European Art | Lots 70-120

EUROPEAN ART

LOTS 70-120

OPPOSITE Lot 78

70 Sonia Delaunay

(French/Ukranian, 1885–1979) Self-Portrait, 1916 wax on paper signed Sonia Delaunay and dated (lower left); numbered 361 (lower right) 13 ¼ x 8 ½ inches.

Provenance: B.C. Holland, Inc., Chicago Acquired directly from the above by the present owner

Exhibited: Stockholm, Nya Konstgalleriet, Exposition, March 23 - April 14, 1916 (also traveled to Oslo, Galerie Blomqvist, April 16 - May 14, 1916)

This lot is included in the archives of Richard Riss.

In 1915, Sonia Delaunay moved to Lisbon, Portugal with her artist husband, Robert Delaunay, and their son Charles. The Delaunays were enthusiastic about the medieval architecture, the colorful folk arts, and rugged landscape of the country. Sonia wrote: “The light of Portugal was not violent, but exalted every color” (quoted in A.A. Cohen, Sonia Delaunay, New York, 1975, p. 67). In 1916, an exhibition of Sonia’s and Robert’s paintings was planned for the Nya Konstgalleriet, Stockholm. Many of Robert’s paintings were already committed to other shows, and as a result he had to drop out. The occasion was then devoted exclusively to Sonia’s work, which was her first major solo exhibition. For the exhibit, she created a series of studies of self-portraits to be used on the covers of the exhibition catalogue, of which the present work is an example. The selfportrait shows a woman’s head with a hat, executed in the artist’s familiar broken color circles.

$20,000 - 30,000

71 Sonia Delaunay

(French/Ukranian, 1885–1979) Composition, 1913 watercolor on paper signed Sonia Delaunay-Terk and dated (lower left) 10 ½ x 8 ¼ inches.

This lot is included in the archives of Richard Riss.

Provenance: Brook Street Gallery, London B.C. Holland, Inc., Chicago Acquired directly from the above by the present owner

Exhibited: London, Tate Gallery, Abstractions: Towards a New Art, February 5 - April 13, 1980, no. 35

This watercolor was likely executed as a poster project for the Rochers de Montreux in Switzerland. The artist created another work to promote the Rochers de Montreux in 1914 (watercolor on paper, 20.5 x 27 cm, signed and numbered lower right), which belonged to Collection Hillman, New York. During this period, Delaunay created many advertising projects for companies such as Dubonnet, Zénith, and Lumière, among others.

$10,000 - 15,000

72 Léonard Tsuguharu Foujita

(French/Japanese, 1886–1968) Nu accoudé , 1928 graphite on brown paper signed Foujita and in Japanese characters, and dated (lower left); inscribed (upper right) 22 ¾ x 15 ¾ inches.

This lot is accompanied by a certificate of authenticity issued by Sylvie Buisson.

Literature: Sylvie Buisson, La vie et l’œuvre de LéonardTsuguharu Foujita, Volume 2, Paris, 1987-2001, no. 18-141, p. 261, illus.

73 Fernand Leger

(French, 1881-1955) Paysage, c. 1940s watercolor and gouache on paper initialed F.L. (lower right); titled and inscribed (verso) 13 x 9 ¾ inches.

This work has been authenticated by the Comité Léger and will be sold with a certificate of authenticity.

(French, 1885-1930) Marinette au manteau rouge, 1927 oil on canvas signed Pascin (lower right); titled and dated (verso) 26 ¾ x 34 ¾ inches.

The Estate of Barbara Bonfigli, Tiburon, California

Provenance: Lucy Krohg, Paris Niveau Gallery, New York Private Collection, New York

Exhibited: New York, Niveau Gallery, October - November 1971, no. 5, illus.

Literature: Y. Hemin, G. Krohg, K. Perls & A. Rambert, Pascin, catalogue raisonne, dessins, aquarelles, pastels, peintures, dessins erotiques, vol. IV, Paris, 1984, no. 1256, p. 373, illus.

$15,000 - 25,000

*75 Jean Cocteau

(French, 1889–1963) Portrait of Colette, c. 1954-57 ink on paper signed Jean (lower right) 9 x 7 inches.

Property from the Estate of Frank McIntosh, Greenport, New York

The authenticity of this work has been confirmed by Annie Guédras.

$1,000 - 2,000

*76 Camille Pissarro

(French, 1830-1903) Peasant Woman, late 1880s, and Quayside Scene, 1903 (two works) Peasant Woman, ink and graphite on paper; Quayside Scene, graphite on paper each stamped C.P. (lower right) Larger: 8 ½ x 6 ¾ inches; smaller: 4 ¼ x 6 ¾ inches.

Property from the Collection of Mark and Patricia McGrath, Chicago, Illinois

Dr. Joachim Pissarro will include these works in his forthcoming Catalogue Raisonné of Drawings by Camille Pissarro.

Quayside Scene Lugt 613e (recto, lower right)

Peasant Woman Provenance: Collection of Michael Zagayski Sold: Sotheby’s, New York, June 29, 1995, Lot 268

77 Pierre-Auguste Renoir

(French, 1841-1919) Les Fleurs, 1913 oil on canvas signed Renoir (lower left) 9 ¼ x 12 inches.

This work will be included in the forthcoming Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.

Provenance: The Artist Galerie Durand-Ruel, Paris, acquired directly from the artist, July 7, 1914 (as Anémones ou Fleurs) Durand-Ruel Galleries, New York, acquired directly from the above, November 11, 1920 Courvoisier Galleries, San Francisco, California, acquired directly from the above, April 26, 1937 Hammer Galleries, New York

Exhibited: New York, Durand-Ruel Galleries, Still life and flowers: Late nineteenth century French artists, January 13 - February 1, 1936, no. 9 (as Fleurs, dated 1913) Painted in 1913, Les Fleurs illustrates the central role floral still lifes played throughout PierreAuguste Renoir’s long career. His depictions of elaborate bouquets allowed him to experiment freely with the effects of light and color, exploring the subtle shifts in tone, texture, and form that could be discovered from the smallest adjustments. Within the controlled setting of the studio, the artist could also focus more fully on the quality of paint and on the varied effects of brushwork and color, without worrying about the vagaries of restless models or changing light.

“When I am painting flowers I can experiment boldly with tones and values without worrying about destroying the whole painting,” he explained to the critic Georges Rivière. “I would not dare to do that with a figure” (quoted in Renoir, exh. cat., Hayward Gallery, London, 1985, p. 183).

Here, the artist closely focuses on an elegant bouquet of anemones, their colors ranging from blush pinks and delicate whites to vivid reds. Filling the full expanse of the tightly cropped composition, the anemones crowd each other for space and seem to burst with life. Renoir’s distinctive feathery brushwork depicts blossoms of different shapes and stages of opening, with some petals fully opened to reveal their blue-black centers, while others remain as tight buds, waiting to unfurl and show their loveliness.

78 Gustave Camille Gaston Cariot

(French, 1872-1950) Crépuscule, lever de lune sur le pont Neuf oil on canvas signed G. Cariot (lower right) 28 ¾ x 60 inches.

Property from a Private Collection, Chicago, Illinois, Sold to Benefit Northwestern University, Evanston, Illinois

Provenance: Estate of the Artist Private Collection, acquired directly from the Artist Sold: Sotheby’s, New York, November 3, 2011, Lot 255 Acquired directly from the above sale by the present owner

$25,000 - 35,000

*79 Albert André

(French, 1869-1954) La Table de déjeuner devant la treille, c. 1930-1940 oil on canvas signed Albert Andre (lower right) 14 ¼ x 37 ¾ inches. Property from the Miriam B. Swanson Trust, Chicago, Illinois

This lot will be included in the catalogue raisonné of the paintings by Albert André, currently in preparation by Béatrice Roche, Alain Girard, and Flavie Durand-Ruel.

Provenance: Galleries Maurice Sternberg, Chicago Acquired directly from the above, December 1971

$10,000 - 15,000

80 Jean Dufy

(French, 1888-1964) Place de la Concorde, c. 1960 watercolor and gouache on paper signed Jean Dufy and inscribed (lower right); inscribed (verso) 16 ¼ x 10 ¾ inches.

Provenance: Wally Findlay Galleries, Palm Beach, Florida and Chicago Sold: Butterfields, San Francisco, California, April 23, 2002, Lot 6009

Exhibited: Chicago, Findlay Galleries, Hommage to Jean Dufy, 1968-69, p. 6, illus.

Literature: Jaques Bailly, Jean Dufy, Catalogue raisonné de l’œuvre, vol. I, Paris, 2002, no. J. 340, p. 216, illus.

$8,000 - 12,000

81 Henri Hecht Maïk

(French, 1922-1993) Au Bord du Zambeze, 1974 oil on canvas signed Maik and dated (lower right); signed, titled, and inscribed (verso) 51 ½ x 77 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Henri Hecht Maïk, currently underway.

Provenance: Wally Findlay Galleries, West Palm Beach, Florida

$10,000 - 15,000

*82 Henri Hecht Maïk

(French, 1922–1993) Le chasseur de lions silk embroidery on canvas stitched signature with Atelier des Capucins AMH Souny seal (lower right); numbered 3/8 on Atelier des Capucins AMH Souny seal (verso) 35 ¼ x 45 ¾ inches.

Property from the Collection of John Ashenden, Chicago, Illinois

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Henri Hecht Maïk, currently underway.

Provenance: Atelier des Capucins Wally Findlay Galleries, November 1973 Acquired directly from the above, June 1974

$5,000 - 7,000

83 Le Pho

(Vietnamese, 1907-2001) Les Poppies oil on canvas signed Le Pho and with Chinese characters (lower right) 18 ¼ x 15 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Lê Phổ, currently underway.

Provenance: Artist’s studio, Paris Findlay Galleries, September 1980 Private Collection, Winnetka, Illinois, February 1981, acquired directly from the above

84 Claude Venard

(French, 1913-1999) Café oil on canvas signed C. Venard (lower left); inscribed (verso) 45 x 57 ½ inches.

$20,000 - 30,000

85 Hiro Yamagata

(Japanese, b. 1948) Modern Paris, 1900, 1975 oil on canvas signed Yamagata and dated (lower right); titled and inscribed (verso) 23 ¾ x 28 ¾ inches.

Provenance: Sold: Deburaux - Du Plessis, Paris, October 4, 2019, Lot 131

$10,000 - 15,000

86 Antoine Blanchard

(French, 1910-1988) Café de la Paix, Place de l’Opera oil on canvas signed Antoine Blanchard (lower left); signed and inscribed Paris (verso) 13 x 18 inches.

The present work is currently listed on the Rehs Galleries, Inc., Antoine Blanchard Virtual Checklist as #CPPO1318.0024. A letter of authenticity from Rehs Galleries accompanies the lot.

Provenance: The W.T. Burger Co., La Porte, Indiana

$3,000 - 5,000

87 Constantin Kluge

(French, 1912-2003) Quai Conti oil on canvas signed C. Kluge (lower right); titled (stretcher) 32 ½ x 32 inches.

This lot has been authenticated by the Findlay Institute and will be included in the forthcoming catalogue raisonné of Constantin Kluge, currently underway.

Provenance: Artist’s studio, Montlognon, France Wally Findlay Galleries, November 1974 Private Collection, Winnetka, Illinois, November 1974, acquired directly from the above

$3,000 - 5,000

88 Eugénie Alexandrine Marie Salanson

(French, 1836-1912) Returning from the Fish Market, 1895 oil on canvas signed E. Salanson and dated (lower left) 39 ¾ x 27 ½ inches.

Property from the Collection of a Gentleman, Atlanta, Georgia

Provenance: Sold: Bonhams, Los Angeles, July 8, 2020, Lot 24 [as by Eugene-Marie Salanson (French, 1864-1892)]

$2,000 - 4,000

89 Emile Auguste Pinchart

(French, 1842–1924) The Rural Idyll oil on canvas signed Pinchart (lower left); signed and titled (verso) 31 ¾ x 23 ¾ inches.

Provenance: Marshall Field & Company, Chicago

$4,000 - 6,000

*90 Hipployte Camille Delpy

(French, 1842-1910) Rue pavoisée à Dieppe oil on canvas signed HC. Delpy. (lower right) 14 x 23 ¾ inches.

Property from the Estate of George W. Fellows, Naples, Florida

Provenance: Sold: Sotheby’s, New York, October 28, 2003, Lot 124

$5,000 - 7,000

91 Narcisse Guilbert

(French, 1878-1942) Shipping Port oil on canvas signed Guilbert (lower right) 21 ¼ x 28 ¾ inches.

$4,000 - 6,000

92 Narcisse Guilbert

(French, 1878-1942) Verdun, 1917 oil on canvas signed Guilbert, titled, and dated (lower right) 18 ¼ x 24 inches.

$2,000 - 4,000

93 Narcisse Guilbert

(French, 1878-1942) Boats in Harbor oil on canvas signed Guilbert (lower right) 22 ¼ x 28 ½ inches.

$3,000 - 5,000

94 Thomas Gainsborough

(British, 1727-1788) Woodland Stream, c. 1745 black chalk on paper 6 ¼ x 8 ¾ inches.

Provenance: Xanthus, Reymerston, Norfolk & London, 1990 Phillips & Deans, Tallahassee, Florida and London Purchased directly from the above by the present owner

Exhibited: Norfolk, Reymerston, Xanthus, British Watercolours, 1991, no. 2, illus.

Literature: Hugh Belsey. “A Second Supplement to John Hayes’s ‘The Drawings of Thomas Gainsborough,’” Master Drawings, vol. 46, no. 4, 2008, no. 996, pp. 461-462, illus.

According to Hugh Belsey, this lot is perhaps the earliest extant landscape drawing by Thomas Gainsborough. The interaction between the foilage and branches, as well as the highlights, recall the work of Anthonie Waterloo (Dutch, c. 1610-1690), whom Gainsborough admired, and may very well been copied from a drawing by the older artist.

$10,000 - 15,000

95 George Romney

(British, 1734-1802) A Study for Mirth, c. 1770 pen and ink on paper 7 ¾ x 6 ¼ inches.

We thank Alex Kidson, author of George Romney, A complete catalogue of his paintings, 2015, for his assistance with cataloging this lot.

Provenance: Thomas Deans Fine Art, Tallahassee, Florida and London

The drawing on the recto is an autograph study by Romney for Mirth, exhibited at the Society of Artists in 1770. The two vignettes in the right margin are studies for the subsidiary group of girls playing musical instruments on the left hand side of the composition. On the verso is a rough idea for the figure of Major Pierson, in the painting Major Pierson and the Brahmin, which was exhibited in 1771.

$2,000 - 4,000

96 Thomas Girtin

(British, 1775-1802) Melrose Abbey, Roxburghshire, 1793 watercolor on paper 11 ¾ x 13 inches.

Provenance: Moore-Miller P.B. Todd Esq.

Literature: David Loshak, The Art of Thomas Girtin, London, 1954, no. 37, pp. 138-9

$6,000 - 8,000

*97 Sir Alfred Munnings

(British, 1878-1959) Lady in Black, 1901 watercolor and gouache on paper laid to canvas signed A.J. Munnings and dated (lower left) 11 ½ x 9 ½ inches.

Property from the Collection of Homer E. Noble, Denver, Colorado

Provenance: Frost & Reed, Ltd., London

$5,000 - 7,000

*98 Sir Alfred Munnings

(British, 1878-1959) The Chocolate Girl gouache, watercolor, and graphite on paper laid to canvas signed A.J. Munnings (lower left) 9 x 8 ½ inches

Property from the Collection of Homer E. Noble, Denver, Colorado

Provenance: Leonard Hill, Eaton, England Richard Green, London

Exhibited: Norwich, England, Norwich Castle Museum, Munnings’ Exhibition, 1928, no. 252

*99 Sir Alfred Munnings

(British, 1878-1959) Two Girls, 1900 graphite on paper signed A.J. Munnings and dated (center left) 8 x 7 inches

Property from the Collection of Homer E. Noble, Denver, Colorado

Provenance: Frost & Reed, Ltd., London

100 John Frederick Herring the Elder

(British, 1795–1865) A Cart Horse and Driver Outside a Stable, 1827 oil on canvas signed J.F. Herring and dated (lower center) 24 x 30 inches.

$20,000 - 30,000

101 Thomas Buttersworth

(British, 1768–1842) His Majesty’s Ships Off the Tower of Belem oil on canvas 12 x 17 inches.

Provenance: Sold: Leslie Hindman Auctioneers, Chicago, October 19, 1992, Lot 724

$10,000 - 15,000

102 John Maclauchlan Milne

(Scottish, 1885–1957) Along the Shore, 1916 oil on canvas signed Maclauchlan Milne and dated (lower right) 12 x 16 inches.

$2,500 - 3,500

103 Antonín Slavíček

(Czech, 1870–1910) Landscape, 1897 oil on board signed A. Slavíček and dated (lower right) 14 x 19 ½ inches.

We would like to thank Dr. Šárka Leubnerová for her assistance with the cataloging of this lot.

This work was created during the artist’s studies at the Prague Academy in the studio of Professor Julius Mařák, when they painted en plein air around Prague. Slavíček worked on similar themes several times during this period, including Poppy and Summer, also both from 1897. The artist’s manuscript likewise corresponds to his work from that time.

$40,000 - 60,000

104 Georges (Karpeles) Kars

(Czech, 1882–1945) Nasturtiums, 1919 oil on canvas signed Kars and dated (lower right) 22 x 19 ½ inches.

The authenticity of this work has been confirmed by Dr. Rea Michalová, Ph.D., expert on Czech art of the 20th century.

Provenance: Acquired in Prague, October 17, 1931 Thence by descent to the present owner

$2,000 - 4,000

105 Leontine (Lea) von Littrow

(Austrian, 1860-1914) Olives in Lussingrande oil on board signed indistinctly (lower left) 14 x 19 ½ inches.

This lot is documented at Kolhammer & Mahringer Fine Arts, Vienna; Archive Leontine von Littrow; Work number WVLL 342.

Provenance: E.F. Hanfstengl Galleries, New York

The present work depicts Veli Lošinj, a village on the island of Lošinj, off the west coast of Croatia. The village was previously known in Italian as Lussingrande, prior to the global conflicts caused by World Wars I and II.

$15,000 - 25,000

106 Georgius Jacobus Johannes Van Os I

(Dutch, 1782-1861) Still Life with Flowers and Birds, 1838 oil on panel signed G.J. Van Os. and dated (lower right) 23 ½ x 19 ¼ inches.

Provenance: Philip Suval, New York

$5,000 - 7,000

107 Johan Barthold Jongkind

(Dutch, 1819-1891) Windmill near a river with figures in the snow watercolor and gouache on paper signed Jongkind (lower left) 21 x 30 inches.

Provenance: Arthur Tooth & Sons, London

$4,000 - 6,000

108 Stephan Wladislawowitsch Bakalowicz

(Polish, 1857-1947) At The Jeweler’s, 1917 oil on panel signed St. Bakalowicz, dated in Roman numerals, and inscribed Roma (lower left) 18 x 14 ¾ inches.

Property from a Private Collection, Chicago, Illinois

$6,000 - 8,000

109 Cesare Auguste Detti

(Italian, 1847-1914) Portrait of a Woman in a Blue Gown, 1884 oil on board signed C. Detti, dated, and inscribed Paris (lower left) 14 ¼ x 8 ½ inches.

Property from the Estate of a Midwest Collector, Milwaukee, Wisconsin

$2,000 - 4,000

110 Enrico Tarenghi

(Italian, 1848-1938) A Musical Performance watercolor on paper signed E. Tarenghi (lower right) 13 ¾ x 20 ¾ inches.

$2,000 - 4,000

*111 Antoine Bouvard

(Italian/French, 1870-1956) A Venetian Canal oil on canvas signed Bouvard (lower right) 20 x 25 ¼ inches.

Property from the Collection of the Missouri Athletic Club Foundation for the Arts

$4,000 - 6,000

112 Juan Pablo Salinas

(Spanish, 1871-1947) The Cardinal’s Repast oil on canvas signed JPablo Salinas and inscribed Roma (lower left) 9 ¾ x 16 inches.

Property from a Private Collection, Chicago, Illinois

$5,000 - 7,000

*113 Celso Lagar

(Spanish, 1891-1966) Scene au Cirque oil on canvas signed Lagar (lower right) 59 ¾ x 55 ¾ inches.

Property from the Estate of R. Lawrence Dunworth, Palm Beach, Florida

$6,000 - 8,000

114 Arthur Dupagne

(Belgian, 1895-1961) Saison Seche, 1931 bronze inscribed Dupagne and J.D., numbered 8/8, and bears a foundry stamp (base) Height: 33 inches.

$6,000 - 8,000

115 Salvador Dalí

(Spanish, 1904-1989) The Surrealist Eyes, 1980 bronze and mixed media with light bulbs and electrical plug inscribed Dali (verso), dated, and stamped with Dalart foundry mark (base) Height: 13 ½ inches.

Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot.

$5,000 - 7,000

116 Salvador Dalí

(Spanish, 1904-1989) Alice in Wonderland, 1977-1984 bronze with green patina inscribed Dali, numbered 32/350, and stamped with Camblest Foundry mark (base) Height: 36 ½ inches.

Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot.

$5,000 - 7,000

117 Salvador Dalí

(Spanish, 1904-1989) Rhinoceros silvered bronze inscribed Salvador Dali, numbered 60/100, and stamped SCAE. (base) Height: 4 ¾ inches.

Property from a Private Collection, Southwest Florida

Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot.

$4,000 - 6,000

118 Salvador Dalí

(Spanish, 1904–1989) Venus à la tête du rose, 1981 bronze on electrified base inscribed Dali on left shoulder Height: 16 ¾ inches.

Bruce Hochman® ™ OS has kindly confirmed the authenticity of this lot.

$2,000 - 4,000