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Important American and European Paintings Tuesday, 12 June 2012 10:00 AM


IMPORTANT AMERICAN AND EUROPEAN PAINTINGS

Sale: Tuesday, June 12, 2012 10:00 AM

Viewing: Friday, June 8, 2012

10:00 a.m. to 8:00 p.m.

Saturday, June 9, 2012

10:00 a.m. to 6:00 p.m.

Sunday, June 10, 2012

10:00 a.m. to 6:00 p.m.

Monday, June 11, 2012

10:00 a.m. to 3:00 p.m.

Preview and Sale Location: Keno Auctions 127 East 69th Street New York, NY 10021

Auction Code: 1007 In sending absentee bids or making inquiries, this sale should be referred to as SALE 1007.

Auction Inquiries & Bid Department: Sale Inquiries: phone: 212 734 2381 Info@kenoauctions.com

Auction Online: This auction features online viewing and live online bidding at Kenoauctions.com and Liveauctioneers.com.

Front cover:

Lots 63 (detail)

Back cover:

Lot 27

Inside front cover

Lot 18

Inside back cover

Lot 70 (detail)

Page 3

Lot 22

Conditions of Sale: This auction is subject to Important Notices, Conditions of Sale and Reserves.

President and Owner: Leigh Keno, Leigh@kenoauctions.com Staff: Amanda Brody, Amanda@kenoauctions.com Ruth McNab, Ruth@kenoauctions.com Jack O’Brien, Jack@kenoauctions.com Amy Sheldon, Amy@kenoauctions.com Catherine Skibitcky, Catherine@kenoauctions.com Paintings Consultant: Betty Krulik, Fine Arts, Finearts@kenoauctions.com


Handling and Collection Lots will not be released until all outstanding charges due to Keno Auctions are paid in full. Please contact Keno Auctions Client Accounts department at +1 212 734 2381 or Clientaccounts@kenoauctions.com. Administration and Handling Charges Property not picked up the day of the sale or by 3:00 p.m. June 19 will result in handling and administration charges plus any applicable sales taxes. Charges

All Property

Administration and Handling fees (per lot, per day beginning 3:00 pm, June 19)

$15.00

Keno Auctions Sale Site 127 E. 69 Street New York, NY 10021 Hours: 10:00 a.m. – 5:00 p.m.

Directions to the Sale

Parking: There are many parking garages in the neighborhood, including the following:

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From Long Island

Take 6 train to 68th Street

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Take the 1st right onto 3rd Avenue

222 E 65th Street

Turn left onto E 69th Street

212 758 8413

127 E 69th Street

Driving Directions From Westchester and Connecticut •

Take Hutchinson River Parkway S (from Connecticut take Merritt Parkway S to Hutchinson River Parkway S)

Imperial Parking Systems Inc

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Merge onto East 177th Street

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Merge onto New York State Reference Route 900G

Turn left onto E 116th Street/Luis Munoz Marin Blvd

Take the 1st right onto Lexington Avenue

Turn right onto E 69th Street

127 E 69th Street

Take the 125 Street/2 Avenue exit

Turn right onto E 125th Street/Dr Martin Luther King Jr Blvd

Turn left at the 3rd cross street onto Lexington Avenue

Turn right onto E 69th Street

127 E 69th Street

2

From New Jersey

650 Park Avenue

Take the I-95 N exit on the left toward G W Bridge/New York City

212 744 7746

Merge onto Interstate 95N Lower Level

67 Street & 2 Avenue Garage Inc

Slight left onto U.S. 9N

254 E 68th Street

Merge onto Interstate 95N Upper Level

212 861 3603

Take exit 2 for Amsterdam Avenue toward University Avenue

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Take exit 20 to merge onto Park Avenue toward E 132 Street

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Mutual Parking 135 E 71 Street 212 879 1801 Central Parking Systems 910 5th Avenue 212 439 1951


Including Property from the following:

Distinguished American Collector Of a Lady Of a Massachusetts Gentleman Of a New York Gentleman A New Jersey Collection A Southwestern Lady New England Family Private American Collector A New Jersey Gentleman Historic Park-McCullough Association, North Bennington, VT A Distinguished New England Family A Private Collection A Distinguished Midwest Collection A Long Island Collector


AUCTION BEGINS AT

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10:00

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Property of a Distinguished American Collector

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1

British School, late 16th Century

British School, late 16th Century

Edward Hastings, Baron Hastings of Loughborough (1512/15-1572)

Portrait of Dorothy Petre, Lady Wadham (1534-1618), 1595

Inscribed variously verso Oil on cradled panel 35 x 27 inches

Inscribed with sitter and age upper right Oil on Canvas 36 x 29 inches

AM

$6,000-12,000

$5,000-10,000

Provenance: Newhouse Galleries, circa 1960’s

Provenance: Newhouse Galleries, circa 1960’s

Exhibitions: National Portrait Gallery, 1866

Dorothy Wadham (1534/4-1618), the daughter of Sir William Petre, co-founded Wadham College at Oxford University with her husband, Nicholas Wadham. A similar portrait of her is in the collection of Petworth House, in Petworth, West Sussex, England, where it is accompanied by a companion portrait of her husband.

Edward Hastings, Baron Hastings of Loughborough (1512/15-1572) served as a privy to Queen Mary I. He was elected to the Order of the Garter in 1555, and is pictured here wearing the Order’s collar around his neck. The inscription surrounding his coat of arms, “Honi soit qui mal y pense” refers to the Order’s motto. This picture was exhibited at the First Special Exhibition of National Portraits in April 1866 at the South Kensington Museum in London, England, which was organized to display portraits of significant people in the history of England.

Property of a Massachusetts Gentleman

3 British School Pair of early 18th century Portraits of a Man and a Woman Oil on canvas In early carved and gilt wooden frames (2) 30 x 24 inches (oval)

$4,000-6,000 Provenance: Purchased by the present owner at Hubley’s Auction Gallery, Cambridge, Massachusetts, circa 1970

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Property of a Lady

4 Attributed to Roelof Koets, (1592-1653)

$8,000-15,000

Grapes, Quinces, Plums and Pears on a Tabletop

Provenance: Donald Antiques, London, England, October 1951; By descent in the family

Unsigned Oil on panel 20 1/2 x 32 5/8 inches Another Owner

5 Attributed to Jost Amman (Swiss, 1539-1591) Sampson Carrying Off the Gates of Gaza Ink on paper 10 x 6 1/2 inches

$5,000-10,000 The drawing includes two collector’s marks. This first (Lugt L.2672), distinguished by the inclusion of a lion, belongs to the Austrian collector Ludwig Zatzka (b. 1857) whose collection included around 2,000 folios, European paintings and bronze sculptures. The other mark (Lugt L.2347), which includes the initials “SAG”, is unidentified but possibly belongs to Count Saint-Germain or the Artaria publishing house in Vienna.

6 Italian School, 18th Century Italian Ruins Unsigned Oil on canvas 30 x 40 1/4 inches

$2,000-4,000 5

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Property of a New York Gentleman

Another Owner

7 Harry Fenn (American, 1845-1911)

8 Edward Moran (American, 1829-1901)

Rushing Forest Stream

Unloading the Boat, Sunset

Signed lower left “H Fenn” Oil on canvas 24 x 20 inches

Signed lower left “Ed Moran” Oil on canvas 18 x 14 inches

$4,500-6,500 Provenance: Private collection, New York

$5,000-10,000

9 Attributed to Thomas Doughty (American, 1793-1856) Rushing River through a Ravine Unsigned Oil on canvas Retains its original spandrel frame 34 1/4 x 44 1/4 inches

$10,000-20,000

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10 American School, 19th Century Fishing at the River’s Edge Oil on canvas 18 1/2 x 32 inches

$2,000-4,000

Property of a New Jersey Collection

11 James Brade Sword (American, 1839-1915) Wish We Could Go Play, 1883

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Signed and dated lower right “J B Sword ‘83” Inscribed with title verso Oil on canvas 24 x 15 1/2 inches

$3,000-5,000

12 James Gale Tyler (American, 1855-1931) Busy Harbor Signed lower left “J. G. Tyler” Oil on canvas 22 x 18 1/8 inches

$2,000-4,000

13 Samuel S. Carr (American, 1837-1908) Picking Goldenrod Signed lower left “S.S. Carr” Oil on canvas 10 x 14 inches

$5,000-8,000

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Property of a Southwestern lady

14 David Johnson (American, 1827-1908) Sunset on the Unadilla River, New York, 1856 Signed and dated lower left, “D Johnson 1856” Inscribed and titled on a label affixed to the frame Oil on Canvas Retains the original frame 19 x 28 1/8 inches

$50,000-80,000

Johnson claimed to be self-taught, but records show he studied at the National Academy of Design, and with Hudson River artist Jasper Cropsey (a student of Frederic Edwin Church). Johnson exhibited at the National Academy of Design regularly and became an associate in 1860 and a full academician the following year. His works also appeared in exhibitions at other major American art centers, including Chicago, Boston and Philadelphia, and Scenery on the Housatonic was shown at the Paris Salon of 1877. Johnson’s Sunset on the Unadilla River from 1856 has the influence of Frederic Edwin Church in use of brilliant salmon colored ground in the sky, and meticulous detail in the foliage. This work is not only a classic painting of the Hudson River School, characteristic of the very best of Johnson’s work, but has an engaging subtle narrative which leads the viewer through the landscape from the figure on the bridge to the homestead beyond.

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Various Owners

15 19th Century American School Landscape with Native American Warrior Signed on stretcher in chalk “T J Jones (?)” in early 19th C. script Oil on canvas 20 x 26 3/4 inches

$1,000-2,000

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16 George William Whitaker (American, 1841-1916) Rainbow after the Storm, 1898 Signed and dated lower right “G W Whitaker / -98-” Oil on canvas 16 1/8 x 24 3/8 inches

$3,000-5,000

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17 Alexander Lawrie (American, 1828-1917) Mountain Lake with Rocky Shoreline in Autumn Signed lower left, “A. Lawrie” Oil on panel An old label verso from Curtis H Moyer of Hartford, Connecticut 6 7/8 x 8 5/8 inches

$500-700

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Property of a Georgia Family

18 William Trost Richards (American, 1833-1905) The Otter Cliffs, Mount Desert Island, Maine, 1866 Signed and dated lower right “WM T Richards / 1866� Oil on panel backed canvas 36 1/4 x 29 inches

William Trost Richards returned from Germany in the spring of 1866. He traveled to Mount Desert Island, Maine, perhaps encouraged by fellow artists, Thomas Cole, Frederic Edwin Church, Jervis McEntee and William Stanley Haseltine. This is one of the few paintings extant from that trip. It signifies an important transition from pure landscape painting to his atmospheric coastal scenes, a subject that would occupy him for the rest of his prolific career.

$40,000-100,000

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Another Owner

19 Edward Mitchell Bannister (American, 1828-1901) Sheep Grazing in a Newport, Rhode Island Landscape Signed lower right “E M Bannister” Oil on canvas 12 x 16 inches

$8,000-12,000

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Property of a New Jersey Collection

Various Owners

20 Henri Rondel (French, 1857-1919)

21 George William Whitaker (American, 1841-1916)

Young Girl Fishing at a Stream

An Opulent Fruit Still Life with Grapes, Oranges, Plums and Pears with a Silver Charger, 1899

Signed lower right “H Rondel” Oil on canvas 12 1/8 x 9 1/4 inches

Signed and dated lower left “G. W. Whitaker ‘99” Oil on canvas 26 x 22 inches

$1,500-2,500

$3,000-5,000 Provenance: Gift from the artist to Moses Brown School, Providence, Rhode Island, 1902; Gift to a custodian of the school, circa 1965; Thence by descent; Private Collection

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22 George Henry Hall (American, 1825-1913) A Plea for Peace, 1861 Signed and dated lower left “G.H. Hall / 1861” Oil on board 18 3/4 x 15 inches

$25,000-45,000

Provenance: The Late Ms. Delia P. Frissora of Watertown, Mass. This work was purportedly loaned to the Museum of Fine Arts, Boston in 1972. George Henry Hall’s A Plea for Peace called into question the feminine qualities generally associated with floral still-lifes. Hall, who earlier in his career painted historical and allegorical subjects, managed to reflect the political turbulence of the times by depicting flowers in patriotic colors sitting in a rifle. In doing so Hall juxtaposed the fragility and vibrancy of the flowers with a sense of impending destruction. Painted in 1861 at the beginning of the American Civil War, A Plea for Peace sent a clear message of what was at stake for a country newly at war.

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Property of a New Jersey Collection

23 William McDougal Hart (American, 1823-1894) Watering at Sunset Signed lower right “W. Hart” Oil on panel 10 x 16 inches

$3,000-6,000

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Property of Various Owners

24 Salomon Leonardus Verveer (Dutch, 1813-1876) Figures by a Stream at Sunset, Windmill Beyond, 1861 Signed and dated lower right “S. L. Verveer 1861” Oil on canvas 15 1/4 x 22 inches

$4,000-8,000

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25 Alexandre Defaux (French, 1826-1900) Study of Cows and Chickens Signed lower right “A. DeFaux” Oil on canvas 21 1/4 x 25 1/2 inches

$4,000-6,000

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Property of a New Jersey Collection

26 Frederick Arthur Bridgman (American, 1847-1928) Camel and Merchant at a Town Gate Signed with initials and inscribed, “To my friend WB” Oil on panel 22 x 16 1/2 inches

$5,000-10,000

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Property from a New Jersey Collection

27 Hamilton Hamilton (American, 1847-1928) Sierras, 1873 Signed and dated and inscribed indistinctly with title lower right “Hamilton Hamilton ‘73 / Sierras S****� (indistinct) Oil on canvas 18 x 29 7/8 inches

$20,000-40,000

Hamilton Hamilton was largely self-taught, however, in 1870; he traveled to Europe, studying in Paris. After two years, he returned home opening a portrait studio in 1872. In 1873 he made a sketching trip west to Colorado and spent much of the summer and winter there, completing forty-seven paintings. Filled with brilliant and luminous color, few of these works are known to exist today. His Colorado paintings were chosen for exhibition in the 1876 Centennial Exhibition in Philadelphia, PA. He later turned to impressionism, but his Western Landscapes have stood the test of time being his most sought after works.

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Property of Various Owners

28 Frederick R. Wagner (American, 1864-1940) Mother and Child Reading Signed upper right “F. Wagner” Pastel on paper 8 x 10 1/2 inches

$1,000-2,000

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29 Frederick R. Wagner (American, 1864-1940) Public Building with American Flags Signed lower left “F. Wagner” Pastel on paper 9 x 11 1/2 inches

$1,000-2,000

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30 George W. Seavey (American, 1841-1916) Fresh Cut Roses Signed lower right Oil on canvas 10 x 14 inches

$600-800 Provenance: Mrs. Delia P. Frissora, Watertown, Massachusetts

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Property from a Prominent New England Family

31 David Johnson (American, 1827-1908) On the Wa-wa-yan-da Orange Co. NY, 1875 Signed with conjoined initials and dated ‘75 lower right Signed again verso and dated DJ. 1875 Inscribed with title and Orange Co. NY on the stretcher Inscribed indistinctly on the stretcher Oil on canvas 9 1/4 x 12 inches

$3,000-5,000 Provenance: Curtis H. Moyer Pictures and Framers, Hartford Conn Label verso

Property from a Private American Collection

32 William Trost Richards (American, 1833-1905) 31

Guernsey, Low Tide Signed lower left “Wm. T. Richards” Oil on artist’s board 9 x 16 inches

$8,000-12,000

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Property of Various Owners

33 Harriet Bowdoin (American, 1880-1947) Figures by Shore Signed lower left “Harriet Bowdoin” Oil on panel 9 x 11 inches

$3,000-4,000

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34 John Henry Dolph (American, 1835-1903) Still Life with Grapes and Pears, Butterflies Fluttering, 1864 Signed with conjoined initials and dated lower right “JHD, 1864” Oil on artist’s board 5 1/2 x 8 1/4 inches

$800-1,200

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35 Frederick R. Wagner (American, 1864-1940) Boys Fishing on a Seaside Dock Signed lower left “F. Wagner” Pastel on paper 5 x 6 inches

$1,000-2,000

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36 Frederick R. Wagner (American, 1864-1940) Inner Harbor Signed lower right “F. Wagner” Pastel on paper 4 1/2 x 6 inches

$1,000-2,000

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Property of a New Jersey Gentleman

37 Frederick Childe Hassam (American, 1859-1935) Wintertime In New York, 1893 Signed and dated lower left “Childe Hassam, New York, 1893” Watercolor and gouache with pen and ink on paper Retains original gilt frame 2 1/2 x 8 1/2 inches

$30,000-60,000

Literature: This painting will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s works. Frederick Childe Hassam was born in 1859, in Dorchester, Massachusetts. He married in 1884 and moved to Paris two years later. Hassam moved to New York in 1889 where he lived until his death on 1935. Hassam, noted for his urban scenes, chronicled the constant flux of Boston, Paris and New York. While he was known to paint in a variety of art colonies outside of the cities, his best works are that of the streets and the many types of people that inhabit them. City life was an endless inspiration for him, from the fluttering of leaves as a carriage passes to the swoosh of skirts of the ladies as they cross the streets; he captures the bustle of the city. This work is particularly successful, even in its small scale, as it bursts with energy.

DETAIL

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Various Owners

38 Jean Francois Raffaelli (French, 1850-1924) Shoreline with a Fisherman in the Foreground Signed lower left “JF. Raffaelli” Oil on board 25 x 30 inches

$25,000-50,000

Jean Francois Raffaelli was born in Paris on April 20, 1850. He was accepted at the Paris Salon of 1870 despite his lack of formal training. He was known for picturesque views of quaint Paris neighborhoods and focused on scenes of middle-class life. He was associated with the Realists as well as the Impressionists, yet his work does not fall into either category. While in his earlier work was characterized by a somber palette, which was contradiction to the Impressionists; their influence is felt in his later work with a lighter palette. The Shoreline with a Fisherman is a classic subject for Raffaelli, with the expanding middle class and the growth of the suburbs around Paris, the artist had innumerable subjects from which to paint. This work is representative of the Raffaelli’s mature style. Lighter in color, but a broad brush, and small but strong energetic figures.

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Proceeds to benefit the Historic Park-McCullough Association, North Bennington, Vermont

39 Hendrik Willem Mesdag (Dutch, 1831-1915) Morning Fishing Boats at Anchor Signed lower right “H W Mesdag” Oil on canvas Inscribed with title on a label affixed to the stretcher 24 x 51 inches

$40,000-80,000 Provenance: Purchased by Eliza Hall Park McCullough and John G. McCullough circa 1900; And by descent in the family; The Park McCullough House Association, 1975

Hendrik Willem Mesdag was the first of the artists to move to The Hague in 1869, followed by Maris, Israels Mauve and Weissenbruch, amongst many others. The group became known as “The Hague School” and was characterized by paintings with muted tones in warm greys. The critic Jacob van Stanten Kolff described the work as “intent to convey mood, tone takes precedence over color… almost exclusive preference for so-called…gray mood.” This work Morning: Fishing Boats at Anchor, is one of Mesdag’s masterpieces, with its grand scale, and rhythmic arrangement of figures and boats. The subtle tonal quality of the greys, pinks and blues are visible even under 100 years of surface grime and aged varnish.

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The Property of a Prominent New England Family

40 John Fabian Carlson (American, 1874-1945) Sunrise on the Shore

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Signed lower right “John F. Carlson” Signed again dated “jan, 7th 1917” and inscribed “To Susan and Boardman Tyler/ In memory of a very/ wonderful day/ From Margaret G. and John F. Carlson/ with affectionate regard” Oil on board mounted to paperboard Unframed 8 1/4 x 10 1/4 inches

together with May Morning Oil on canvas board 8 1/4 x 10 1/4 inches (2)

$3,000-5,000

Property from a New Jersey Collection

41 Chauncey Foster Ryder (American, 1868-1949) Egremont, Massachusetts Signed lower left “Chauncy F Ryder” Oil on canvas 12 x 16 inches

$2,000-4,000 41

42 Bruce Crane (American, 1857-1937) Spring Walk Signed lower right “BRUCE CRANE” Oil on canvas 22 x 32 inches

$8,000-12,000

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Property from Various Owners

43 American School, circa 1850 Holding the Fort Unsigned Oil on canvas Unframed 20 x 16 inches

$800-1,200

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Property from a Private Collection

44 Charles Marion Russell (1864-1926) Wood Nymph With Rabbit Unsigned Oil on canvas 9 x 5 1/4 inches

$15,000-25,000 Provenance: Trails End Gallery, Pasadena, California; The Hammer Brothers, New York, New York by 1957 To Private Collection, circa 1972 Exhibitions: Los Angeles, California, Department of Municipal Art, August 29September 13, 1957; San Francisco California palace of the Legion of Honor (September ‘57); Fine Art Gallery, October 1-12, 1957; Great Falls Montana, The C.M. Russell Foundation, Inc., Oct 14-26, 1957, catalogue number 77 Calgary Allied Art Council *Please visit KenoAuctions.com for a write up on this painting by Byron Price, Director, Charles M. Russell Center for the Story of the American West, University of Oklahoma

45 Charles Marion Russell (1864-1926) The Burning of the Tonquin Unsigned Oil on canvas 7 7/8 x 12 1/2 inches

$20,000-40,000 Provenance: Trails End Gallery, Pasadena, California; The Hammer Brothers, New York, New York by 1957 To Private Collection, circa 1972 Exhibitions: Los Angeles, California, Department of Municipal Art, August 29September 13, 1957; San Francisco California Palace of the Legion of Honor (September ‘57); Fine Art Gallery, October 1-12, 1957; Great Falls Montana, The C.M. Russell Foundation, Inc., Oct 14-26, 1957, catalogue number 77 Calgary Allied Art Council *Please visit KenoAuctions.com for a write up on this painting by Byron Price, Director, Charles M. Russell Center for the Story of the American West, University of Oklahoma

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Property from Another Owner

Property of Various Owners

46 Walter Farndon (American, 1876-1964)

47 Alexander Helwig Wyant (American, 1836-1892)

The Old Grist Mill

Summer Stream

Signed lower left “Walter Farndon NA” Inscribed with title and Roslyn, New York verso also inscribed “From Marie and Walter” verso Oil on masonite 14 x 18 inches

$1,500-3,000

Unsigned Oil on canvas Retains the original frame 30 1/8 x 40 1/4 inches

$5,000-10,000

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Property from a New Jersey Collection

49 Theodore Wores (American, 1859-1939)

48 Mabel May Woodward (American, 1877-1945) Sketching By the Sea Signed lower left “M. Woodward” Oil on canvas 10 x 8 inches

$4,000-6,000

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The Shrine in Spring Signed lower right “Theodore Wores” Watercolor and gouache on paper laid down on board 13 x 19 1/2 inches

$2,500-4,500 * Visit KenoAuctions.com for a discussion of this work by William Gerdts

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Property of a Lady

50 John LaFarge (American, 1835-1910) Study on the Reef at Tautira, Tahiti, 1891 Unsigned Watercolor and gouache on paper 8 x 9 inches (sight)

LaFarge painted just two watercolors of the reefs, this being the crisper more detailed of the two. Lafarge wrote in his Record of Travel, “to go to the reef which runs along exactly like a great coastway… and to see the great waves break against this wall, then run in innumerable ripples over the edge in to the quiet water inside the reef.”

$15,000-30,000 Provenance: Vance Jordan Fine Art, Inc., circa 2002 Exhibitions: Records of Travel, New York, no. 170; Paris, no. 169 John LaFarge’s Second Paradise, Voyages in the South Seas 1890-1891: Yale University Art Gallery, New Haven, Connecticut, Oct. 19, 2010- January 2, 2011; Addison Gallery of American Art, Andover, Massachusetts, January 22- March 27, 2011, Catalogue number 38 In February of 1891, John LaFarge and Henry Adams were traveling from Papara along the Isthmus to the island of Taiarapu, where they met Ori, the chief of the Teva clan, who Robert Louis Stevenson had met in1888. Stevenson had written a letter of introduction for La Farge and Adams.

51 John LaFarge (American, 1835-1910) Flower Study: Cobaea Scandens (Cup and Saucer Vine), circa 1906 Unsigned Watercolor and gouache on brown toned paper 7 1/2 x 5 1/2 inches

$5,000-7,000 Provenance: Vance Jordan Fine Art Inc., New York, NY

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Property of Another Owner

52 Frederick R. Wagner (American, 1864-1940) Sunrise Signed lower right center “F. Wagner” Pastel on paper 7 1/2 x 6 1/4 inches

$1,000-2,000

Property of a New Jersey Collection

54 Hayley Lever (American, 1876-1958) Pears Still Life, 1943 Signed and dated lower right “Hayley Lever 1943” Signed again, inscribed and dated verso Oil on board 16 x 24 1/2 inches

$4,000-6,000

53 Frederick R. Wagner (American, 1864-1940) Path to the Barn Signed lower right “F. Wagner” Pastel on paper 6 1/2 x 7 3/4 inches

$1,000-2,000

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Property from a Distinguished Midwest Collection

55 George Benjamin Luks (American, 1867-1933) Children of the Street Signed lower right “George Luks” Inscribed with title verso Oil on canvas 20 x 16 1/8 inches

$12,000-18,000 Luks made many paintings of working class subjects and scenes of the urban street. Luks’s representations of immigrant shoppers, pushcart peddlers, casual strollers and curious onlookers of the ethnic variety characterized metropolitan, turn-of-the century New York. It was very important for the artists associated with the Ashcan school to depict real life. Luks’s work typifies the ‘real-life’ scenes painted by the Ashcan School artists, in Children of the Street, Luks paints a three young children, a blond adolescent , a dark haired youth and an Asian child, huddled together in a red blanket for warmth. His bold brush and thick impasto together with his social consciousness are hallmarks of his best work.

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56 Reginald Marsh (American, 1898-1954) Two Women on a Boardwalk, 1943 Signed and dated lower right “R. Marsh 1943” Watercolor on paper 11 x 9 1/2 inches

$6,000-10,000 Provenance: Hudson’s Department Store, Detroit, Michigan Reginald Marsh was known for his depictions of life in New York City in the 1920s through 1950s. Crowded Coney Island beach scenes, popular entertainments such as vaudeville and burlesque, women, and jobless men on the Bowery are subjects that reappear throughout his work. Two Women on the Boardwalk is an iconic example of Marsh’s watercolors from the depression era, his women are voluptuous and powerful. The work is infused with rich color and bold pen and ink lines, which attest to his love of Tiepolo drawings, and energize the watercolor

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57 Jerome Myers (American, 1867-1940) Carousel, 1930 Signed and dated lower right “Jerome Myers 1930” Oil on canvas 25 x 30 inches

$12,000-18,000 Provenance: Vose Galleries, Boston, MA Myers studied at in Paris and in NY at the Art Students League but his main classroom was the streets of New York’s lower East Side. His strong interest and feelings for the new immigrants and their life resulted in hundreds of drawings, paintings, etchings and watercolors. He capturing the whole panorama of their lives as found outside of the crowded tenements which were their first homes in America. In Carrousel, he captures the Mothers and Children of the working class enjoying the carefree festival atmosphere of the Carrousel and the park. The arrangement of colorful and active figures plays off against the broad sweep of grey ground, highlighting the buoyant environment.

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Property of a Private American Collection

58 Milton Avery (American, 1885-1965) Beach Photographer, 1930 Signed lower left center “Milton Avery” Watercolor and gouache on black paper 17 1/2 x 24 inches (sight)

$20,000-40,000 Provenance: Riva Yares Gallery, Scottsdale, Arizona

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Property from a Distinguished Midwest Collection

59 Charles Demuth (American, 1883-1935) Two Men and a Woman on the Beach, 1912 Signed and dated lower right “C. Demuth 1912” Watercolor over pencil on paper on board 8 1/2 x 5 1/4 inches (sight)

$12,000-18,000 Provenance: Durlacher Brothers, New York New York, The Museum of Modern Art, Charles Demuth A Retrospective Exhibition, 1950, no. 10 Charles Demuth was born in 1883 in Lancaster, Pennsylvania to a prosperous family in the tobacco business, who encouraged his artistic pursuits. He studied at the School of Industrial Art in Philadelphia from 1903 to 1905. He traveled to Paris frequently from 1904 till 1914, living the bohemian life and associating with Gertrude and Leo Stein in Paris and absorbing the many aspects of Modernism. By 1914, he became one of the modernist artists associated with Alfred Stieglitz. He was friends with Marcel Duchamp; they spent time together in Harlem jazz clubs and Greenwich Village bars, which became the subject of many of his watercolors. Demuth’s works, primarily, in watercolor are characterized with an economy of sinuous line, and controlled application of watercolor. Two Men and a Woman on the Beach, from 1912 is typical of his offbeat world view and humor, with a woman fully clothed in a fox stole conversing with male bathers.

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Property of Various Owners

60 Milton Avery (American, 1885-1965) Red Reflections, 1959 Signed and dated lower left “Milton Avery 1959” Oil crayon on paper 15 x 22 inches

$8,000-12,000 Provenance: The Avery Trust; David Barnett gallery; Private Collection

60

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61

61 Victor Higgins (American, 1884-1949) Western Mountains Signed lower right “Victor Higgins” Watercolor on paper 15 x 21 1/2 inches

$15,000-25,000

62 Paul A Grimm (American, 1891-1974) San Jacinto’s Front Yard Signed lower right “Paul Grimm” Signed and inscribed with title verso Oil on canvas 24 x 30 inches

$2,500-4,500

62

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Property from a Private American Collection

63 Esteban Vicente (American, 1903-2001) On Space, 1987 Signed, dated and inscribed with title verso “Esteban Vicente� Oil on Canvas 54 x 64 inches

$30,000-60,000 Provenance: Riva Yares Gallery, Scottsdale, Arizona, circa 1988 Purchased from the above by the present owner

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Property from a Distinguished Midwest Collection

64 Aaron Bohrod (American, 1907-1992) Mother Earth Signed and dated indistinctly lower right 19..? Oil on masonite 12 x 16 inches

$5,000-8,000 This work is a commentary on organic and inorganic substances, our material society and the passage of time.

Property from a New Jersey Collection

65 Lodewijk Karel Bruckman (Dutch, 1913 - 1980) Egg, 1960 Signed upper right “Lodewijk / Bruckman / f ‘60 t” Signed, inscribed and dated verso “Lodewijk Bruckman / Providence / Cape Cod / Mass. / 1960” Tempera on canvas 20 1/2 x 14 1/2 inches

$2,000-4,000

65

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Property of a Private American Collection

66 Roberto Anotonio (Echaurren) Matta (Chilean, 1911-2002) Topologie de I’illusion, 1990 Signed lower right Signed again, inscribed with title verso Acrylic on canvas 74 1/2 x 82 3/4 inches

Matta left Chile as a young man, for Paris to study, New York to work and Rome to live his mature years. He did not like to be thought of as a “Latin American” artist. He was one of the few Surrealist artists to take on political, social, and spiritual themes directly and without abandoning the biomorphic mutations for which he was known. His most characteristic works border on abstraction and evoke fantastic subjective landscapes. This work Topologie de Illusion from 1990 has an otherworldly fantastic aura which is the hallmark of his work.

$50,000-100,000 Provenance: Riva Yares Gallery, Scottsdale, Arizona, circa 1991 Purchased from the above by the present owner

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67

Property from a New Jersey Collection

67 Raphael Soyer (American, 1899-1987) The Bathrobe

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Signed lower right “RAPHAEL SOYER” Oil on canvas 24 1/2 x 16 inches

$2,000-3,000

Property of Various Owners

68 Lester F. Johnson (American, 1919-2010) Three Women Walking Signed lower right “Lester Johnson” Oil on Canvas 30 x 20 inches

$5,000-10,000

69 Nicola Hicks (British, 1960) Wild Boar Charcoal on brown wrapping paper 39 1/2 x 51 inches

$4,000-6,000 Provenance: Sold Sotheby’s London, Wed., Nov.26, 1997, Lot 126

69

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Property of a Long Island Collector

70 Jean Paul Riopelle (Canadian, 1923-2002) Folâtre, 1957 Signed lower right “Riopelle” 23 1/2 x 28 1/2 inches

$80,000-120,000 Provenance: Jane Kahan Gallery, 1992 Purchased from the above by the present owner

Literature: Michel Waldberg, Yseult Riopelle, Monique Brunet-Weinmann, François Odermatt (Editor), Jean Paul Riopelle: catalogue raisonné, Montreal: Hibou Éditeurs, 1999, Cat No. 1957-059, illustrated Riopelle was a member of the group Les Automatistes (founded by Montreal artist Paul-Emile Bourduas, the group was influenced by Surrealism and its theory of automatism). This movement was seen as the beginning of Canadian Modern Art. Many of this group worked in Paris and New York. In Paris in the early 1950s he was known as the ‘Wild Canadian’, not only because of his exuberant artistic style, but also because of his lifestyle. In the 1960s-80, he had a relationship with Joan Mitchell, who had a great influence on his work. Affiliated with the post war modernists, he created works of heavy impasto and quite often squeezed paint directly from the tube onto the canvas. In the 50s and 60s, he frequently used a palette knife; this work Foltâre is emblematic of that which is considered his best period.

Additional Information and Condition Reports at Kenoauctions.com

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Property of Various Owners

71 Robert Arthur Goodnough (American, 1917-2010) Abduction by Boat, 1963 (A Tondo) Signed and dated lower right “Goodnough / ‘63” Signed, dated and inscribed with title verso Oil on canvas 47 inches, diameter

$2,000-4,000

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72 John M. Johansen (American, b. 1916) Modernist Edifice, 1953 Signed and dated lower left “John MacL. Johansen / ‘53” Watercolor and gouache on paper 26 x 19 inches (sight)

$2,000-4,000 Provenance: Acquired directly from the artist; By descent in the family

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73 Ilya Bolotowsky (Russian-American, 1907-1981) Geometric Abstraction, 1953 Signed lower right “I. Bolotowsky / 53” Mixed media on cardboard 7 1/2 x 10 inches

$3,000-5,000

End of Sale

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Index Lot

Lot Amman, Jost

5

Avery, Milton

58, 60

Bannister, Edward Mitchell

19

Bohrod, Aaron

64

Bolotowsky, Ilya

73

Bowdoin, Harriet

33

Bridgman, Frederick Arthur

26

Bruckman, Lodewijk Karel

Carlson, John Fabian

65

40

Carr, Samuel S.

13

Crane, Bruce

42

Defaux, Alexandre

25

Demuth, Charles

59

Dolph, John Henry

34

Doughty, Thomas

9

Farndon, Walter

46

Fenn, Harry

7

Goodnough, Robert Arthur

71

Grimm, Paul A.

62

Hall, George Henry

22

Hamilton, Hamilton

27

Hart, William McDougal

23

Hassam, Frederick Childe

37

Hicks, Nicola

69

Higgins, Victor

61

Johansen, John M.

72

Johnson, David

14, 31

Johnson, Lester F.

68

Kneller, Sir Godfrey

3

Koets, Roelof

4

LaFarge, John

50, 51

Lawrie, Alexander

17

Lever, Hayley

54

Luks, George Benjamin

55

Marsh, Reginald

56

Matta, Robero Anotonio (Echaurren)

66

Mesdag, Hendrik Willem

39

Moran, Edward

8

Myers, Jerome

57

Raffaelli, Jean Francois

38

Richards, William Trost

18, 32

Ryder, Chauncey Foster

41

Riopelle, Jean Paul

70

Rondel, Henri

20

Russell, Charles Marion

44, 45

Seavey, George W.

30

Soyer, Ralph

67

Sword, James Brade

11

Tyler, James Gale

12

Verveer, Salomon Leonardus

24

Vicente, Esteban

63

Wagner, Frederick R.

28, 29, 35, 36, 52, 53

Whitaker, George William

16, 21

Woodward, Mabel May

48

Wores, Theodore

49

Wyant, Alexander Helwig

47


Conditions of Sale

Bidding Increments

Participation in this auction is subject to and governed by the following contractual terms. Each prospective buyer is deemed to have reviewed, understood and accepted these conditions of sale and participation in the auction in any manner (in person, by telephone, by written bid or on-line) constitute an acceptance of these conditions of sale by the participant.

The auctioneer will commence the bidding at any level and in increments considered appropriate. Bids will be sought in increments selected by the auctioneer who will have the absolute discretion to select any increments for any lot (and the discretion to vary the increments in the course of the bidding for any lot). However, generally speaking, the increments will depend upon the low estimate for the lot. Thus for example, for lots having a low estimate below $1,000, bids will be sought at increments of $50. The normal pattern for bidding increments will be as follows:

BEFORE THE SALE Condition Every item offered for sale will be sold subject to the actual condition of the property at the time of the sale (generally referred to as ‘as is’). Prospective buyers are permitted and strongly encouraged to thoroughly examine any property before the auction with the understanding that there is no representation or warranty of any kind concerning the condition or any of the physical aspects of any items offered for sale. Catalogue descriptions or verbal statements are offered as opinion and shall not constitute a representation or warranty or assumption of liability of any nature whatsoever.

Registration before Bidding Prospective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom approximately 30 minutes before the start of the sale to register in person. A prospective buyer must complete and sign a registration form and provide identification (including a check acceptance form) before bidding.

Absentee Bidding Reasonable efforts will be used to carry out written bids delivered to us before the sale for the convenience of prospective purchasers who are not present at the auction in person, by an agent or by telephone. If written bids for identical amounts are submitted for the same lot and are the highest bids on this lot at the auction, the property will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and there shall be no liability for failing to execute any written bid or for errors and omissions in connection with any written bid.

Telephone Bidding Telephone bids will be accepted on lots with a low estimate of more than $2,500, no later than twenty-four (24) hours prior to the commencement of the sale and only if capacity allows. Arrangements to bid in languages other than English must be made well in advance of the sale. We will use reasonable efforts to contact prospective purchasers to enable them to participate in the bidding by telephone as a free service, however there will be no liability for any failure or for any errors or omissions in connection with telephone bidding.

Low Estimate < 999 $1,000 – 1,999 $2,000 – 4,999 $5,000 – 9,999 $10,000 – 29,999 $30,000 – 49,999 $50,000 – 99,999 > $100,000

Increments $50s $100s $250s $500s $1,000s $2,500s $5,000s at auctioneer’s discretion

These increments may vary during the course of the auction at the discretion of the auctioneer.

Estimates Pre-sale estimates are provided to encourage competitive bidding. These estimates may not be relied upon as any predictions of the selling price and may not be considered to be any opinion or representation regarding the value of the property. Keno Auctions shall not be responsible or liable for any difference between a pre-sale estimate and the actual selling price for any lot.

Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is a confidential minimum price set by the seller below which the lot will be not be sold. The reserve will not exceed a given low pre-sale estimate at the time of the auction. Regardless of whether there is a reserve, the auctioneer may reject any bid and withdraw any lot for any reason. In order to comply with the seller’s reserve on any lot, the auctioneer may open bidding by placing a bid on behalf of the seller. The auctioneer may bid further on behalf of the seller (i.e. a bid from the book held by the auctioneer) up to the amount of the reserve by placing consecutive bids or by placing bids in response to other bidders. If a lot is not sold, the auctioneer will announce that fact (normally by stating that the lot has been unsold or passed).

Property of Keno Auctions / Guarantees

Please register for online bidding at KenoAuctions.com. Reasonable efforts will be exerted to place on-line bids in the saleroom. However there will be no liability for any failure or error in the placement of such bids.

Should Keno Auctions own any lot in whole or in part or have a financial interest in any lot equivalent to an ownership interest, the catalogue will clearly identify any such property as the Property of Keno Auctions. From time to time, a lot may be offered for which a guaranteed minimum price or an advance secured by the consigned property has been given to the seller. Such property will be identified in the catalogue with the symbol * next to the lot number.

AT THE SALE

AFTER THE SALE

Terms of Bidding

Successful Bids

Online Bidding

The auctioneer has the absolute and sole discretion to refuse any bid and to advance the bidding in any manner. The auctioneer also has the right to withdraw any lot, and in the case of error and dispute (whether during or after the sale) to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the property. The highest bidder acknowledged by the auctioneer will be the purchaser. In the case of a tie bid, the winning bidder will be determined at the sole discretion of the auctioneer. In the event of a dispute between bidders, the auctioneer has final discretion to determine the successful bidder or to reoffer the lot in dispute. If any dispute arises after the sale, the sale record of the auctioneer is conclusive. Participation in the auction may be disallowed for any reason. A bid is an offer to purchase and by making a successful bid, a bidder is accepting personal liability to pay the purchase price, plus the buyer’s premium, all applicable taxes and all other applicable charges.

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Keno Auctions is not able to notify successful absentee bidders. While invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary handling charges.

Buyer’s Premium A buyer’s premium will be added to the hammer price of each lot and is payable as part of the total purchase price (comprising the hammer price, buyer’s premium and any applicable taxes). The buyer’s premium is 24% of the hammer price.

Sales Tax Unless exempted by applicable law, all purchases are subject to the 8.875% sales tax of the City and State of New York. Any buyer claiming exemption from sales tax must have the appropriate documentation on file with Keno Auctions prior to the release of the property.

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Payment Buyers are expected to pay the full amount due (comprising the hammer price, the buyerâ&#x20AC;&#x2122;s premium and any applicable taxes) the day of the auction. Please note that Keno Auctions will not accept payments for purchased lots from any party other than the registered buyer. Lots purchased may be paid for in the following ways: (i) bank checks (ii) checks (iii) cash (up to $7,500) (iv) money orders (up to $7,500) (v) travelers checks (up to $7,500) (vi) Pay Pal (up to $10,000)

In the event that the property is removed from the auction premises by Keno Auctions, the buyer will be charged for 120% of the actual packing and shipping cost incurred in transporting the property and a daily storage charge of 1.5% of the purchase price of the property (commencing on the day following the completion of the auction). At the option of Keno Auctions the property may be transferred to and stored at a bonded warehouse and the buyer agrees to pay all the transfer and storage expenses and accepts all risks of loss or damage. Keno Auctions will only release the items after payment in full has been made of transportation, administration, handling, insurance any other costs incurred, together with all other amounts due to us.

Warranty

Bank checks and personal checks should be made payable to Keno Auctions. Checks must be drawn on a US bank and payable in US dollars. In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions. Buyers not known to us who wish to write a check must complete a bidder registration form and check acceptance form no later than two business days preceding the auction.

Remedies for Non Payment If a buyer fails to make payment in full in good cleared funds, Keno Auctions shall be entitled in its absolute discretion to exercise anyone or more of the following rights or remedies (in addition to asserting any other rights or remedies available by law): (i) to charge interest at a rate of 1.5% per month; (ii) to charge $50 for any dishonored check; (iii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iv) to cancel the sale; (v) to resell the property publicly or privately on any terms; (vi) to pay the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer; (vii) where several amount are owed by the buyer in respect of different purchases, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs; (viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located and in this regard the buyer will be deemed to have granted such security to Keno Auctions which may retain such property as collateral security for such buyerâ&#x20AC;&#x2122;s obligations; (x) to take such other action as may be deemed necessary or appropriate. If the property is resold as described above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due and the price obtained upon resale as well as all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If any amount is paid to the seller as described above, the buyer acknowledges that Keno Auctions shall have all the rights of the seller, however arising, to pursue the buyer for such amount.

Collection of Purchases We shall be entitled to retain items sold until all amounts due to us have been received in full in good cleared funds or until the buyer has satisfied such other terms as we, in our sole discretion, shall require.

Packing, Handling, and Shipping The removal of purchased property is entirely the responsibility of the buyer. Accordingly, packing, handling and shipping arrangements for any purchased lot is at the entire risk and cost of the buyer. Where we may suggest other handlers, packers or carriers if so requested, we do not accept responsibility or liability for their acts or omissions.

Except as specifically described in this particular condition, Keno Auctions makes no representation or warranty of any kind as to the accuracy of any description of any lot and any information regarding any subject including quality, authenticity, medium, size, date, importance, rarity, provenance or historical relevance. Any statements made in the catalogue or at the sale or in any invoice or in any other writing shall not be deemed or constitute any warranty, representation, statement of fact or assumption of liability. Notwithstanding the foregoing, Keno Auctions will warrant the accuracy of any statement or information set forth in BOLD type in the catalogue description of the lot, unless clearly and conspicuously modified prior to the bidding on the applicable lot. This warranty regarding the information in bold type shall exist for a period of five (5) years from the date of the auction and is given solely to and strictly for the benefit of the original purchaser of record at the auction. It may not be transferred to any third party. Furthermore, the exclusive remedy of the original buyer in the event of any inaccuracy not otherwise excluded herein shall be a refund of the hammer price and buyerâ&#x20AC;&#x2122;s premium actually paid by the buyer for the lot at the time of the sale. Keno Auctions and its consignor shall not be liable for any incidental or consequential damages incurred or claimed under this warranty.

The warranty does not apply if: (i) a written claim supported by a written report by a recognized expert in the applicable field is not delivered by the original buyer to Keno Auctions before the expiration of five (5) years from the date of the sale; or (ii) the catalogue description was consistent with the opinion(s) of generally accepted scholar(s) and/or expert(s) at the date of the sale; or (iii) the only method of establishing any inaccuracy in the warranted information is by means or processes not generally available or accepted at the time of the auction sale or by means and processes at the time of the auction sale that could have caused damage to the lot or could have caused loss of value to the lot; or (iv) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold type; or (v) the property is not returned to Keno Auctions in the same condition as on the date of the auction sale. Governing Law These Conditions of Sale and the rights and obligations of all participants hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of New York. The buyer and any agent for the buyer shall be deemed to have consented to the jurisdiction of the state courts of, and the federal courts sitting in, the State of New York. Notice: Regarding jewelry, all weights and dimensions are approximate only. It is strongly recommended that you bring your own expert to examine any property prior to the auction. Regarding colored stones: Historically colored stones have been enhanced or treated to improve their appearance. It is widely believed that these treatments are permanent; buyers should assume that treatments may not be permanent and stones may require additional care over time. These treatments have been accepted by the jewelry trade. Keno Auctions, its employees, or representatives make no opinions or warranties regarding these enhancements/ treatments. All Jewelry is sold as is with no representations of enhancements, treatments or assumption of liability is assumed. This includes all weights, measurements, carats and clarity.

Failure to Collect Purchases Where purchases are not collected from the auction premises, whether or not payment has been made, Keno Auctions will remove and store such property in any manner and by any means that it deems appropriate. Keno Auctions will not be responsible or liable for any damage caused as a direct or indirect result of the removal and storage of such property.

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INVITE TO CONSIGN We are currently accepting property for our upcoming auctions

October 2, 2012 Fine European and American Paintings, Furniture and Decorative Arts Property accepted through July 20

January 2013 Important American Paintings, Furniture and Decorative Arts Property accepted through October 2

Queen Anne Cherry wood Chest-on-chest on Frame Connecticut, circa 1760 Estimate $40,00 - 80,000

Na誰ve Painting Depicting African American Circus American School, circa 1925 Estimate $7,000 - 10,000


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Important American and EuropeanPaintings  

c1007 Important American and EuropeanPaintings

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