary Gallery, Aspen. Colorado. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 2001). EXH I BI TE D

"Picasso: Faces and Figures (Unique Ceramics - Vollard Suite)", Nassau County Museum of Art, Roslyn Harbor, New York, November 16, 1996 - February 2, 1997. L I TER ATURE

"Picasso: Unique Ceramics, From the Estate of Jacqueline Picasso", New York: Hammer Galleries, 1999, p. 18 (illustrated in color). N OTE

Scene de tauromachique is a hand-painted bullfighting tableau on a red terra cotta tile. Simple in its form, style, and execution, this familiar subject is one of the artist's most famous pictorial themes. The original signed certificate of authenticity from Maya Widmaier Picasso dated February 14, 1996 is included with this lot. $15,000-$20,000 104

98 Pablo Picasso (Spanish, 1881-1973) Plat picador et toreador Unique partially glazed terra cotta rectangular plate, 1953. Dated on front, “23.3.53”. Signed, “Picasso” and stamped, “Madoura Plein Feu” on reverse. 12.125”H x 19.25”W.

P R OV EN AN CE

Galerie Louise Leiris, Paris. The Estate of Mrs. William A.M. Burden (acquired from the above in 1955). Christie's New York: November 12, 1997, Lot 303. Etienne Sassi Inc., Paris. Hammer Galleries, New York. Elliott Yeary Gallery, Aspen, Colorado. From the Collection of Mrs. Charles J. Wyly, Jr., Dallas, Texas (acquired from the above in 1998). EXH I BI TED

"Picasso, Ceramiste a Vallauris, Pieces uniques", Musée Magnelli, Musée de la Ceramique, Vallauris, France, July November 2004. "Picasso: Ceramics at Vallauris, 1946 -1973", Hammer Galleries, New York, April - May 2005. L I TER ATU R E

Kahnweiler, 84. Ramié, 124 (illustrated, p. 56). "Picasso: Unique Ceramics, From the Estate of Jacqueline Picasso", New York: Hammer Galleries, 1999, p. 44 (illustrated in color). Sandra Benadretti-Pellard, "Picasso: Céramiste à Vallauris, Pièces uniques", Museé Magnelli, Museé de la Céramique, Paris: Chiron, 2004, Cat. 72, pp. 47, 123 (illustrated in color). $40,000-$60,000 105

99 Pablo Picasso (Spanish, 1881-1973) Plat tête d’homme Unique ceramic, hand painted and glazed white terra cotta plate, 1947. Dated by Picasso on verso, “17.10.47 IX” and stamped, “Madoura Plein Feu”. Plate: 12.5”H x 15”W x 1.25”D.

PR OVENANC E

Christie's New York: May 1, 1996, Lot 377. Hammer Galleries, New York. Elliott Yeary Gallery, Aspen, Colorado. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 2001). E X HI BITED

"Picasso, Ceramiste a Vallauris, Pieces uniques", Musée Magnelli, Musée de la Ceramique, Vallauris, France, July - November 2004. "Picasso: Ceramics at Vallauris, 1946 - 1973", Hammer Galleries, New York, April - May 2005. LI T ERATU RE

"Picasso: Unique Ceramics, From the Estate of Jacqueline Picasso", New York: Hammer Galleries, 1999, p. 40 (illustrated in color). Sandra Benadretti-Pellard. "Picasso: Céramiste à Vallauris, Pièces uniques", Museé Magnelli, Museé de la Céramique, Paris: Chiron, 2004, Cat. 8, p. 82 (illustrated in color). NOT E

The original signed certificate of authenticity from Maya Widmaier Picasso dated June 6, 1996 is included with this lot. Additionally, a copy of the signed certificate of authenticity from Christine Ruiz Picasso is also included. $30,000-$50,000 106

100 Pablo Picasso (Spanish, 1881-1973) Plat taureau a l’oiseau Unique ceramic, hand painted white terra cotta plate, 1951. Dated by Picasso on verso, “18 Juillet / 1951” and stamped, “Madoura Plein Feu”. 2”H x 14.5” Dia.

PR OVENANC E

Estate of the artist. Jacqueline Picasso, Paris (by descent from the estate). Etienne Sassi Inc., Paris. (acquired from the above) Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 1997). E X HI BITED

"Picasso, Ceramiste a Vallauris, Pieces uniques", Musée Magnelli, Musée de la Ceramique, Vallauris, France, July - November 2004. "Picasso: Ceramics at Vallauris, 1946 -1973", Hammer Galleries, New York, April - May 2005. LI T ERATU RE

"Picasso: Unique Ceramics, From the Estate of Jacqueline Picasso", New York: Hammer Galleries, 1999, p. 19 (illustrated in color). Sandra Benadretti-Pellard, "Picasso: Céramiste à Vallauris, Pièces uniques", Museé Magnelli, Museé de la Céramique, Paris: Chiron, 2004, Cat. 69, illustrated in color on cover, p. 121). NOT E

A copy of the signed certificate of authenticity from Catherine Hutin (Jacqueline Picasso's daughter) dated July 21, 1990 is included with this lot. $30,000-$50,000 107

101 Pablo Picasso (Spanish, 1881-1973) Vase deux anses grand oiseau Unique ceramic, white terra cotta with hand-decorated paint, slip and glaze, 1949. Dated, "2.49" underneath. Vase: 20.675"H x 14.5"W x 12"D. P R OV EN AN CE

Estate of the artist. Jacqueline Picasso, Paris (by descent from the estate). Etienne Sassi Inc., Paris. (acquired from the above). Elliott Yeary Gallery, Aspen, Colorado. From the Collection of Sam Wyly, Dallas, Texas (acquired from the above in 2001). L I TER ATU R E

"Picasso: Unique Ceramics, From the Estate of Jacqueline Picasso", New York: Hammer Galleries, 1999, on cover and p. 53 (illustrated in color). Sandra Benadretti-Pellard, "Picasso: Céramiste à Vallauris, Pièces uniques", Museé Magnelli, Museé de la Céramique, Paris: Chiron, 2004, Cat. 98, (illustrated in color on cover, pp. 33, 142). N OTE

The original signed certificate of authenticity from Maya Widmaier Picasso dated November 17, 1996 is included with this lot. Additionally, a copy of the signed certificate of authenticity from Catherine Hutin (Jacqueline Picasso's daughter) is also included. We would like to give special thanks to The Nasher Sculpture Center for their loan of the display pedestal for this work. $250,000-$350,000

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102 Alexander Calder (American, 1898-1976) Cercles Noir, Bleu, Rouge Color lithograph, 1973. Signed in pencil lower right, "Calder" and inscribed lower left, "H.C." Sheet: 25.75"H x 19.875"W. LI T E RAT U RE

Maeght 1989, p. 47. $800-$1200

103 Alexander Calder (American, 1898-1976) Sala Gaspar Color lithograph, 1973. Signed lower right, "Calder" and inscribed lower left, "H.C." Watermark lower right: "Sala Gaspar". Sheet: 25.75"H x 20"W. $600-$800

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104 Alexander Calder (American, 1898-1976) Grey Elipse Color lithograph on Arches paper, 1976. Signed and numbered lower right, "37/175 / Calder". From the portfolio "Our Unfinished Revolution" of ten lithographs with text by Leonard Boudin. Printed by Mourlot, Paris. Sheet: 22"H x 30"W; Frame: 28.25"H x 36"W. NOTE

This particular example is orientated and numbered/signed upside-down. $1,500-$2,500 111

105 Robert Motherwell (American, 1915-1991) Untitled Color aquatint and lift-ground etching on Arches paper, 1973. Signed and numbered lower right, "Motherwell 9/50". Plate: 24"H x 35.5"W; Sheet: 29.5"H x 41.5"W; Frame: 33.5"H x 45.5"W. LI T E RATUR E

Engberg & Banach, 135. $2,500-$3,500

106 Robert Motherwell (American, 1915-1991) Untitled Color aquatint and lift-ground etching, 1973. Signed and numbered lower right, "Motherwell a.p. III/X" (aside from an edition of 50). Plate: 23.75"H x 19.75"W; Paper: 41.5"H x 29.5"W; Sheet: 45"H x 32.375"W. LI T E RAT U RE

Engberg & Banach, 136. $5,000-$7,000 112

107 Robert Motherwell (American, 1915-1991) Red Open with White Line Color aquatint, 1979. Signed and numbered lower left, "RM / 9/56". Plate: 18.5"H x 34.375"W; Sheet: 18.5"H x 35.375"W; Frame: 23.5"H x 40.875"W. LI T ERATU RE

Belknap, 207. Engberg & Banach, 238. $4,000-$6,000

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108 Robert Motherwell (American, 1915-1991) Red Sea I Color etching and aquatint, 1979. Signed and numbered lower right, "Motherwell a.p. XVII/XX" (aside from an edition of 100). Plate: 23.75"H x 19.875"W; Sheet: 41.5"H x 29.25"W; Frame: 45.5"H x 33"W. LI T E RAT U RE

Engberg & Banach, 193. Belknap, 158. $6,000-$8,000

109 Robert Motherwell (American, 1915-1991) Red Sea II Color etching and aquatint, 1979. Signed and numbered lower right, "Motherwell 41/100". Plate: 23.875"H x 20"W; Sheet: 34.5"H x 29"W; Frame: 38.5"H x 33"W. LI T E RAT U RE

Engberg & Banach, 242. Belknap, 211. $6,000-$8,000 114

110 Robert Motherwell (American, 1915-1991) Gesture IV (State I) Color etching and aquatint, 1976. Signed and inscribed lower right, "Motherwell presentation proof" (aside from an edition of 100). Plate: 19.75"H x 16"W; Sheet: 35"H x 26"W; Frame: 39.125"H x 30"W. LIT ER AT UR E

Engberg & Banach, 208. $8,000-$12,000

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111 Antoni TĂ pies (Spanish, 1923-2012) Seven works from the series Als mestres de Catalunya Lithographs, 1974. All signed lower right, "Tapies" and editioned lower left, "XXII/L". All with watermark, "Sala Gaspar". Sheets: 39.375"H x 27.625"W. $2,000-$4,000

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112 Andy Warhol (American, 1928-1987) Indian Head Nickel (From Cowboys and Indians) Unique color screenprint on Lenox Museum Board, 1986. Signed and numbered lower left, "TP 22/36 Andy Warhol". Sheet: 36"H x 36"W; Frame: 48.5"H x 48.5"W. P R OV EN AN CE

Martin Lawrence Galleries. From the Collection of Sam Wyly, Dallas, Texas. L I TER ATU R E

Feldman/Schellmann, IIB.385. $20,000-$30,000 117

113 Robert Indiana (American/New York, b. 1928) Swedish Love Wool tapestry, 2006. Printed signature, title, edition, and date on label verso, "R. Indiana / Swedish Love / 166 / 2006". From an open edition. Tapestry: 15.25"H x 15.25"W; Frame: 16.5"H x 16.5"W. N OTE

Published by Galerie-F째, Kranenburg, Germany. $300-$500 114 Robert Indiana (American/New York, b. 1928) Fall Love Wool tapestry, 2006. Printed signature, title, edition, and date on label verso, "R. Indiana / Swedish Love / 175 / 2006". From an open edition. Tapestry: 15.25"H x 15.25"W; Frame: 16.5"H x 16.5"W. N OT E

Published by Galerie-F째, Kranenburg, Germany. $300-$500 115 Robert Indiana (American/New York, b. 1928) Classic Love Wool tapestry, 2007. Printed signature, title, edition, and date on label verso, "R. Indiana / Swedish Love / 838/10,000 / 2006". Tapestry: 30.5"H x 30.5"W; Frame: 32.5"H x 32.5"W. N OTE

Published by Galerie-F째, Kranenburg, Germany. $500-$700 116 Robert Indiana (American/New York, b. 1928) Estonian Love Wool tapestry, 2006. Printed signature, title, edition, and date on label verso, "R. Indiana / Swedish Love / 188 / 2006". From an open edition. Tapestry: 15.25"H x 15.25"W; Frame: 16.5"H x 16.5"W. N OT E

Published by Galerie-F째, Kranenburg, Germany. $300-$500 118

117 John Vickery (Australian, 1906-1983) Red Sound Acrylic on board, 1969. Inscribed on verso, "Red Sound / John Vickery '69 / California N. J." Board: 47.75"H x 32.25"W; Frame: 49.25"H x 33.75"W. $1,500-$2,500 119

118 JesĂşs Rafael Soto (Venezuelan, 1923-2005) Light Trap Wood with nylon and printed paper, 1965. Signed and numbered on label verso, "Soto / 54/100". 18.5"H x 11.375"W x 5.25"W. $8,000-$12,000

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119 JesĂşs Rafael Soto (Venezuelan, 1923-2005) Dos Cuadraditos Lacquered acrylic and enameled steel, 1974. Signed and numbered on label verso, "33 / Soto" from an edition of 50. 10.625"H x 10.625"W x 3.5"D. $7,000-$9,000

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120 Stanley Boxer (American, 1926-2000) Lafayette Rainbows Oil on canvas, 1972. Dated and titled on verso, "10/72 / Lafayette Rainbows". Canvas: 75"H x 75"W; Frame: 75.5"H x 75.5"W. P R OV EN AN CE

Tibor De Nagy, New York (label verso). $8,000-$12,000 122

121 Jacqueline Humphries (American, b. 1960) Untitled (Abstraction with Pink) Oil on canvas, 2006. Inscribed on verso, "Humphries / 2006". Canvas: 36"H x 44"W. $2,000-$3,000

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TERMS & CONDITIONS OF SALE

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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 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 214-6533900.

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

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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 DAG has acted as agent. By bidding at an auction, whether in person or by agent, absentee bid, telephone, Internet or other means, the purchaser or bidder agrees to be bound by these Terms and 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.

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

TERMS AND CONDITIONS OF SALE 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 ever y 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! Dallas Auction Galler y does not warranty watch movements.

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.

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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 $100,000; 20% on the portion from $100,001 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

DOME S TIC CLIENT S: 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@dallasauctiongaller y.com to make payment. (d) If paying by check, DAG reser ves the right to hold all purchases until the check has cleared to the satisfaction of DAG and its bank. INTERN ATION A L CLIENT S: 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@dallasauctiongaller y.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 “Ser vices” tab of our homepage at w w w.dallasauctiongaller y.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.

10. DAG reser ves the right to withdraw any lot at any time before the auction without liability.

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, 512463-6599.

CONDITION REPORT REQUE STS 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.

11. The auctioneer reser ves 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 reser ve 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.

14. In the unlikely event we lose our internet connection, DAG reser ves the right in its sole and absolute discretion to cancel the remainder of the auction.

15. Some lots may be offered with a “reser ve” which is the minimum price below which the lot will not be sold. DAG may act to protect the reser ve by bidding through the auctioneer. The auctioneer may open the bidding on any lot below the reser ve by placing a bid on behalf of the consignor. The auctioneers may continue to bid on behalf of the consignor up to the amount of the reser ve, either by placing bids in response to other bidders or by placing consecutive bids. In no event will the reser ve exceed the low estimate.

BID INCREMENTS $0 – 999

-$50

$1,000 – 2,499

-$100

$2,500 – 4,999

-$250

$5,000 – 9,999

-$500

$10,000 – 24,999

-$1,000

$25,000 – 49,999

-$2,500

$50,000 – 99,999

-$5,000

$100,000 – 249,000

-$10,000

$250,000 – 499,999

-$25,000

$500,000 – 999,999

-$50,000

$1,000,00- 2,499,000

-$100,000

$2,500,000-4,999,000

-$250,000

$5,000,000+

-$500,000

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 127

Featuring Works from the Collection of Sam Wyly, Dallas, Texas.

D E PA RTM EN T O F F INE ART Brandon Kennedy, Director of Fine Arts & Design bkk@dallasauctiongallery.com Elizabeth Rhodes, Fine Art Associate emr@dallasauctiongallery.com

PH OTO GR A P HY Gary Heiner

214.653.3900 2235 MONITOR STREET DALLAS, TEXAS 75207

www.dallasauctiongallery.com ÂŠ 2015 DALLAS AUCTION GALLERY

INSIDE BACK COVER: Norman Rockwell, Lot 58 (detail) | BACK COVER: Pablo Picasso, Lot 101 (detail) 129

214.653.3900 2235 MONITOR STREET DALLAS, TEXAS 75207