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Fine Paintings & Sculpture Sale 2930B

September 23, 2016

Boston


Fine Paintings & Sculpture


Specialists

Robin S.R. Starr

Elizabeth C. Haff

Department Director 508.970.3259

508.970.3258

Michelle Lamunière

Martina Tanga 508.970.3206

508.970.3264

Department Inquiries: 508.970.3206

Auction Information Auction 2930B

Preview

Absentee Bidding

Friday, September 23 4PM

Wednesday, September 21 12 to 5PM

T: 617.874.4318 F: 617.350.5429

preceded by Fine Prints & Photographs at 12PM 63 Park Plaza Boston, MA

Thursday, September 22 12 to 8PM Friday, September 23 9 to 10AM

General Inquiries 617.350.5400

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View all lots online at www.skinnerinc.com cover : 381 ; interior front cover : 286 ; interior back cover : 305 ; back cover : 375


American & European Works of Art Auction 2704B 02/07/2014 4:00 PM EST Lot 632 Of 689 - Alexander Calder (American, 1898-1976) Red Circus Horse

M Y AC T IVIT Y AU C T IO N LO G O U T

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$40,000 - $60,000 $110,000

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$110,000 Floor Bidder $105,000 Floor Bidder $100,000 Floor Bidder $95,000 Floor Bidder $90,000 Internet Bidder SK2149 Online bidder SK2149 requests bid of $90,000 on lot 632 $85,000 Floor Bidder $80,000 Floor Bidder $75,000 Floor Bidder

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Table of Contents 1

Auction & Specialist Information

2

Web Site & Online Bidding

4

Event Announcement

5

Provenance

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Glossary of Terms

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Lots 200–460

178

Artist Index

180

Conditions of Sale

181

Absentee Bid Form

182

Company Directors & Specialty Departments

183

Administrative Staff & Client Services

184

Map & Driving Directions

Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 180 of this catalog for the full terms and conditions governing your purchase.

Copyright © Skinner, Inc. 2016

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Skinner Young Collectors’ Night Wednesday, September 21st Reception 5PM | Panel Discussion 6PM Join us for an exciting evening of art and hors d’oeuvres welcoming young and beginning collectors, hosted by Skinner’s American & European Works of Art department. Learn the basics of collecting and buying at auction, featuring a panel discussion with local art professionals, while previewing Modern & Contemporary works, including photography, featured in our September 23 Fine Art auctions.

63 Park Plaza, Boston, MA RSVP 508.970.3240 or events@skinnerinc.com

Reservations requested


Provenance Estate of Graciela Sanchez Brownlow, Miami, Florida Estate of Ruth Troiani, Connecticut Estate of Dr. Robert H. Goddard, Worcester, Massachusetts Estate of Antonio Cirino through the Salmagundi Club Estate of Frederick C. Frieseke Estate of Dr. and Mrs. Jack H. Bloch, California Estate of Mimi and Gerald Berlin, Cambridge, Massachusetts Estate of Audrey Deckoff, New York Estate of Terri Priest, Worcester, Massachusetts Estates in Connecticut, New York, Florida, Massachusetts, and Vermont Lee B. Anderson Martha Burchfield Howard P. Diamond, M.D., New York H. Fetherstonhaugh Frampton, Esq., London Mr. and Mrs. Philip Becker Goetz, Buffalo, New York Charles Percy Parkhurst, Williamstown, Massachusetts Mr. and Mrs. Ralph Trower, Brockton, Massachusetts Private Collections in New England and Florida Descendants of the artists George Loftus Noyes and John Way Property sold to benefit the College of Fine Arts, Boston University

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Glossary of Terms All items in this catalog are described according to the following table of terminology. Please note that all statements in this catalog as to Authorship, Period, and Origin, are qualified statements subject to the Conditions of Sale.

Authorship will be described in the following ways: John Joseph Enneking In our judgment, the work is by the artist. Attributed to John Joseph Enneking In our judgment, the work may be ascribed to the artist on the basis of style, but leaves some question as to actual authorship. School of John Joseph Enneking In our judgment, a work of an unknown follower executed in the style of the artist and contemporary in period. Manner of John Joseph Enneking In our judgment, a work executed in the style of the artist by an unknown hand and probably from a later period. After John Joseph Enneking In our judgment, an intended copy of the work of the artist. American School, 19th Century In our judgment, the work of an unknown hand that can only be identified as to period and culture.

Other terms: Bears signature In our judgment, the signature not of the artist. This term is generally used separately, or together with a description of the work as “attributed to,” “school of,” “manner of,” or “after” the artist.

Measurements are given as height x width and refer to the size of the support unless otherwise indicated.

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200 Sir Joshua Reynolds (British 1723-1792) Portrait of a Lady/Probably Mrs. Frampton Unsigned, identified on a presentation plaque. Oil on canvas, 50 x 40 in. (127.0 x 101.5 cm), framed. Condition: Lined, retouch, skinning, varnish discoloration, surface grime. Provenance: From the collection of H. Fetherstonhaugh Frampton, Esq., through to the collection of Willis F. McCook (per an appraisal in the Vizcaya Museum archives dated November 6, 1926), to the collection of Graciela Sanchez Brownlow (d. 2012), loaned by Mrs. Brownlow to the Vizcaya Museum from 1983 to 2001, where it was briefly displayed in the Lady Hamilton guest bedroom; purchased from the estate of Graciela Sanchez Brownlow by the current owner. Exhibitions: Old Masters, deceased Masters of the British School, Burlington House, London, January 3–March 12, 1910, lent by H. Fetherstonhaugh Frampton, Esq.; Vizcaya Museum and Gardens, Miami, Florida, 1983–2012. 200

N.B. According to the Royal Academy catalog referenced above, the sitter was the wife of James Frampton, Esq., of Moreton, Dorset, England. The portrait has been examined via digital images by Dr. David Mannings, who confirmed its authenticity; a copy of a letter from Dr. Mannings dated June 8, 2012, accompanies the lot. Dr. Mannings writes that the portrait may be dated to the period 1755-60 based on the costume. The identity of the sitter cannot be fully ascertained without further documentation. Dr. Mannings continues that although the name “Frampton” does not appear in Reynolds’s papers, there are gaps in the documentation for this period. Often the sitter’s identity rests on a tradition passed down in families, as is the case here. $30,000-50,000

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201 Attributed to Thomas Hudson (British, 1701-1779) Portrait of Lady Unsigned, artist identified on a presentation plaque. Oil on canvas, 29 1/2 x 25 in. (74.9 x 63.5 cm), framed. Condition: Lined, retouch, craquelure. $3,500-5,500 202 Attributed to Alexander Cooper (British, c. 1605-after 1660) Portrait of a Young Man in Armor with a Lace Collar Unsigned, attributed on a label on the stretcher and on three modern labels on the stretcher and frame. Oil on canvas, 29 1/2 x 23 1/4 in. (75.0 x 59.0 cm), framed. Condition: Lined, retouch, abrasions, fine stable craquelure. $5,000-7,000

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203 British School, 18th/19th Century Young Girl with a Spaniel Unsigned. Oil on canvas, 30 x 25 in. (76.5 x 64.0 cm), framed. Condition: Lined, retouch, craquelure, surface grime. $3,000-5,000

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204 Filippo Palizzi (Italian, 1818-1899) The Faithful Companions Signed “F. Palizzi� l.c. Oil on board, 13 1/2 x 19 1/2 in. (34.2 x 49.5 cm), framed. Condition: Varnish discoloration, surface grime. $2,000-3,000

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205 After David Teniers the Younger (Flemish, 1610-1690) Four Monkeys Drinking, Smoking, and Playing Cards Unsigned. Oil on canvas, 7 3/4 x 10 in. (19.5 x 25.5 cm), framed. Condition: Lined, retouch, stable craquelure, minor surface grime. N.B. This painting is a copy after an original work by David Teniers II. The original is oil on copper, roughly 6 x 8 1/2 in. (15.5 x 21.5 cm), and was sold at Tajan auction house in Paris, June 24, 2004, Old Master Paintings auction, as Singerie: Une partie de cartes, Lot 20. $1,200-1,800 206 Attributed to James Ward (British, 17691859) Black-spotted Rabbit in a Landscape Unsigned, inscribed “James/Ward� on a gummed label on the stretcher. Oil on canvas, 8 x 10 1/2 in. (20.5 x 27.0 cm), framed. Condition: Minor retouch, craquelure, surface grime.

206

Provenance: From the estate of Ruth Troiani, Connecticut. Ruth and her husband Dominick married in New Orleans in 1942. They began collecting antiques shortly thereafter, and started dealing in antiques in the 1960s. $800-1,200

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207 Edward Robert Smythe (British, 1810-1899) Travelers Resting near the Shore Signed “E.R. SMYTHE” l.r. Oil on canvas, 6 x 9 in. (15.2 x 22.8 cm), framed. Condition: Possible retouch, surface grime. Provenance: A Connecticut estate. $1,500-2,000

208 Attributed to Henry Alken (British, 17851851)

209 Hendrik Barend Koekkoek (Dutch, 18491909)

Shooting Birds from a Riverbank Signed “H. Alken” l.r. Oil on panel, 12 7/8 x 17 in. (32.5 x 43.0 cm), framed. Condition: Retouch.

Wooded Landscape with Horse Cart and Livestock Signed and dated “HB Koekkoek 1882” l.l. Oil on panel, 16 x 15 in. (40.6 x 38.1 cm), framed. Condition: Varnish discoloration, surface grime. $4,000-6,000

Provenance: A Connecticut estate. $1,200-1,800

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210 Attributed to François Joullain (French, 16971778) Apollon Écorchant Marsyas Inscribed “Veronesi” in pencil on the supporting paper, with a collector’s stamp from Sir Joshua Reynolds l.r. Red chalk and pencil on paper, 10 5/8 x 13 3/4 in. (27.0 x 35.0 cm), framed. Condition: Creasing, with a fine pencil grid superimposed on the drawing, sheet mounted at intervals along the perimeter of the reverse to a supporting sheet decorated as a French mat. Provenance: A New York estate. N.B. This drawing is after an oil painting originally attributed to Paolo Veronese, now described as School of Veronese. The painting was part of the renowned collection of Baron Pierre Crozat (French, 1661-1740) which was acquired for the Hermitage in 1772 from Pierre Crozat’s descendants. The painting of Apollo and Marsyas has been in the collection of the Pushkin Museum since 1924. The engraving Apollon Écorchant Marsyas was made by François Joullain in the 18th century for the Crozat Gallery. Examples of the engraving may be found in major museums, including the Harvard Art Museums, Cambridge, the Victoria and Albert Museum, London, the Museum of Fine Arts, Boston, and the Bibliothèque Nationale de France.

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The drawing at hand appears to be done in a dry and exacting style and has been squared for transfer. Because no other artist is credited in the engraving as having drawn the image, it is thought that this drawing could be by the hand of the engraver, Joullain. The collector’s stamp is that of Sir Joshua Reynolds (British, 1723-1792). Reynolds may have acquired the drawing on a trip to Paris. $2,000-3,000 211 School of Carle van Loo (French, 1705-1765) Head of a Child Unsigned. Conté crayon on laid paper with grapes watermark, 15 1/4 x 11 1/4 in. (38.8 x 28.5 cm), unframed. Condition: Wear to edges of sheet, toning.

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N.B. Carle van Loo was a celebrated artist of his era, much like François Boucher. His Head of a Child and other drawings were popularized in the 18th century as engravings both in ink and in the crayon manner by Jean-Charles François. These prints were greatly admired and copied by other artists of the period. This drawing may be a copy after one of the engravings. $1,200-1,800


212 Italian School, 17th/18th Century Apollo and Marsyas Unsigned, inscribed “No. 41” in margin u.l. Red chalk on thick laid paper, 10 3/4 x 14 1/4 in. (27.5 x 36.0 cm), framed. Condition: Foxing, staining, scattered pinhole punctures, handling creases, nicks and wear to edges of sheet, tape remnant to u.r. corner, hinged to back mat on the reverse. $300-500 212

213 Italian School, 18th Century La Madalena Inscribed “Mada... di Correggio” in pencil on the reverse, with an unknown collector’s mark l.r. Sanguine on laid paper, 5 1/8 x 7 in. (13.0 x 17.8 cm), framed. Condition: Sheet patched on the reverse to reinforce vertical central crease, also with paper remnants or old patches in each corner of the reverse, perhaps from an old mounting; currently affixed along the top edge of the reverse to supporting sheet; supporting sheet is inscribed in pencil “Coll Earl of Elder” l.l. and “Collezione Malaspina” l.r. beneath the window of the mat.

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N.B. Although the inscription on the reverse of this drawing references Correggio, it does not appear that the image relates to or is copied after the artist. The figure is accompanied by the skull and unguent jar, objects typically associated with Mary Magdalene. The work is painstakingly drawn, with very fine crosshatching to create shading as typically seen in etching. The collector’s mark in the form of a leaf is very similar to Lugt 3539, which Frits Lugt describes as an unidentified mark found on Italian 17th century drawings. Provenance: A New York estate. $800-1,200

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214 Victor Patricio Landaluze (Cuban, 18281889) The Stolen Kiss Signed “Landaluze” l.r. Watercolor with ink and gouache on paper, 12 1/4 x 9 1/4 in. (31.1 x 23.4 cm), framed. Condition: Toning. N.B. Accompanied by a 2010 certificate of authenticity issued by Dr. Olga Lopez-Chimez, Habana, Cuba. $5,000-7,000 215 French School, Late 19th Century Satirical “Menu” Sketch Initialed and inscribed “P.C.C. Le Nègre Anatole” l.c. Ink and watercolor on paper, 11 11/16 x 9 1/8 in. (29.6 x 23.2 cm), framed. Condition: Tears, creases, soiling, not examined out of frame. Provenance: Purchased from the Herslin Gallery, New York. N.B. Le Nègre Anatole may refer to a character in the novel Manette Salomon by Edmond de Goncourt and Jules de Goncourt, both of whom were also illustrators. The book was published by Georges Charpentier in 1902. $1,000-1,500

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216 Clement Pujol de Guastavino (Spanish, 1850-1905) The Dove Charmer Signed “C. Pujol� l.r. Oil on canvas, 20 x 29 1/2 in. (50.8 x 74.9 cm), framed. Condition: Fine craquelure, minute losses c.l., subtle surface abrasion, surface grime. $5,000-7,000

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217 Pierre-Marie Beyle (French, 1838-1902) Keeping Watch by the Shore Signed “Beyle� l.l. Oil on canvas, 24 x 20 in. (61.0 x 51.0 cm), framed. Condition: Lined, minor retouch, surface grime. $1,200-1,800

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218 Thomas Faed (British, 1826-1900) Baith Faither and Mither Signed and dated “Thomas Faed 1864” l.r., titled on a presentation plaque. Oil on canvas, 29 x 36 in. (73.6 x 91.4 cm), framed. Condition: Lined, retouch, varnish discoloration, surface grime. 218

Provenance: The collection of C.F.H. Bolckov, Esq., William Leaf Esq., Thomas Agnews & Sons of Bond St., through to a South Florida estate. Literature: Algernon Graves, The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904 (New York: B. Franklin, 1972), p. 80. Exhibitions: The Royal Academy, London, 1864, No. 315; The Universal Exhibition Paris, 1867; The Royal Jubilee Exhibition, Manchester, 1888, No. 396. N.B. One label on the back of the frame provides the full title for the painting as “He was faither and mither and a’ things tae me”/ Ballantyne. The name Ballantyne likely refers to the Scottish author R.M. Ballantyne (18251894). The lot is accompanied by a letter from Leslie W. Lewis, art dealer from Toronto, Canada, containing provenance information. $1,800-2,200 219 William Henry Midwood (British, fl. 18671871)

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Come to Papa Signed and dated “Midwood 1871” l.l., identified on a presentation plaque, a label from C. Rich Antiques, London, affixed to the frame. Oil on canvas, 14 x 18 in. (35.5 x 45.7 cm), framed. Condition: Surface grime. $1,200-1,800

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220 Benjamin Williams Leader (British, 18311923) Figures in a Landscape at Sunset Signed and dated “B.W. LEADER 1901” l.l. Oil on canvas, 20 x 29 in. (51.0 x 74.0 cm), framed. Condition: Lined, scattered retouch, stable craquelure. $4,000-6,000 221 Clément (Charles-Henri) Quinton (French, 1851-1921) Rural France/Pasture View with Shepherdess and Livestock Signed “ClQuinton” l.l., identified on a presentation plaque. Oil on canvas mounted to wood panel, 21 x 28 3/8 in. (53.3 x 72.5 cm), framed. Condition: Lined onto wood panel, minor craquelure and drying cracks, possible old retouch to sky.

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Provenance: Property of a New England collector. $700-900

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222 Attributed to Jean François Millet (French, 1814-1875) Le travail aux champs Unsigned, inscribed along the top edge, attributed and titled on a label on a detached frame backing. Pencil on paper, 9 7/16 x 7 in. (23.9 x 17.3 cm), unmatted, unframed. Condition: Loss to l.r. corner, sheet mounted to cardboard support. N.B. Accompanied by the old backing from a frame with a label from G. Morssen, Autographes, Paris, and with a handwritten label attributing the sketch to Millet. Also accompanied by a printed sheet bearing the date “28 avril 1864” which reproduces a note written by Millet on the charms of nature and several of his sketches including peasants at work. $2,500-3,000 223 James Edwin Meadows (British, 18281888)

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A Sussex Farmstead Signed and dated “JE Meadows 1863” l.l., identified on a presentation plaque, label from the Vose Galleries, Boston, affixed to the stretcher. Oil on canvas, 18 1/4 x 32 in. (46.3 x 81.2 cm), framed. Condition: Retouch, varnish discoloration, surface grime. $1,500-2,000

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224 Gustave Loiseau (French, 1865-1935) Rivière sous Bois, la rivière de Mortain, c. 1894 Signed “G. Loiseau” l.l., titled on a presentation plaque, titled and dated on a photo certificate from Didier Imbert. Oil on canvas, 23 5/8 x 29 in. (60.3 x 73.5 cm), framed. Condition: Lined, fine craquelure, minor surface grime.

N.B. The work is accompanied by a certificate of inclusion in the catalogue raisonné of the oeuvre of Gustave Loiseau, now in preparation by Didier Imbert. The certificate is dated 28 January 2016 and is signed by Didier Imbert. The 1968 auction catalog from ParkeBernet mentions a certificate from Bernard Lorenceau, dated Paris, June 12, 1963, but this certificate does not accompany the lot, and its current whereabouts are unknown. $20,000-30,000

Provenance: Octave Linet, Paris; ParkeBernet Galleries, Inc., New York, Modern Paintings, Drawings, and Sculpture, February 15, 1968, Lot 68 (as Rivière sous Bois); Sotheby Parke-Bernet, Inc., New York, Impressionist & Modern Paintings and Sculpture, February 26, 1981, Lot 7 (as La Rivière de Mortain); a Maine estate.

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225 Joseph Rodefer DeCamp (American, 18581923) The Quiet of Sunset Signed, inscribed, and dated “JOSEPH DECAMP/ROME ‘82” l.l. Oil on panel, 9 x 16 1/2 in. (22.8 x 41.9 cm), framed. Condition: Minor retouch, surface grime. $5,000-7,000

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226 Hugo Darnaut (Austrian, 1850-1937) Forest Scene with Deer Signed and dated “H. Darnaut 1888” l.l. Oil on partially cradled panel, 15 3/8 x 12 1/2 in. (39.0 x 31.0 cm), framed. Condition: Minor retouch. $1,500-2,000 227 Georges Frédéric Rötig (French, 18731961) Soir d’Hiver/Foret de Fontainbleau/ Sangliers Signed and dated “G.F. Rötig/’31” l.r., titled in ink on the stretcher. Oil on canvas, 34 1/2 x 46 in. (87.6 x 116.8 cm), framed. Condition: Lined, scattered minor retouch. $5,000-7,000

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228 Constant David Ludovic Artz (Dutch, 18701951) Ducks and Ducklings at the Water’s Edge Signed “Constant Artz” l.l. Oil on canvas, 22 x 33 3/4 in. (56.0 x 85.5 cm), framed. Condition: Lined, retouch primarily to sky and pond, craquelure. Provenance: From the estate of Ruth Troiani, Connecticut. Ruth and her husband Dominick married in New Orleans in 1942. They began collecting antiques shortly thereafter, and started dealing in antiques in the 1960s. $2,500-3,500 229 Sydney Robert Watson (British, 1892-1976)

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Highland Cattle in a Landscape Signed “S Watson” l.l. Oil on canvas, 18 x 24 in. (45.8 x 61.0 cm), unframed. Condition: Craquelure, hole l.c., patch repair on reverse at center, retouch. $1,500-2,500

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230 Italian School, 19th Century View of the Grand Canal Unsigned. Oil on canvas, 20 1/2 x 30 1/2 in. (52.0 x 77.4 cm), framed. Condition: Possible retouch, craquelure, varnish discoloration, surface grime. Provenance: A New York estate. $2,500-3,500

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231 Karl Eugene Felix (Austrian, 1837-1906) Venice Scene Signed “K.E. Felix� l.l. Oil on canvas, 20 x 30 1/8 in. (51.0 x 76.5 cm), framed. Condition: Lined, minor retouch, craquelure, surface grime. $600-800

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232 Fernando Liger Hidalgo (Spanish, 18801945) The Alhambra Signed and inscribed “F. Liger/Sevilla� l.l., titled on a label affixed to the reverse. Oil on canvas, 18 x 12 in. (46.0 x 30.5 cm), framed. Condition: Surface grime, minor transfer of gold from frame liner to l.l. edge. $1,500-2,500

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233 Edwin Lord Weeks (American, 1849-1903) Market in Ispahan or Caravansary outside the Bazaar in Ispahan Signed “ELWeeks” l.l., titled and dated on a label from The Jordan-Volpe Gallery, New York, affixed to the frame backing board. Oil on canvas, 18 1/2 x 22 3/8 in. (47.0 x 56.5 cm), in a period frame. Condition: Lined, thin horizontal line of retouch to l.l. quadrant, possible retouch to c.l. edge, fine, stable craquelure. Provenance: The collection of Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon.

N.B. Born in Newtonville, Massachusetts, Edwin Lord Weeks lived most of his life abroad. He studied with Jean-Louis Jerome and Léon Bonnat in Paris and settled in that city in 1880. Throughout his career Weeks travelled widely in North Africa, the Middle East, Spain, and India, inspiring the paintings and prints that brought him great recognition as an accomplished Orientalist. Dr. Ellen K. Morris reviewed the painting via digital photographs, and she writes that it was executed c. 1893-95 in Weeks’s Paris studio based on studies Weeks did in Ispahan during his expedition across Persia in the autumn of 1892. The painting depicts a man in typical Persian headwear riding a heavily decorated camel outside a portion of the bazaar in Ispahan, with various vendors adjacent to the bazaar and its typical blue grille-work shelters echoed in the vestments of the figure on the

camel. The most compelling wares for sale are the shiny metal pots and pans to the right foreground, a favorite element for Weeks to depict. The entire scene is shown in brilliant sunlight contrasted with deep shadow in which the contours of another camel can be seen. This contrast is typical of Weeks’s oeuvre. Caravansary refers to an overnight shelter for camels in Persia. Weeks recreated elements from this painting in three engravings for his book From the Black Sea through Persia and India, published in 1895. We would like to thank Dr. Ellen K. Morris for her assistance with this lot. A letter of authenticity from Dr. Morris accompanies the painting, and the work will be included in the Weeks catalogue raisonné. $30,000-50,000

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234 Douglas Arthur Teed (American, 1864-1929) Orientalist Interior with Four Figures Signed and dated “Douglas Arthur Teed 1921” l.l. Oil on canvas, 16 x 14 in. (40.6 x 35.5 cm), framed. Condition: Minor craquelure, surface grime. Provenance: By descent within the family of the current owner. $800-1,200 235 Francesco de Maria (Italian, 1845-1908) At Her Leisure Signed “F. de Maria” u.r., stamped “V. LORIA/ ARTISTA PITTORS/.../NAPOLI/...” on the reverse. Watercolor on paper, 13 x 19 in. (33.0 x 48.0 cm), framed. Condition: Sheet hinged to window mat on the top edge of the reverse, other tape remnants to the edges of the reverse corresponding to small restored tears along the perimeter. $1,000-1,500

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236 School of Adolph Schreyer (French/ German, 1828-1899) Two Horsemen Inscribed “Ad Schreyer� l.r., red wax seal on the reverse. Oil on panel, 10 x 12 in. (25.4 x 30.4 cm), framed. Condition: Retouch, varnish discoloration, surface grime.

N.B. The painting at hand may be a collaboration from the workshop of Adolph Schreyer. In the studio, Schreyer and his wife Mary worked together on the same motifs. The style of this work points more toward authorship by Mary Schreyer, but the painting was likely signed by her husband. We would like to thank Dr. Christoph Andreas for his kind assistance with this lot. $1,800-2,200

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237 Henry Bacon (American, 1839-1912) The Pyramids at Giza Signed “H Bacon” l.r., dated “March 1911” l.l. Watercolor on paper, 13 x 20 in. (33.0 x 50.8 cm), framed. Condition: Mat burn, toning. $1,000-1,500

238 Attributed to Thomas Sandby (British, 1721-1798) Remains of Cicero’s Villa near Pozzuoli, on the Gulf of Baia Unsigned, titled u.c., titled and dated “...1797” on the reverse. Ink and wash with graphite on watermarked paper, 7 3/4 x 10 in. (19.7 x 25.5 cm), framed. Condition: Tears at hinges, toning, subtle handling creases, remnants from an old mounting in each corner of the reverse.

239 Henry Bacon (American, 1839-1912) The Temple of Athena Nike, Athens Signed “Henry Bacon” l.r., inscribed and dated “1899” l.l., inscribed “Temple of Nike, Athens Memorial Exhibition No. 49.” on the reverse. Watercolor on paper, 13 x 20 in. (33.0 x 50.8 cm), framed. Condition: Mat burn, toning, adhesive remnants along the edges. $1,000-1,500

Provenance: Purchased in 1959-60 from Mrs. M. Beckard, Third Avenue, New York City, by descent to the current owner. $1,000-1,500

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240 Paul Jean Clays (Belgian, 1819-1900) Sailing Vessels in Quiet Waters Signed “P.J. Clays� l.r. Oil on canvas mounted to panel, 22 x 16 5/8 in. (56.0 x 42.5 cm), in a period frame. Condition: Lined onto panel, retouch, surface imperfections. $1,000-1,500

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241 George Mears (British, 1826–1906) The Royal Yacht at Margate Signed and dated “G Mears/1887” l.r., identified on labels from Frost & Reed, London, affixed to the stretcher, and from Quester Gallery, Stonington, Connecticut, affixed to the frame backing. Oil on canvas, 23 3/4 x 42 in. (60.0 x 106.5 cm), framed. Condition: Lined, retouch, fine craquelure.

N.B. The full title provided on the Frost & Reed label is The Royal Yacht on arrival at Margate on 6th March 1863, with H.R.H. Prince of Wales aboard. George Mears is frequently described as active 1860-1895. The birth and death years referenced above were taken from the listing on www.artuk.org. $1,500-2,000

Provenance: A Connecticut estate.

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242

243

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244

242 Thomas Goldsworth Dutton (British, c. 1819-1891)

243 School of Thomas Whitcombe (British, 1763-1824)

Steamship Under Way Signed “T.G. Dutton” l.r. Oil on canvas, 20 x 30 in. (51.0 x 76.0 cm), framed. Condition: Lined, retouch, fine craquelure, varnish discoloration.

War Ship at Port (Possibly Southampton) Unsigned. Oil on canvas, 25 x 38 in. (63.5 x 96.3 cm), framed. Condition: Lined, retouch, craquelure, surface grime. $2,000-3,000

Provenance: A Connecticut estate. $1,200-1,800

244 George Mears (British, 1826–1906) The Steamer-Sidewheeler BOURDEAUX Signed and dated “G. MEARS./1879” l.r., identified on a label from Quester Gallery, Stonington, Connecticut, affixed to the frame backing. Oil on canvas, 20 x 42 in. (50.5 x 106.5 cm), framed. Condition: Lined, retouch to sky, fine craquelure. Provenance: A Connecticut estate. N.B. The vessel and artist are identified in a handwritten label affixed to the frame backing. $1,200-1,800

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245

245 Wesley Elbridge Webber (American, 18411914) Sailboats by Moonlight Signed “W Webber” l.l. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Craquelure, surface grime. $3,000-5,000 246 Wesley Elbridge Webber (American, 18411914) Moonlit Sail with Distant Lighthouse Signed “WESLEY WE...” l.l. Oil on canvas, 24 x 20 1/4 in. (61.0 x 55.5 cm), framed (in a liner). Condition: Patch reinforcements, retouch, craquelure, surface grime. $1,000-1,500

246

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247

248

247 Aleksei Vasilievich Von Hanzen (Russian, 1876-1937) Luminous Shore View with Sailing Vessels Signed and dated “A.V. Hanzen/1911” l.l. Oil on canvas, 39 x 58 in. (99.0 x 147.3 cm), framed. Condition: Lined, minor retouch, minor scattered craquelure. $5,000-7,000

248 John Adams Parker (American, 1837-1900) Quiet Harbor, Sun Breaking Through Monogrammed and dated “JAP 1862” l.r. Oil on canvas, 7 1/8 x 13 in. (18.0 x 33.0 cm), framed. Condition: Patch reinforcements, old retouch, fine craquelure, surface grime. $1,000-1,500

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249

250

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251

249 Henry Pember Smith (American, 18541907) Tranquil Waters by a Rocky Shore Signed “HENRY P. SMITH” l.r. Oil on canvas, 12 1/2 x 17 5/8 in. (32.0 x 44.5 cm), framed (under glass). Condition: Small tear with area of paint loss to canvas edge u.l. corner, small tack holes along edges of the canvas from mounting in frame, canvas slightly slack on the stretcher. $2,500-3,000

250 George McCord (American, 1848-1909) Boats on the Shore Signed “G.H. McCord A.N.A.” l.l., canvas stencils from London and Brooklyn on the reverse. Oil on canvas, 16 x 24 in. (40.5 x 60.5 cm), framed. Condition: Numerous small patch reinforcements, retouch, surface grime. N.B. George McCord was elected an Associate of the National Academy of Design in 1880. $1,000-1,500

251 Robert Swain Gifford (American, 18401905) Scene at Naushon Signed and dated “R. Swain Gifford/1866” l.r., titled, signed, and dated on the reverse. Oil on canvas, 19 x 30 in. (48.0 x 76.0 cm), framed. Condition: Paint losses, frame abrasion, fine craquelure, minor surface grime. N.B. The stretcher is inscribed with the following provenance: “Came to James S. Russell, Milton, Mass. upon the death of his mother in April 1916.” $1,000-1,500

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252 Samuel W. Griggs (American, 1827-1898) Sandwich Range from Jackson Signed and dated “SW. Griggs/77” l.r., titled on a handwritten card tucked in the stretcher. Oil on canvas, 25 3/4 x 17 7/8 in. (65.5 x 45.0 cm), framed. Condition: Lined, retouch, fine craquelure, surface grime. N.B. The lot is accompanied by an invoice from Riportella Studio dated June 9, 1966, detailing conservation undertaken on this work. A note added to the invoice indicates that the painting had been purchased from “Harry Damon” in September 1965, by Jeanie Hughes (signed as “J.E.H.”), of Granite, New Hampshire. $700-900 253 American School, 19th Century Autumn View, Possibly Exeter, New Hampshire Unsigned. Oil on canvas, 12 x 18 in. (30.5 x 46.0 cm), in a period frame. Condition: Lined, restretched, craquelure. $1,000-1,500

252

253

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254

255

254 Frank Henry Shapleigh (American, 18421906)

255 Frank Henry Shapleigh (American, 18421906)

Mt. Washington from Walker’s Pond, Conway, N.H. Signed and dated “F.H. Shapleigh 1888.” l.l., titled and inscribed “Mt. Washington.../by/F.M. Shapleigh.” on the reverse. Oil on academy board, 12 1/2 x 7 1/2 in. (31.8 x 19.0 cm), framed. Condition: Shallow abrasion to u.r. quadrant, frame abrasions, minor surface grime. $800-1,200

Old Well-Sweep in Jackson, NH Signed and dated “F.H. Shapleigh 1883” l.r., titled in an inscription on the reverse. Oil on canvas, 16 x 10 in. (40.6 x 25.4 cm), framed. Condition: Varnish discoloration, surface grime. $2,000-3,000

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256 Attributed to William Hart (American, 18231894) In The Catskills Signed and dated “W.M. Hart 1853� l.c., artist identified on a presentation plaque, titled on a label affixed to the reverse. Oil on panel, 15 1/2 x 20 in. (39.3 x 50.8 cm), framed. Condition: Surface grime, craquelure. $1,200-1,800 257 School of Benjamin Champney (American, 1817-1907) A North Conway Meadow Unsigned, identified on a label affixed to the stretcher. Oil on canvas, 15 x 24 in. (38.1 x 60.9 cm), framed. Condition: Retouch, surface grime. $4,000-6,000 256

257

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258

259

258 Harrison Bird Brown (American, 1831-1915)

259 Samuel W. Griggs (American, 1827-1898)

Mount Washington View Monogrammed “HBB” l.r. Oil on canvas, 13 x 25 1/4 in. (33.2 x 64.5 cm), framed. Condition: Craquelure, possible old retouch to sky. $1,200-1,800

Farm and Garden with Two Girls Signed “SWGriggs” l.l. Oil on canvas, 16 x 23 in. (40.5 x 58.5 cm), framed. Condition: Lined, retouch, craquelure, surface grime. $800-1,200

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260

260 William Preston Phelps (American, 18481923) Winter Landscape with a Lone Fox Signed “W.P. Phelps” l.r. Oil on canvas, 24 x 36 in. (60.9 x 91.4 cm), framed. Condition: Patch reinforcements, retouch, surface grime. $1,000-1,500 261 Joseph Farquharson (Scottish, 1846-1935) Sheep in Winter, Scotland Signed “J. Farquharson” l.l., identified on a label from Walter Klinkhoff Gallery, Montreal, affixed to the frame, London canvas stamp on the reverse. Oil on canvas, 18 x 12 in. (45.8 x 30.5 cm), framed. Condition: Minor surface grime, slight rippling to canvas. $2,000-4,000

261

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262

262 John Joseph Enneking (American, 18411916) Winter Scene at Dusk Signed and dated “Enneking 76” l.r. Oil on canvas, 16 x 26 in. (40.6 x 66.0 cm), framed. Condition: Minor surface grime, craquelure. N.B. This work will be included in Patricia Jobe Pierce’s forthcoming catalogue raisonné of the work of John J. Enneking. $5,000-7,000

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263

263 Thomas Bailey Griffin (American, 18581935) Summer’s Cauldron Signed “T. B. Griffin” l.l. Oil on canvas, 10 x 14 in. (25.4 x 35.5 cm), framed. Condition: Surface grime. $800-1,200 264 Montague Dawson (British, 1890-1973) The Forest Stream Unsigned, inscribed “MONTAGUE...” in chalk or similar on the back of the frame, titled in ink on a partial label affixed to the back of the frame, London canvas stencil on the reverse. Oil on canvas, 18 x 12 in. (45.5 x 30.5 cm), framed. Condition: Minor surface grime. Provenance: Christie’s South Kensington, Maritime and Naval Battles including the Nyria M. Dawson Collection of Important Works by Montague Dawson, November 17, 2004, Lot 535. $800-1,200 264

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265

265 Arthur Merton Hazard (American, 18721930) Coming Shower Signed “A.M. Hazard” l.r., titled on the reverse, titled and identified on a label from The Artists Guild, Chicago, affixed to the stretcher. Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), framed. Condition: Stretcher bar mark, retouch, craquelure. $1,000-1,500 266 Edward Hill (American, 1843-1923) Bridal Veil Falls, Franconia Signed and dated “Edward Hill./83” l.r. Oil on canvas, 22 x 15 in. (55.8 x 38.0 cm), framed. Condition: Scattered minor paint losses, craquelure, surface grime. $800-1,200

266

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267

267 John La Farge (American, 1835-1910) A Quiet Reverie Unsigned. Oil on canvas, 9 7/8 x 11 7/8 in. (25.0 x 30.0 cm), framed. Condition: Lined, small paint loss to u.r. corner, craquelure, varnish discoloration, surface grime. Exhibitions: Lyman Allyn Museum, New London, Connecticut, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, February 26-March 26, 1961, as cat. no. 50 under the title Alone with God. $8,000-12,000

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268

268 Charles Sprague Pearce (American, 18511914) Le Petit Pêcheur Signed “·CHARLES·SPRAGUE·PEARCE·” l.l., inscribed, titled, and dated “.../1900/...” on the stretcher. Oil on canvas, 9 5/8 x 12 3/4 in. (24.5 x 32.5 cm), in a period frame. Condition: Surface grime. N.B. The head of a young boy relates to Pearce’s larger oil painting, Pêcher d’enfants, measuring 30 x 42 3/4 inches, painted in Auvers-sur-Oise c. 1890. (http://www. piercegalleries.com/artists/iart_pearce_c_s_ children.html, accessed 8/17/16). $7,000-9,000

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269

269 George Loftus Noyes (American, 18641954) Purple Grapes in a White Dish Signed and dated “G. Noyes/88” l.l. Oil on canvas, 10 x 14 in. (25.4 x 35.5 cm), framed. Condition: Lined, scattered retouch, craquelure. Provenance: By descent within the family of the artist. N.B. Accompanied by photocopies of written correspondence and notes about the artist. $700-900 270 Anglo/American School, 19th Century Still Life with Bouquet and Folded Fan Signed indistinctly, possibly “Rig...,” l.l., possibly inscribed on the reverse. Oil on panel, 10 x 10 3/4 in. (25.5 x 27.0 cm), framed. Condition: Minor frame abrasions. $600-800

270

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271 Conradyn Cunaeus (Dutch, 1828-1895) Terrier with Butterfly Signed “C. Cunaeus” l.r. Oil on canvas, 23 1/2 x 18 in. (59.8 x 45.8 cm), framed. Condition: Lined, retouch, minor surface grime. $2,000-3,000 272 William Jacob Hays (American, 1830-1875) The Little Bouquet Signed and dated “W.J. Hays 1859” l.r., identified on a presentation plaque and on a label from the Portland Museum of Art, Maine, affixed to the reverse. Oil on panel, 10 1/2 x 8 5/16 in. (26.6 x 21.3 cm), framed. Condition: Surface grime.

271

N.B. Inscribed “W.J. Hays (1830-1875) Nation Academy Exhibit 1866” in graphite on the reverse. However, this work is not recorded in Maria Naylor, The National Academy of Design Exhibition Record, 1861-1900 (New York: Kennedy Galleries, 1973). $1,000-1,500

272

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273

273 John Henry Dolph (American, 1835-1903) A Trio of Cattle at Dusk Signed “JHDolph” l.l., signed on a label fragment affixed to the frame. Oil on canvas, 12 x 20 in. (30.5 x 50.9 cm), framed. Condition: Retouch, surface grime, craquelure. $1,800-2,200

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274

274 Arthur Fitzwilliam Tait (American, 18191905) Cow and Calf Before a Dovecoat Signed and dated “A.F. Tait NA/N.Y. ‘88” l.r. Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), framed. Condition: Lined, retouch, fine craquelure. Provenance: A Connecticut estate. $4,000-6,000

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275 Attributed to Gerald Ira Diamond Cassidy (American, 1869-1934) Cowboys Loading Their Gear Unsigned. Oil on board, 40 x 27 1/2 in. (101.6 x 69.8 cm), unframed. Condition: Paint loss, chips to corners of the support, varnish discoloration. $2,000-3,000 276 Charles Marion Russell (American, 18641926) Steer Head Signed or inscribed faintly “C Russell� in the bronze c.r. edge. Bronze with brown patina, approximately 4 1/4 x 4 1/2 in., with mounting holes on the back. Condition: Repair to left horn, unpatinated bit of bronze protruding from the neck behind the right ear, no edition number visible. $700-900

275

276

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277 Edwin Willard Deming (American, 18601942) The Lone Brave Signed “EW DEMING” l.r. Oil on canvas, 24 x 16 1/2 in. (60.9 x 41.9 cm), framed. Condition: Retouch, craquelure, surface grime. $4,000-6,000 278 William Berra (American, b. 1952) View of Ghost Ranch Signed “Wm Berra” l.l., signed and titled on the reverse, identified on a label from Nedra Matteucci Fine Art, Santa Fe, affixed to the frame. Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Subtle surface grime. $800-1,200

277

278

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279 Hamilton Hamilton (American, 1847-1928) Mountain at Sunset Signed or inscribed “Hamilton Hamilton N.A.” l.l., identified and titled on labels on the stretcher and frame. Oil on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed. Condition: Wax lined, retouch, prominent craquelure with scattered paint losses, mounting bubbles in the lining when viewed from reverse.

279

N.B. The subject of this landscape is thought to be Jenny Lake in Wyoming. The partial label on the frame implies that this painting was gifted to an unspecified place by the artist’s daughters. Hamilton was the father of twin daughters, Helen and Marguerite, who appear as models in some of his works. $6,000-8,000 280 American School, 19th Century Tamalpais from Tiburon/A California Vista Unsigned, titled in an inscription on the reverse, a San Francisco artist’s supply stamp on the reverse. Oil on pressed paperboard, 12 x 16 in. (30.4 x 40.6 cm), framed (under glass). Condition: Surface grime, not examined out of frame. $1,000-1,500

280

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281

281 Albert Bierstadt (American, 1830-1902) Pilatus, Switzerland Monogrammed “AB� l.l., titled on the stretcher. Oil on paper laid on canvas, 13 3/8 x 19 3/8 in. (34.0 x 49.0 cm), framed. Condition: Lined, minor old retouch, varnish discoloration, surface grime.

N.B. Albert Bierstadt was born in Dusseldorf, but grew up in New Bedford, Massachusetts. In 1853, he returned to Dusseldorf to study at the Royal Academy under the landscape painters Andreas Aschenbach and Karl Friedman Lessing, who fostered his attention to detail, careful composition, and skilled drawing. The young artist took advantage of his four years of study to travel extensively in Europe, especially in Germany, Switzerland, and Italy. Bierstadt is recognized for his plein air oil sketches and drawings, remarkable in their scale and detail. These later served as the basis for his larger oils painted in his studio. He was not a copyist of nature, but brought to his work a romantic vision that highlighted the most picturesque aspects of scenery for maximum effect, as is readily seen in his famous views of the American west. $20,000-30,000

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282

283

282 Alexander Pope (American, 1849-1924)

283 Alexander Pope (American, 1849-1924)

Hanging Woodcock with Fern Signed “Alex. Pope” l.r. Oil on canvas, 14 x 10 in. (35.5 x 25.5 cm), framed (under glass). Condition: Minor dots of retouch to background, areas of fine craquelure. $3,000-5,000

Hanging Snipe with Yellow Blossoms Signed “A. Pope” l.r. Oil on canvas, 14 x 10 in. (35.5 x 25.5 cm), framed (under glass). Condition: Minor dots of retouch to background, areas of fine craquelure. $3,000-5,000

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284

284 Alexander Pope (American, 1849-1924) Setter with Pheasant Signed and dated “ALEXANDER POPE - 09” l.l. Oil on canvas, 26 x 22 in. (66.0 x 55.8 cm), framed. Condition: Surface grime, small losses at stretcher edge l.r., small tear near the bird’s feet. $2,000-3,000

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285

285 Franklin Reed Jones (American, 1921-2007) The Clay Pipe Signed “Franklin Reed Jones AWS� l.r., signed and titled on the backing paper. Watercolor with pencil and whiting on paper, 22 x 29 in. (55.8 x 73.6 cm), framed. Condition: Possible subtle water damage. $700-900

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286

286 Andrew Newell Wyeth (1917-2009) Corn and Grist Signed “Andrew Wyeth” in ink l.l., identified and dated “1976” on a label from Nicholas Wyeth, Inc., New York, affixed to the frame backing. Watercolor on paper, sight size 21 1/2 x 29 1/2 in. (54.6 x 75.0 cm), framed. Condition: Not examined out of frame. Provenance: The collection of Howard P. Diamond, M.D., New York, a prominent nasal plastic surgeon, purchased from Nicholas Wyeth, Inc., in 1976. N.B. Andrew Wyeth was an iconic figure in 20th century American painting. Son and student of famed illustrator N.C. Wyeth, the young man seemed destined to follow his father’s footsteps yet developed his own individual style. His father’s illustrations took as subjects active figures and colorful places from around the word, while Andrew Wyeth found artistic inspiration in friends and family and his immediate surroundings of Chadds Ford, Pennsylvania, and Port Clyde, Maine.

His palette, too, was limited, choosing earthbound shades of brown, green, white, gray, and black rather than the vibrant colors of his father. Andrew Wyeth painted mainly in watercolor and tempera, and he was a master of the technique known as drybrush. In an interview with friend and Metropolitan Museum of Art director Thomas Hoving, Wyeth explained, “I work in drybrush when my emotion gets deep enough into the subject. So I paint with a smaller brush, dip it into color, splay out the brush and bristles, squeeze out a good deal of the moisture and color with my fingers so that there is only a very small amount of paint left. Then when I stroke the paper with the dried brush, it will make various distinct strokes at once, and I start to develop the forms of whatever object it is until they start to have real body...Drybrush is layer upon layer. It is what I would call a definite weaving process. You weave the layers of drybrush over and within the broad washes of watercolor.”1 However, for Wyeth technique was never an end in itself, nor was realism. He wrote,

“You can have all the technique in the world and can paint the object, but that doesn’t mean you get down to the juice of it all. It’s what’s inside you, the way you translate the object—and that’s pure emotion.”2 Wyeth composed his works with an underlying abstraction, examining them upside down to make sure he was getting what he wanted. Wyeth’s famous images such as Christina’s World have come to represent America as much as Grant Wood and Andy Warhol, but throughout his career Wyeth’s works were both loved and scorned, precisely because he chose not to be part of international modern art movements. One art historian, in response to a 1977 survey in Art News magazine about the most underrated and overrated artists of the century, nominated Wyeth for both categories.3 1. Thomas Hoving, Two Worlds of Andrew Wyeth: Kuerners and Olsons, The Metropolitan Museum of Art, 1976. 2. John Toft, “Andrew Wyeth on Watercolor,” Newsletter 161, Watercolour New Zealand, Inc. http://www.watercolournewzealand.nz/ tutorials/article_andrew_wyeth_by_john_toft.htm (accessed 8/17/16) 3. Michael Kimmelman, “Andrew Wyeth, Painter, Dies at 91,” obituary in the New York Times, January 16, 2009.

$150,000-250,000

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287

287 Walter Koeniger (American, 1881-1943) Autumn Winds Signed “W. KOENIGER” l.l., titled on a presentation plaque affixed to the frame. Oil on canvas, 35 x 37 in. (88.9 x 94.0 cm), framed. Condition: Scattered losses and flaking, minor surface grime. $2,000-3,000 288 William Koerner (American, 1878-1938) Stream with Snow Signed and dated “W. Koerner ‘16” l.l. Oil on pressed paperboard, 12 x 16 in. (30.4 x 40.6 cm), framed. Condition: Crease to support near right edge with corresponding losses, craquelure, surface grime. $800-1,200 288

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289

289 Konstantin Fedorovich Yuon (Russian, 1875-1958) Three Trees in a Winter Landscape Signed “K. Yuon� l.r. Gouache on paperboard, 19 x 25 in. (48.2 x 63.5 cm), framed (under glass). Condition: Subtle abrasions, minute losses near corner u.l., minor surface grime. $15,000-20,000

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290 Roy Atherton Davidson (American, b. 1887) Snowy Landscape of Canton, Massachusetts Signed and dated “R. A. DAVIDSON 33” l.r. Oil on canvas, 23 1/2 x 26 1/4 in. (59.6 x 66.6 cm), framed. Condition: Abrasions, minor scattered losses (primarily to left half of composition), craquelure, surface grime.

290

Provenance: Gift from the artist to the current owner’s mother. N.B. The College of Art and Design at Lesley University was founded by Roy Atherton Davidson in 1912 as the School of Practical Arts. Roy Davidson—a pioneer in the field of commercial art education—founded the school to train students to become professional artists so they could put their talents to work in rewarding creative fields. The school opened in Davidson’s own studio in Boston’s Back Bay. Davidson remained the director of the school until 1940. This view is of the current owner’s mother’s house in Canton, Massachusetts. $1,000-1,500 291 Arthur James Emery Powell (American, 1864-1956) 291

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Ten Mile River Signed “Arthur J. E. Powell” l.l., titled in an inscription on the reverse. Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Surface grime. $800-1,200


292

292 Emile Albert Gruppé (American, 1896-1978) Covered Bridge in Winter Signed “Emile A. Gruppé” l.r. Oil on canvasboard, 12 x 16 in. (30.5 x 40.7 cm), framed. Condition: Minor surface grime. $1,500-2,000

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293

294 partial

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295

293 William Jurian Kaula (American, 1871-1953)

294 William Jurian Kaula (American, 1871-1953)

295 Charles Reiffel (American, 1862-1942)

Apple Blossoms/A Landscape Signed “WILLIAM J. KAULA.” l.r., identified on a label from Child’s Gallery, New York, affixed to the stretcher. Oil on Masonite, 10 x 13 in. (25.4 x 33.0 cm), framed. Condition: Minor surface grime. $800-1,200

Two Vermont Landscapes: St. Johnsbury and The Sun’s Rays St. Johnsbury signed “WILLIAM J. KAULA” l.l., titled on a label from Child’s Gallery, New York, affixed to the frame; The Sun’s Rays signed “WILLIAM KAULA” l.r., titled in an inscription on the reverse. Oil on Masonite, 10 x 13 in. (25.4 x 33.0 cm), framed. Condition: Surface grime. $1,500-2,000

Pasture with Cattle Wading Signed “Charles Reiffel” l.l. Oil on canvas, 17 x 24 in. (43.1 x 60.9 cm), framed. Condition: Retouch, fine craquelure, surface grime. $8,000-12,000

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296

296 Joseph H. Greenwood (American, 18571927) Spring Near Monadnock Unsigned on the recto, identified and authenticated on a label affixed to the frame backing paper. Oil on canvasboard, 9 x 12 3/4 in. (22.9 x 32.4 cm), framed. Condition: Subtle surface grime.

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Provenance: From the family of the artist to Dr. Robert H. Goddard (1928), by descent to the estate of Esther C. Goddard (Mrs. Robert H. Goddard), to Clark University and Worcester Polytechnic Institute, purchased at the Goddard estate auction (1983) by the family of the current owner. Robert H. Goddard was the father of modern rocketry. $700-900

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297

297 Attributed to Grant Wood (American, 18911942) Winter Thaw Unsigned, signed or inscribed and titled on a paper label affixed to the reverse. Oil on academy board, 9 3/16 x 12 1/4 in. (23.3 x 31.0 cm), framed. Condition: Minor retouch over frame abrasions, craquelure, minor warping to the support, surface grime.

Provenance: Doyle, New York, Americana, April 10, 1991, Lot 82; Sotheby’s New York, Arcade, Sale No. 1380, Lot 225, December 18, 1991; ...; purchased by the current owner at a small auction in the Catskills c. 2006. N.B. This scene may have been painted by Grant Wood on a trip to Colorado in the winter of 1926-27. We would like to thank Lea Rosson DeLong for her assistance with this lot. $5,000-7,000

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298

299

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300

298 Edward Potthast (American, 1857-1927) Path into The Wood Signed “Potthast” l.r. Oil on panel, 12 x 16 in. (30.4 x 40.6 cm), framed. Condition: Surface grime. N.B. This painting will be included in Mary Ran’s forthcoming catalogue raisonné on Edward Potthast. $4,000-6,000

299 Loring Wilkins Coleman (American, 19182015) Distant Hills Signed “Loring W. Coleman” l.l., titled on a presentation plaque. Oil on canvasboard, 16 x 20 in. (38.0 x 49.5 cm), in a Foster Brothers frame. Condition: Surface grime. $1,000-1,500

300 Louis Ritman (American, 1889-1963) A Picnic, c. 1947 Signed “L. RITMAN” l.r., titled and dated on a typed label affixed to the reverse, estate/ authentication stamp on the reverse. Oil on canvas, 28 x 40 in. (71.1 x 101.6 cm), framed. Condition: Good. Provenance: Purchased by the current owner from Jennifer O’Quinn, West Hills, California. $8,000-12,000

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301

302

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303

301 Frank A. Barney (American, 1862-1954) Marsh in Autumn Signed “FA BARNEY.” l.l. Oil on canvas, 18 1/8 x 24 in. (46.0 x 61.0 cm), framed (under glass). Condition: Not examined out of frame. Provenance: A Connecticut estate. $1,200-1,800

302 Robert Douglas Hunter (American, 19282014) November Light Signed and dated “ROBERT DOUGLAS HUNTER ‘82” l.r., titled and inscribed “‘NOV. LIGHT’/Carver, Mass./Nov. 17-1982” on the back of the frame. Oil on canvasboard, 10 1/2 x 16 in. (27.0 x 41.0 cm), framed. Condition: Very slight bowing to the support, tiny paint loss to u.c. edge.

303 Jonas Lie (American, 1880-1940) Woods in Fog Unsigned. Oil on canvas, 22 x 18 in. (55.8 x 45.7 cm), framed under glass. Condition: Varnish discoloration, surface grime. N.B. Accompanied by a framed portrait photograph of the artist, inscribed “To my dear faithful friend Margo, Jonas Lie.” $3,000-5,000

Provenance: A Massachusetts estate. $1,000-1,500

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304

304 Thomas Higham (American, b. 1953) Salt Water Farm Signed and dated “THOMAS B. HIGHAM ‘87” l.r. Oil on board, 20 x 32 in. (50.8 x 81.2 cm), framed. Condition: Good. $800-1,200

76

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305

305 Anna Mary Robertson, called Grandma Moses (American, 1860-1961) Catching the Turkey, Thanksgiving Signed “MOSES” l.r., identified and dated “...June 23, 1944” on an authorized label on the reverse. Oil on Masonite, 18 3/4 x 24 in. (47.4 x 60.5 cm), framed (under glass). Condition: Natural pigment fluorescence.

N.B. The painting at hand does not appear in the original Kallir catalogue raisonné prepared by Otto Kallir (Grandma Moses [New York: Harry N. Abrams, 1973]), because it came to light after the book was published. The painting will be added to a future supplement of the “Catalogue of the Works” and has been assigned the number Kallir 390a.

Her landscapes capture people involved in daily activities or annual events, such as in this work, Catching the Thanksgiving Turkey, an active and humorous task undertaken by a youngster in a red cap. Copyright reserved by Grandma Moses Properties Co., New York. $90,000-120,000

Without any formal art training, Grandma Moses began painting in her 70s and had her first New York gallery exhibition at the age of 80. Based on her own experiences of life on the farm, her cheerful recollections of simple country life soared in popularity, propelled in part by nostalgia of Americans for the rural past.

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306

306 C. Myron Clark (American, 1858-1925) Sailing Ship at Sunset Signed “C Myron Clark� l.l. Oil on canvas, 20 x 26 in. (50.8 x 66.0 cm), unframed. Condition: Surface grime. $1,200-1,800

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307

307 Charles Robert Patterson (American, 18781958) Charging Through Rough Seas Signed “CR.PATTERSON” l.l., titled on a label affixed to the backing. Oil on canvas, 40 1/4 x 50 in. (102.3 x 127.0 cm), framed. Condition: Minor surface grime. $2,000-3,000

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308

308 Roger Curtis (American, 1910-2000) Crashing Waves Signed “Roger Curtis� l.l. Oil on canvas, 40 x 50 in. (101.7 x 127.0 cm), framed. Condition: Good. $1,200-1,800

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309

309 Frederick Judd Waugh (American, 18611940) Sunset at Sea Signed “Waugh� l.r. Oil on Masonite, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Surface grime. $5,000-7,000

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310

310 Sydney Mortimer Laurence (American, 1865-1940) Ten Pound Island Signed “Sydney Mortimer Laurence� l.l., titled on a presentation plaque. Oil on canvas, 12 x 18 in. (30.5 x 45.8 cm), framed. Condition: Surface grime, minor craquelure. $3,000-5,000

82

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311 Bayard Henry Tyler (American, 1855-1931) River View with Silvery Light Signed “Bayard H. Tyler” l.r. Oil on canvas, 24 x 20 in. (61.3 x 51.0 cm), framed. Condition: Craquelure with area of losses u.c., broad retouch to sky, surface grime. $1,800-2,200 312 William Lester Stevens (American, 18881969) Rocky Shore and Sea Signed “W. LESTER STEVENS” l.r., titled on a label from the Vose Galleries of Boston affixed to the reverse. Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), framed. Condition: Varnish discoloration, surface grime. $2,000-3,000

311

312

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313

313 Cape Ann School, 20th Century Schooner at Dock Unsigned. Oil on canvas laid on paperboard, 16 x 20 in. (41.0 x 50.5 cm), framed. Condition: Slight bowing to the support. $1,000-1,500 314 Emile Albert Gruppé (American, 1896-1978) Mending the Nets Signed “Emile A Gruppé” l.r., titled and signed “...by Emile A Gruppé” on the stretcher. Oil on canvas, 16 x 20 in. (41.0 x 51.0 cm), framed. Condition: Surface grime. $1,200-1,500

314

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315

315 Antonio Cirino (American, 1889-1983) Boat’s Rendezvous Signed “A CIRINO” l.l., titled on a listing from the Rockport Art Association affixed to the frame backing. Oil on canvas, 25 x 30 in. (63.3 x 76.3 cm), framed. Condition: Paper label remnants l.c. Provenance: From the estate of Antonio Cirino to the Salmagundi Club, New York.

Exhibitions: Rockport Art Association, Rockport, Massachusetts, 59th Annual Exhibition, Third Part, July 21–August 15, 1979 (Gold Medal of Honor). N.B. The painting has two labels, one on the stretcher and one on the frame backing cardboard, indicating it won the Gold Medal of Honor at the Rockport Art Association 59th Annual Exhibition in 1979. $5,000-7,000

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316

316 Sam (Samir) Barber (American, b. 1943)

316A Roswell Stone Hill (American, 1861-1907)

317 Antonio Cirino (American, 1889-1983)

Siasconset Seaside Signed, titled, and dated “© SBarber... 1988” on the reverse, a label from Wally Findlay Galleries affixed to the stretcher. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Condition: Good. $2,000-3,000

Provincetown Signed, dated, and inscribed “Roswell S. Hill 1901./Provincetown” l.r. Oil on canvas, 18 x 22 in. (45.5 x 56.0 cm), framed. Condition: Retouch corresponding to a small area of repair to the canvas on the reverse. $2,000-3,000

Landscape/Cottage in Summer, c. 1930 Signed “A CIRINO” l.l., identified on an exhibition label (see below) affixed to the frame backing. Oil on canvas, 25 x 30 in. (63.5 x 76.5 cm), framed. Condition: Stable craquelure. Provenance: From the estate of Antonio Cirino to the Salmagundi Club, New York. Exhibitions: Salmagundi Club, An American Institution, traveling exhibition with Smith Kramer Fine Art Services, 2005–2007, as item no. 14. $4,000-6,000

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316A

317

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318 Hillary Osborn (American, b. 1965) Late Sun on Tobey Island Signed “osborn” l.l., titled, signed, and dated “... H. Osborn 2006” on the stretcher. Oil on canvas, 36 x 48 in. (91.4 x 121.9 cm), framed. Condition: Good. $800-1,200 319 Hillary Osborn (American, b. 1965) Storm at Saconeset Beach, West Falmouth Signed “osborn” l.r., titled, signed, and dated “...Osborn 2007” on the stretcher. Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), unframed. Condition: Good. $600-800

318

319

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320

320 Jane Peterson (American, 1876-1965) North Shore Harbor View Signed “Jane Peterson� l.r. Oil on canvas, 24 x 30 in. (60.9 x 76.2 cm), framed. Condition: Minor surface grime, with several minor paint losses, surface scratch along bottom l.l.

Provenance: Collection of Mr. & Mrs. Ralph Trower, Brockton, Massachusetts, then by descent to the current Massachusetts collector. N.B. Sold to benefit a Massachusetts nonprofit institution. $40,000-60,000

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89


321

322

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323

321 Charles Herbert Woodbury (American, 1864-1940)

322 Nancy Maybin Ferguson (American, c. 1872-1967)

The Dory Signed “Charles H. Woodbury” l.l., titled on the reverse. Oil on canvas, 20 x 27 in. (50.8 x 68.5 cm), framed. Condition: Fine craquelure, surface grime. $1,500-2,500

The Green Schooner (Panel G from the Provincetown Screen) Unsigned, identified on labels from the Vose Galleries of Boston and from Art Research of Cambridge, Massachusetts, affixed to the frame backing board. Oil on canvas, 21 x 25 in. (53.0 x 64.0 cm), framed. Condition: Lined, craquelure, surface grime. $3,000-5,000

323 E. Ambrose Webster (American, 1869-1935) Beached Dories Signed “E.A. WEBSTER” l.l. Oil on canvas, 20 x 23 in. (50.8 x 58.4 cm), framed. Condition: Varnish discoloration, surface grime; reverse with garden oil sketch. $4,000-6,000

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324

324 Edmund Quincy (American, 1903-1997) Rocky Coast Signed “Quincy” l.l., Paris canvas stencil on the reverse. Oil on canvas, 23 1/2 x 29 in. (59.6 x 73.6 cm), framed. Condition: Possible minor abrasions, signature possibly reinforced, surface grime. $1,000-1,500 325 Hillary Osborn (American, b. 1965) Whitehead Cliff, Monhegan Signed “osborn” l.r. Oil on Masonite, 12 x 9 in. (30.3 x 22.8 cm), unframed. Condition: Good. $300-500

325

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326

326 Otto Dix (German, 1891-1969) Coastal Cliffs, Possibly La Ciotat, France Signed and dated “5Dix3” l.r., inscribed “La Ciotta [sic]” in pencil on the reverse. Watercolor on paper, 21 3/4 x 15 in. (55.2 x 38.1 cm), matted, unframed. Condition: Tack holes to the corners, minor toning, subtle rippling, remnants of brown paper tape hinges and very minor glue stains to the reverse.

Provenance: From the artist to the grandfather of the current owner, then by family descent. $7,000-9,000

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327

327 James Fitzgerald (American, 1899-1971) Fishermen Signed “James Fitzgerald” on the reverse. Watercolor on paper, 20 x 26 in. (50.8 x 66.0 cm), framed (under glass). Condition: Pinhole punctures, adhesive remnants on the reverse, surface grime. $3,000-5,000 328 Robert Hallowell (American, 1886-1939) Rigging the Building Signed “R Hallowell” l.l., identified on a label from The Marbella Gallery, Inc., New York, affixed to the reverse. Oil on panel, 24 x 13 7/8 in. (61.0 x 35.0 cm), framed. Condition: Surface imperfection presenting as a hairline crack to surface of panel in center, fine horizontal craquelure u.c. $1,500-2,000

328

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329

329 Ross E. Moffett (American, 1888-1971) Winter in Wellfleet Signed “MOFFETT” l.l., titled and signed in pencil on the stretcher, identified on a label from Acme Fine Art and Design, Boston, affixed to the back of the frame, oil composition painted over but faintly visible on the reverse. Oil on canvas, 24 x 36 in. (60.5 x 91.5 cm), framed. Condition: Subtle surface grime. Literature: Provincetown Banner, March 18, 2010, “From the Advocate Archives/March 22, 1951, Ross Moffett Wins $1,000 Palmer Prize.”

Exhibitions: American Painting Today, a national competitive exhibition, 1950, Metropolitan Museum of Art, New York, Francis Henry Taylor, Director, dates unspecified; One-Hundred and TwentySixth Annual Exhibition, National Academy of Design, New York, March 23–April 8, 1951, awarded the Edwin Palmer Memorial Prize ($1,000); Ross Moffett 1888-1971 (retrospective exhibition), Worcester Art Museum, May 30–July 6, 1975 and the Provincetown Art Association, August 29– September 29, 1975, as Cat. No. 43. $7,000-9,000

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330

330 American School, 20th Century Bridge over the Harlem River Unsigned. Oil on canvas, 16 x 20 in. (40.5 x 50.7 cm), in a probable Newcomb-Macklin frame. Condition: Very minor paint losses, minor canvas deformation, fine craquelure. Provenance: Purchased by the current owner from a dealer in the area of Cooperstown, New York, over 30 years ago. $800-1,200 331

331 Janet Reid (American, 1894-1988) Trains and Bridge Signed “Janet Reid� l.r. Oil on panel, 15 x 18 in. (38.1 x 45.7 cm), framed. Condition: Surface grime. $800-1,200

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332

333

332 Dong Moy Chu Kingman (American, 19112000) Tugboats at Work Signed “Kingman JQ” l.r. Watercolor on paper, 17 x 24 in. (43.1 x 60.9 cm), unframed. Condition: Toning. $1,000-1,500

333 Ludwig Bemelmans (American, 1898-1962) Habana Tramp Steamer Signed “Bemelmans” l.r., inscribed and dated “‘TROPICAL’/...2 ‘56” l.l., titled in pencil on the reverse, identified on a label from Hammer Galleries, New York, affixed to the reverse. Watercolor and charcoal on illustration board, 20 1/4 x 29 in. (51.5 x 73.0 cm), framed (without glass). Condition: Soiling, toning. $1,000-1,500

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333A

333A Charles Herbert Woodbury (American, 1864-1940) Veere - Sunday Signed or inscribed “Charles H. Woodbury” l.r., titled and dated “...1902” on the stretcher, artist estate stamp on the reverse. Oil on canvas, 17 x 21 in. (43.1 x 53.3 cm), framed. Condition: Signature possibly added later, patch reinforcements, retouch, craquelure, varnish discoloration, surface grime. Provenance: Purchased in Ogunquit, Maine, in the late 1950s or early 1960s, to the current owner by family descent. Exhibitions: Paintings, Drawings and Etchings by Charles H. Woodbury at the Cleveland Museum of Art, April 28 - June 21, 1920. Label on the stretcher “C.M.A 1118.20.” $1,500-2,500

334

334 American School, 20th Century Urban Waterfront Unsigned. Oil on canvasboard, 10 3/8 x 14 3/8 in. (26.5 x 36.5 cm), framed. Condition: Varnish discoloration, surface grime. $700-900

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335

335 Nancy Maybin Ferguson (American, c. 1872-1967) Sketch - Houses, from the Provincetown Screen Unsigned, identified on a label from Art Research of Cambridge, Massachusetts, affixed to the frame backing board. Oil on canvas, 14 x 27 in. (35.5 x 68.5 cm), framed. Condition: Lined, retouch, craquelure. Provenance: Property of a New England collector. $1,000-1,500 336 Milton Clark Avery (American, 1885-1965) Freighters Unsigned. Oil on linen stretched over board, 11 1/2 x 14 in. (27.9 x 35.5 cm), framed. Condition: Retouch, varnish discoloration, surface grime.

336

N.B. This work was dated by the Milton Avery Foundation to circa 1925. The painting was constructed by stretching a linen dish towel over pressed paperboard. It was very typical of Avery to be economical and repurpose everyday materials to make his canvases. In this case, the linen only stretches over the right and left of the painting, not the top or bottom. At this time, Avery was still experimenting with wax to make his impasto, a technique he first started to use in the late nineteen-teens. By the early 1920s his paint became thicker, but as critics became more and more interested in his painting technique, Avery started to thin his impasto. This work still has a very waxy surface, but the paint is much thinner. A certificate of authenticity from the Milton & Sally Avery Arts Foundation Inc. (ID A21116) accompanies the lot. $1,500-2,000

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337

337 Vladimir Lebedev (Russian/American, 1910-1989) New York City with Hackney Carriage Unsigned, stamped “ESTATE OF VL VLADIMIR LEBEDEV” on the reverse. Oil on board, 9 x 12 in. (22.8 x 30.4 cm), framed Condition: Varnish discoloration, surface grime. $1,200-1,800 338 Vestie E. Davis (American, 1903-1978)

338

Coney Island Boardwalk, West Signed and dated “Vesty E. Davis. 1957.” l.r., titled on the reverse. Oil on canvasboard, 12 x 16 in. (30.5 x 40.7 cm), framed. Condition: Minor surface grime. $2,000-3,000

100

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339

339 Paul Paeschke (German, 1875-1943) Sunny Beach with Figures and Sailboats Signed and inscribed “Paul Paeschke/...” l.r. Pastel on paper, 10 5/8 x 14 1/2 in. (27.2 x 36.9 cm), framed. Condition: Pinholes to the corners, toning, remnants of old mounting hinges to the upper corners of the reverse. $1,500-2,500

340

340 Eugene Dunkel (American, 1890-1972) Figure of a Sailor in a Cityscape at Night Signed “E. Dunkel” u.r. Oil on cardboard, 12 7/8 x 20 3/4 in. (32.6 x 52.8 cm), framed. Condition: Surface creases, scattered minor abrasions, surface imperfections and grime. N.B. Although a specific link to this work is not confirmed, Eugene Dunkel was the scene painter for On the Town which opened December 28, 1944, and featured three sailors on leave in New York City. $1,000-1,500

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341

341 Andre (Gittelson) Gisson (American, 19212003) Notre Dame-Paris Signed “Gisson” l.l., titled on a label affixed to the back of the frame. Oil on canvas, 24 x 36 in. (61.0 x 91.3 cm), framed. Condition: Small tear (1/2 in.) in trees at c.r. stabilized with clear tape on the reverse. $3,000-4,000

102

342 Louis Icart (French, 1888-1950)

343 Paul Paeschke (German, 1875-1943)

Promenade au Bois Signed “louis icart” l.r., titled on the reverse u.l. Oil on board, 13 x 16 in. (33.0 x 40.7 cm), framed. Condition: Minor surface grime. $2,000-3,000

City Square, Berlin Signed, inscribed, and dated “...Dez 10/22...” in pencil along the bottom edge. Pastel on paper, sight size 10 1/2 x 14 in. (35.5 x 26.5 cm), framed. Condition: Toning, not examined out of frame. $1,500-2,500

.

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342

343

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344

344 Leighton Cram (American, 1895-1981) Spring Trees Signed “L.R. CRAM� l.l. Oil on canvasboard, 16 x 20 in. (40.5 x 50.8 cm), framed. Condition: Surface grime. Provenance: A Massachusetts estate. $800-1,200

104

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345

345 James Fitzgerald (American, 1899-1971) The Cows of Kerry Signed “James Fitzgerald� l.r., titled on the reverse. Oil on canvas, 40 x 30 in. (101.6 x 76.2 cm), framed. Condition: Abrasions, craquelure, surface grime. $8,000-12,000

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105


346

347

106

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348

346 Paul-Émile Pissarro (French 1884-1972)

347 Paul-Émile Pissarro (French, 1884-1972)

348 Paul-Émile Pissarro (French 1884-1972)

Arbor en Flor Signed “Paulémile Pissarro” l.l., title inscribed on the reverse of the frame. Watercolor on paperboard, 9 1/2 x 12 3/4 in. (24.0 x 35.5 cm), framed. Condition: Minor foxing, toning.

Fair at Avignon Signed “Paulémile Pissarro” l.l. Ink and watercolor on paper, sight size 7 x 10 1/8 in. (17.8 x 25.8 cm), framed. Condition: Foxing, creasing, rippling, not examined out of frame. $800-1,200

La Casa De La Compana Signed “Paulémile Pissarro” l.l., titled in an inscription on the reverse of the frame. Watercolor on paper, 9 1/2 x 12 3/4 in. (24.0 x 35.5 cm), framed. Condition: Minor tear, toning; inscribed on the reverse “Le Village en bas du pain et sucre.” $1,000-1,500

N.B. Paul-Émile Pissarro was the fifth and youngest son of Impressionist painter Camille Pissarro. $1,000-1,500

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349

349 Julian Story (American, 1857-1919) In the Studio Signed “Julian Story” u.r. Oil on canvas, 23 1/2 x 19 1/2 in. (59.8 x 49.6 cm), framed. Condition: Lined, scattered retouch. $3,000-5,000 350 American School, 19th/20th Century Illustration for Coats & Clark Thread Advertisement Misattributed and dated “...around 1900” on the reverse. Watercolor on paper laid down on to pressed paperboard, sight size 17 1/2 x 13 3/4 in. (44.4 x 34.9 cm), framed. Condition: Not examined out of frame. $700-900

350

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351

351 Henry Harewood Robinson (English, 18501904) The Lesson Signed “...WOOD ROBINSON� l.l. Oil on canvas, 30 1/4 x 40 1/4 in. (76.7 x 102.0 cm), framed. Condition: Lined, retouch, signature possibly reinforced, minor surface grime. $5,000-7,000

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352

352 Daniel Chester French (American, 18501931) Mistletoe Stamped “DCF/1923” l.r., incised “Kunst Foundry N.Y.” on the back of the bust just above the pedestal. Bronze with dark brown patina, height 10 in. (25.4 cm). Condition: Abrasion to patina beneath the figure’s right shoulder, areas of minor wear to patina, dust and dirt to interstices. $4,000-6,000 353 Daniel Chester French (American, 18501931)

353

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Portrait Bust of a Woman Initialed “DCF” in the bronze beneath the left side of the neck, stamped “QIDJ GORHAM CO.” along the back rim of the base. Bronze with brown patina, height 8 in. (20.3 cm). Condition: Minor dust and dirt to interstices. $3,000-5,000


354

354 Auguste Rodin (French, 1840-1917) Tête de la Luxure, a later casting Signed “A. Rodin” on the front of the base, and with raised interior signature “A. Rodin,” stamped “ALEXIS RUDIER FONDEUR PARIS” on the verso of the base. Bronze with green/brown patina, height 14 1/2 in. (36.8 cm), accompanied by a low red marble plinth and a marble pedestal. Condition: Unobtrusive surface grime/dust.

N.B. Rodin has long been known for his sensual yet muscular figures of women. Tête de la Luxure derives from a detail of his 1882 Femme Accroupie, which was created for a set of bronze doors for the Museum of Decorative Arts in Paris, better known as The Gates of Hell. This same figure was also adapted into the composition for Je Suis Belle, also a part of the Gates. $18,000-22,000

Provenance: Skinner, American & European Paintings, May 19, 2006, Sale 2320, Lot 375.

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355

355 Louis Ritter (American, 1854-1892) Lobster Signed, dated, and inscribed “L. Ritter/1886/ Lobster” u.r., identified on a label from Maxwell Galleries, San Francisco, affixed to the back of the frame. Oil on canvas, 16 x 25 in. (40.5 x 63.5 cm), framed. Condition: Lined, retouch, fine craquelure. Provenance: Property of a New England collector. $1,500-2,500 356 Daniel Chester French (American, 18501931)

356

112

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Maquette Bronze of Two Figures (perhaps a Youth with a Muse) Signed or inscribed “D.C. French” in the bronze base at left side, incised “ROMAN BRONZE WORKS N-Y-” on the back of the base. Bronze with brown/gold patina, height 12 3/4 in. (32.4 cm). Condition: Dust and dirt to interstices. $1,000-1,500


357 John Singer Sargent (American, 1856-1925) Mercury Embracing Venus Initialed “JSS” and numbered “7/7” in the bronze base. Bronze with black patina, height approximately 11 3/4 in. (29.8 cm), on a metal plinth. Condition: Dust and dirt to the interstices, minor wear to patina at top edges of Mercury’s wings. N.B. A similar Sargent bronze statue may be found in the collection of the Sargent House Museum, Gloucester, Massachusetts. Their sculpture, which has a dark brown patina, is signed similarly but does not bear an edition number. Described as Study for Eros and Psyche, c. 1917, the Sargent House bronze was given by Violet (Sargent) Ormond in 1936. Violet was a niece of the artist. The sculpture is thought to have been a study Sargent executed in preparation for a mural commission. Research has suggested that in the 1960s a Sargent descendant arranged for casts of some of the artist’s small bronzes. It is not clear if the sculpture at hand might be one of those examples. $10,000-15,000 358 Isaac Diaz Pardo (Spanish, 1920-2012)

357

Still Life with Fruit on a White Cloth Incised signature “Isaac Diaz” l.r. Oil on canvas mounted to Masonite, 25 x 29 in. (63.5 x 74.0 cm), framed. Condition: Retouch, drying cracks, areas of fine craquelure, varnish inconsistencies, surface grime. $800-1,200

358

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359

359 Joseph Rodefer DeCamp (American, 18581923) Portrait of the Artist’s Daughter Pauline Inscribed “JOSEPH DE CAMP” on the frame. Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed. Condition: Lined, surface grime. $4,000-6,000 360 Edwin Howland Blashfield (American, 1848-1936) Gigi/A Profile Signed and dated “E.H. Blashfield/1928” l.r., titled within the composition c.r. Graphite and chalk on brown paper, sight size 25 x 18 in. (63.5 x 45.5 cm), framed. Condition: Not examined out of frame. $800-1,200

360

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361 Augustus Saint-Gaudens (American, 18481907) Wax Bust of Louise Adele Dickerson Gould Inscribed “St. Gaudens” on the interior. Wax with applied pigment, 14 1/2 x 17 x 9 in. (36.8 x 43.1 x 22.8 cm), without base. Condition: Discoloration, dust to interstices. Provenance: From a Brooklyn estate through to the current owner. Literature: Catherine Gaich, Anne Dopffer, Alain Daguerre de Hureaux, and John Dryfhout, Augustus Saint-Gaudens, 18481907: A Master of American Sculpture (Toulouse: Musée des Augustins, 1999), pp. 189-190.

361

N.B. This bust of Louise Adele Dickerson Gould was commissioned by her husband Charles W. Gould, a well-known New York lawyer, after Louise died tragically of heart disease in 1883. In fact, this wax sculpture is the last in a series of portraits that Mr. Gould had asked Augustus Saint-Gaudens to create. The first was a bas-relief depicting Mrs. Gould in her wedding gown (Metropolitan Museum of Art 15.105.1), the second was a bust cut in marble by Piccirilli Brothers in 1895 (MET 15.105.2), and the third, another bust, was completed in 1904 (MET 32.62.1). Gould believed this likeness of his late wife was “the most beautiful of the three designs,” and he ordered wax replicas of the third bust. The pigment was added by Herbert Samuel Adams (American, 1858-1945), who was known for his polychromatic busts of women. $8,000-12,000 362 American School, 19th Century Opera Box Unsigned. Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed. Condition: Patch reinforcements, paint loss, surface grime. $1,000-1,500 362

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363 George Benjamin Luks (American, 18671933) Portrait of a Young Woman Signed “George Luks” l.r. Oil on canvas, 16 x 12 in. (40.6 x 30.4 cm), framed. Condition: Surface grime. $5,000-7,000 364 Karl Anderson (American, 1874-1956) Family Gathering Unsigned, certified in an inscription from James L. Anderson, the artist’s son, on the reverse, identified on an exhibition label from Grand Central Art Galleries, Inc., New York, affixed to the frame backing paper. Gouache on paper/board, sight size 27 x 33 in. (69.0 x 83.5 cm), framed. Condition: Creasing/loss to l.r. corner, not examined out of frame. Provenance: The estate of Frederick C. Frieseke. Exhibitions: Karl Anderson of Westport: American Impressionist, Westport–Weston Arts Council, June 29–July 22, 1984, Westport, Connecticut. $1,500-2,000

363

364

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365

365 Robert Lewis Reid (American, 1862-1929) Woman Seated Before a Japanese Screen Signed “Robert Reid� l.r. Oil on canvas, 36 x 30 in. (91.3 x 76.0 cm), unframed. Condition: Lined, natural pigment fluorescence. $12,000-18,000

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117


366

366 William Russell Flint (Scottish, 1880-1969) Reclining Woman with Drapery Signed “W Russell Flint” l.r. Red chalk on paper, sight size 6 1/8 x 13 in. (15.6 x 33.0 cm), framed. Condition: Not examined out of frame. $1,500-2,500 367 William Russell Flint (Scottish, 1880-1969) Seated Model Adjusting Her Drapery Signed “W Russell Flint” l.l., inscribed “118” u.r. Red chalk on paper, sight size 9 1/4 x 6 3/4 in. (23.5 x 17.2 cm), framed. Condition: Not examined out of frame. $1,500-2,500

367

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368

368 William Russell Flint (Scottish, 1880-1969) Seated Model En Déshabillé Signed “W Russell Flint” l.l., inscribed “172” u.r. Red chalk on paper, sight size 10 x 6 1/2 in. (25.4 x 16.5 cm), framed. Condition: Not examined out of frame. $1,500-2,500

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369 Charles Ephraim Burchfield (American, 1893-1967) Three Watercolors on Paper: Apple Blossoms, Abstract Composition, and House with Telephone Pole Apple Blossoms signed “CHARLIE” l.c., others unsigned. Abstract with charcoal, sizes to 14 1/4 x 20 1/4 in. (36.2 x 52.5 cm), House unframed, others framed. Condition: House laid on cardboard support, Abstract with creasing, not examined out of frames. Provenance: Acquired directly from Martha Burchfield, the artist’s daughter, in the early 1970s, to the current owner by family descent.

369 partial

N.B. Accompanied by two framed letters, one to Charles Burchfield signed by Dwight D. Eisenhower and dated November 8, 1956, the other a citation to Mrs. Bertha Burchfield on the first anniversary of the establishment of the Charles Burchfield Center in Buffalo, signed by Lyndon Johnson and dated November 14, 1967. $5,000-7,000 370 Charles Ephraim Burchfield (American, 1893-1967) Four Early Works on Paper: Wildflowers, Study of Tree Sprigs, Calligraphy Exercise, and Globber Kezort (Floral and Alphabet Sketch) Wildflowers and Sprigs dated and signed “1907 Charles Burchfield” u.c., Calligraphy dated and signed “1908 Charles Burchfield” u.c., Globber unsigned. Wildflowers and Sprigs watercolor and pencil, Calligraphy ink, and Globber pencil, sight sizes to 10 1/2 x 16 1/2 in. (26.7 x 42.0 cm), all framed. Condition: Minor toning, Sprigs with loss or repair to l.l. corner, Globber with creasing to u.l. corner, not examined out of frames. Provenance: See Lot 369. N.B. Charles Burchfield grew up in Salem, Ohio, in a farmhouse purchased for his mother and family by her brothers following the premature death of Burchfield’s father. A shy child and avid reader, Charles developed a profound love of nature and propensity for drawing. His drawings are recorded as early as 1905, and in 1908 Burchfield made meticulous studies of all the local wildflowers and blossoming fruit trees in his hometown. The lot is accompanied by Charles Burchfield’s framed grammar school diploma from the Salem (Ohio) Public Schools from 1907. $2,500-3,500

370 partial

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371 partial

372 partial

371 Charles Ephraim Burchfield (American, 1893-1967)

372 After Charles Ephraim Burchfield (American, 1893-1967)

Three Ink Drawings: Lucky Birds, Forgotten, and “Howdy” Lucky Birds signed and dated “CHARLES BURCHFIELD - JULY 1910” l.r., titled l.c.; Forgotten signed “Charles Burchfield” u.c., numbered “XV” u.r., titled l.c.; “Howdy” signed and dated “C.E. BURCHFIELD. 1910 JAN” l.r., titled l.c. Sight sizes to 9 x 12 in. (22.7 x 30.5 cm), all framed. Condition: Forgotten with minor toning, “Howdy” with toning and losses to three corners, not examined out of frames.

Thirty-seven Wallpaper Samples (36 flat and one roll) for M.H. Birge and Sons Many marked “DESIGNED BY BURCHFIELD” along the selvage, most with “BIRGE - MADE IN U.S.A.” along the selvage. Flat sizes to approximately 37 x 22 in. (94.0 x 55.9 cm), roll 20 1/2 in. (52.0 cm) wide, (length not measured), unmatted, unframed. Condition: Some with tears through the sheet or to the margins.

Provenance: See Lot 369. N.B. The three illustrations in this lot were done while Burchfield was a high school student. In the summer of 1911, Burchfield took a job to earn money for art school to supplement the scholarship he had received at graduation. He came down with typhoid fever and had to spend a year recuperating, during which time he delved more deeply into his study of nature. He read the works of John Burroughs and Henry David Thoreau and completed a series of watercolors of dried weeds, berries, and fruits to be used as card or calendar decorations. When he entered the Cleveland School of Art in 1912, it was his intention to become an illustrator, a plan he cast aside when he realized he wanted to paint. $4,000-6,000

Provenance: See Lot 369. N.B. From 1921 to 1929, Burchfield was a designer for H.M. Birge and Sons, a wallpaper company in Buffalo, New York. He began as an assistant in the design department, facilitated by an introduction through Henry Turner Bailey, dean of the Cleveland School of Art, to assist Burchfield upon graduation. The Birge firm produced a line of about 100 new designs each year, but Burchfield’s original designs were classified as “Special” and were offered at a rate of one or two per year. In 1927 Burchfield was made head designer for the firm. He spent most of each year creating and overseeing designs, with the final quarter being consumed working through production and approving the printings in dozens of color schemes.

The job at Birge was critical in the early 1920s for Burchfield to support a wife and growing family. However, he became increasingly disenchanted as the years passed, and, in the summer of 1929, when he had the opportunity to be represented successfully as a fine artist by Frank Rehn gallery in New York, Burchfield quit the wall paper factory. Commenting on the Burchfield wallpaper designs, John I.H. Baur wrote that “the best... were densely patterned arrangements of wildflowers, weeds, and berries woven into flat designs that remind one remotely of the medieval mille fleurs tapestries...they reveal a decorative talent far exceeding commercial wallpaper work. This side of Burchfield’s creative vision, which first emerged clearly in his art school posters, was one that he mistrusted and chose not to develop in his later work. But it should be recognized as one facet of his art.”1 1. John I.H. Baur, The Inlander, Life and Work of Charles Burchfield, 1893-1967 (Newark: University of Delaware Press, 1982), p. 131.

$2,000-4,000

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373 Edward Hagedorn (American, 1902-1982) Seated Female Nude Unsigned, dated “3/33” l.l. Pencil on paper, sight size 16 1/2 x 10 7/8 in. (41.8 x 27.5 cm), framed. Condition: Gentle rippling, not examined out of frame. $700-900 374 Karl Anderson (American, 1874-1956) Desertion from Agriculture/A Triptych Unsigned, certified in an inscription from James L. Anderson, the artist’s son, on the reverse, identified on an exhibition label from Grand Central Art Galleries, Inc., New York, affixed to the frame backing paper. Gouache on paper/board, overall sight size 23 x 30 in. (59.0 x 75.5 cm), framed. Condition: Not examined out of frame. Provenance: The estate of Frederick C. Frieseke. Exhibitions: Karl Anderson of Westport: American Impressionist, Westport–Weston Arts Council, June 29– July 22, 1984, Westport, Connecticut. N.B. The work at hand is a study for the WPA-era mural by Karl Anderson for the Bedford, Ohio, post office, c. 1937. The mural depicts the migration of American farmers to factories during the Industrial Revolution. Anderson is known to have completed two post office murals­—the second one, located at the Westville Station, New Haven, Connecticut (1939), presents a scene of local history. Karl Anderson was the brother of the novelist and short story writer Sherwood Anderson (1876-1941). $1,500-2,000

373

374

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375

375 William Zorach (American, 1887-1966) Pumas: A Pair of Bronzes One signed “Wm M Zorach,” the other signed “Zorach,” both numbered “2/6” and stamped “4” in the bronze bases. Bronze with brown and green patina, height to 19 1/4 in. (48.9 cm). Condition: Minor wear to patina, dust and dirt to interstices. $20,000-30,000

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376

376 Frank Vining Smith (American, 1879-1967) Hatching a Plan/A Scene with Pirates Signed “FRANK VINING SMITH” l.r. Oil on canvas, 32 x 38 1/4 in. (81.4 x 97.3 cm), framed. Condition: Puncture c.l., abrasions l.c., surface grime. $2,000-3,000

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377

377 Eric L. (Frederic) Pape (American, 18701938) The Shield Maiden/Lysistrata Signed and dated “Eric Pape 1932” l.l. Oil on canvas, 30 1/4 x 25 in. (76.8 x 63.5 cm), framed (under glass). Condition: Not examined out of frame. Provenance: Skinner, Inc., The Studio Auction, Sale 1560, Lot 179, February 10, 1994. N.B. The catalog entry for the 1994 Skinner auction states that there is an estate stamp on the reverse. $1,500-2,500 378 Oskar Gladenbeck (German, 1850-1921) Gladiator Signed “AKT-GES GLADENBECK BERLIN” on the base. Bronze, 12 x 13 1/3 x 5 1/2 in. (30.4 x 34.2 x 13.9 cm), mounted on marble base. Condition: Dust to interstices. Provenance: A Connecticut estate. $1,200-1,800

378

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379

379 Louis Ritman (American, 1889-1963) Light Blue Couch Signed “L. RITMAN” l.l., estate/authentication stamp on the reverse, titled and numbered “...#154” on a label affixed to the reverse. Oil on board, 17 1/2 x 22 5/8 in. (44.5 x 57.5 cm), framed. Condition: Minor surface grime. Provenance: Purchased by the current owner from Jennifer O’Quinn, West Hills, California. $2,000-2,500 380

380 Albert Marquet (French, 1875-1947) Reclining Nude Signed “Marquet” l.r. Ink on paper, 9 1/2 x 12 in. (24.1 x 30.4 cm), framed. Condition: Toning. $700-900

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381

381 Christopher (Kit) Wood (British, 1901-1930) Anemones in a Glass Jar Signed “C Wood” l.r. Oil on canvas, 13 x 16 in. (33.0 x 40.6 cm), framed. Condition: Minor craquelure, varnish discoloration, surface grime. Literature: Christopher Wood and Eric Newton, Christopher Wood, 1901-1930 (London: Redfern Gallery, 1938), No. 164, p. 69. Provenance: Sotheby & Co., London, Modern French and British Paintings, Drawings, and Sculpture, July 13th, 1960, Lot 174. N.B. Christopher Wood, also known as Kit, was born in Knowsley, near Liverpool, on April 7, 1901. He purportedly started drawing at the age of fourteen, while convalescing from septicemia. In 1920 the young Wood met the French collector Alphonse Kahn, who invited him to Paris.

Wood studied at the Académie Julian and traveled throughout Europe during the early 1920s. Charming and ambitious, Wood met the Chilean diplomat Antonio de Gandarillas, who introduced him to Picasso, Georges Auric, and Jean Cocteau. Wood learned from these Parisian artists, and although his paintings were regarded as graciously naïve, he especially embraced the elegant line of Cocteau’s drawings. In the mid-1920s Wood returned to England and became a member of the London Group, a clique of artists based in Camden Town, and the Seven and Five Society, the British manifestation of the return to order that followed the First World War. It is at this point that Wood painted Anemones in a Glass. A dense cluster of pink, violet, blue, and red anemones burst from a clear, unembellished jar. The flowers sit atop a simple orange table in front of a teal blue background. A fluid, patterned decoration, made up of undulating lines and soft cross-hatching, extends across the surface of the canvas, creating a visual interplay between the painting’s threedimensional depth and two-dimensional surface.

The painting reveals Wood’s mastery in rendering visual details as well as spirited playfulness in depicting line and form. In London, Wood had his first major exhibition with Ben and Winifred Nicholson at the Beaux Arts Gallery from April to May, 1927. A solo exhibition at the London Tooth’s Gallery in April 1929 was succeeded by an exhibition again with Nicholson at the Galerie Bernheim in Paris in May 1930. It is at this point that Wood was at the apex of his career. He was planning an exhibit at the Wertheim Gallery in London for the fall, when Wood met his mother and sister in Salisbury on August 21, 1930. He was in an unstable state of mind, possibly suffering from opium withdrawal, and jumped in front of a train, tragically truncating what seemed to be a promising career. In 1938 Wood’s paintings were included in the British pavilion at the Venice Biennale and a major exhibition was organized by the Redfern Gallery at the New Burlington Galleries, which strove to reunite Wood’s complete works. $70,000-90,000

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382

382 George Malva (Syrian, b. 1957) Flower Garden and Rocky Cove Signed “MALVA” l.r., a label from Wally Findlay Galleries affixed to the stretcher. Oil on canvas, 31 1/2 x 31 1/2 in. (80.0 x 80.0 cm), framed. Condition: Good. $1,500-2,000 383 Otto Bierhals (American, 1879-1944) Floral Still Life in a Sunny Window Signed “BIERHALS.” l.l. Oil on canvas, 22 1/4 x 16 3/8 in. (56.8 x 42.0 cm), in a probable Newcomb-Macklin frame. Condition: Retouch over paint losses to c.l. edge and u.l. corner, scattered minor paint losses. $400-600

383

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384

385

384 Gaston Sebire (French, 1920-2001)

385 Sol Wilson (Polish, 1896-1974)

Floral Signed “G. Sebire” l.l., titled on a label from DeBruyn Fine Art, Naples, Florida, affixed to the frame backing. Oil on canvas, 58 x 39 in. (147.3 x 99.0 cm), framed. Condition: Good. $8,000-12,000

Through the Window Signed “S. Wilson” l.l. Pastel on paper, 22 x 18 in. (55.8 x 45.7 cm), framed. Condition: Not examined out of frame. $800-1,200

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386

386 American School, 20th Century Nymphs Dancing on a Newport Beach Signed and dated “W.K. Bath 1926” l.r. Inscribed “William K. Bank [sic] 1926” on the stretcher. Oil on canvas, 25 x 33 in. (63.5 x 83.8 cm), framed. Condition: Craquelure, surface grime. $1,000-1,500

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387

387 Frank Weston Benson (American, 18621951) Pernilla with Pig Signed “F.W. Benson” l.r., sitter identified in an inscription l.l. Graphite on paper, 11 x 8 1/2 in. (27.9 x 21.5 cm), framed. Condition: Tear, creases, toning. $800-1,200 388 Ludwig Bemelmans (American, 1898-1962) Sketch for Madeline in London: Next Morning After He Arose, the Gardener Dropped His Garden Hose Signed “Bemelmans” in ink l.l., titled in ink l.r., stamped “Bemelmans Madeline” l.l. Watercolor and graphite on paper, image/ sheet size 24 x 17 7/8 in. (61.0 x 45.5 cm), matted, unframed. Condition: Toning, mat burn. $2,500-3,500

388

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389

389 Louis Ritman (American, 1889-1963) The Loaf of Bread Signed “L. RITMAN” l.l., estate/authentication stamp on the reverse, titled and numbered “#329” on a label on the frame backing board. Oil on canvas, 21 1/4 x 25 1/2 in. (54.0 x 64.5 cm), framed. Condition: Good. Provenance: Purchased by the current owner from Jennifer O’Quinn, West Hills, California. $2,000-2,500 390 Maurice Becker (American, 1889-1975) Romantic Note Signed “Maurice Becker” u.l., titled and dated “...’50” on the reverse, a label from Vern Gallery, New York, attached to the frame. Oil on Masonite, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Varnish discoloration, surface grime. $1,500-2,500

390

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391 Vladimir Lebedev (Russian/American, 19101989) Floral Still Life Signed “Lebedev” l.l., stamped “ESTATE OF VL VLADIMIR LEBEDEV” on the reverse. Oil on canvas, 19 x 11 in. (48.2 x 27.9 cm), framed. Condition: Minor craquelure, surface grime. $1,200-1,800 392 Charles Camoin (French, 1879-1965) Still Life with Watermelon Signed “C. H. Camoin” l.r. Oil on Masonite, 13 1/2 x 17 in. (34.2 x 43.1 cm), framed. Condition: Craquelure, surface grime. $1,000-1,500

391

392

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393 Marcel Dyf (French, 1899-1985) Flowers by a Window Signed “DYF” l.r. Oil on canvas, 29 x 23 3/4 in. (73.6 x 60.3 cm), framed. Condition: Good. $4,000-6,000 394 Louis Ritman (American, 1889-1963) Floral Still Life Signed “L. RITMAN” l.l., titled on a label affixed to the reverse, estate/authentication stamp on the reverse. Oil on pressed paperboard, 21 1/2 x 25 1/2 in. (54.6 x 64.7 cm), framed. Condition: Surface grime. Provenance: Purchased by the current owner from Jennifer O’Quinn, West Hills, California. $2,000-2,500

393

394

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395

395 Raphael Soyer (American, 1899-1987) Head of a Girl in Blue Signed “RAPHAEL SOYER” l.r. Oil on canvas, 16 x 12 in. (40.6 x 30.4 cm), framed. Condition: Surface grime. $1,200-1,800 396 Marcel Dyf (French, 1899-1985) Still Life with Flowers and Chair Signed “DYF” l.l. Oil on canvas, 36 1/2 x 29 in. (92.7 x 73.6 cm), framed. Condition: Varnish inconsistencies. $4,000-6,000

396

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397

398

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399

397 R.C. (Rudolph Carl) Gorman (American, 1932-2005) Woman with Basket Signed “R.C. Gorman” l.r. Acrylic on canvas, 28 1/4 x 38 1/4 in. (71.7 x 97.1 cm), framed. Condition: Surface grime. $3,000-5,000

398 William Zorach (American, 1887-1966)

399 Francisco Zúñiga (Mexican, 1912-1998)

Eight Figural Sketches Each signed “Zorach” l.r., with a label from Downtown Gallery, New York, affixed to the back of the mat. Ink on paper, sizes to 3 1/2 x 1 3/4 in. (8.8 x 4.4 cm), presented in a single mat, unframed. Condition: Toning, laid down to a common support. $1,500-2,000

Madre con Niño de Pie Signed, numbered, and dated “ZUNIGA/ IV/V/1965” in the bronze at the back of the base. Bronze with brown and green patina, height 27 in. (68.6 cm), on a wood plinth. Condition: Some oxidation to the patina, dust and dirt to interstices. Literature: Francisco Zúñiga: catalogo razonado (Mexico: Albedrio, Fundacion Zúñiga Laborde A.C., 1999), Vol. I, cat. no. 447. N.B. We would like to thank Ariel Zuñiga for his assistance with cataloging this lot. $15,000-25,000

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400 Sigmund Joseph Menkes (American, 18961986) Standing Model Holding Flowers Signed “Menkes” l.r. Graphite on paper, 12 x 9 1/2 in. (30.4 x 24.1 cm), framed. Condition: Water damage, mat burn, toning, minor foxing. $700-900 401 Jared French (American, 1905-1987) Model Not Posing Signed “Jared French” l.r., titled on labels from the Midtown Galleries, New York, and DC Moore Gallery, New York, affixed to the back of the frame. Ink and graphite on paper, 13 x 21 in. (33.0 x 53.3 cm), framed. Condition: Drawing hinged at the top, minor toning.

400

N.B. Jared French, together with Paul Cadmus and George Tooker, worked in the style that is now called Magic Realism. The three artists were based in New York in the 1930s-50s. The sitter of this drawing may have been Cadmus, close friend of French, and quite possibly his lover for a time. However, in 1937, French married Margaret Hoening, also an artist. For the next eight years Cadmus and the Frenches summered on Fire Island and formed a photographic collective called PaJaMa (“Paul, Jared, and Margaret”). During this period Jared French also painted murals for the WPA. $5,000-7,000

401

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402

402 Jared French (American, 1905-1987) Street Fight, 1935 Signed “Jared French” l.r., identified on labels from the Midtown Payson Galleries, New York, and the Mead Art Museum, Amherst College, affixed to the reverse of the frame. Pencil and white gouache on paper, 10 1/2 x 13 1/4 in. (26.8 x 33.6 cm), framed. Condition: Tear u.c., wrinkling, toning. Exhibitions: Close Encounters of the Art of Paul Cadmus, Jared French, and George Tooker, Midtown Galleries, New York, February 22–April 7, 1990; The Rediscovery of Jared French, Midtown Payson Galleries, New York, April 23–June 5, 1992, which also traveled to the Mead Art Museum, Amherst College, October 2–November 29, 1992. $5,000-7,000

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403

403 Jon Corbino (American, 1905-1964) Jockeys and Mounts Signed “Corbino� l.l. Oil on canvas, 10 x 12 in. (25.4 x 30.4 cm), framed. Condition: Surface grime. $1,000-1,500 404 Reginald Marsh (American, 1898-1954) Two Fashionable Women Unsigned, artist identified on a label affixed to the reverse. Ink on paper, sight size 10 x 8 in. (25.4 x 20.3 cm), framed. Condition: Toning, not examined out of frame. $1,000-1,500

404

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404A Gifford Beal (American, 1879-1956) Portrait Study in Blue (Esther Becker Goetz) Signed “GIFFORD BEAL” l.r., identified on a gummed label on the back of the frame, with the artist’s inventory number “1:1931” on a gummed label affixed to the stretcher. Oil on canvas, 36 x 28 1/4 in. (92.0 x 71.5 cm), in an original Heydenryk frame. Condition: Lined, retouch. Provenance: The artist to Mr. & Mrs. Philip Becker Goetz, Buffalo, New York (parents of the sitter); to Esther Goetz, New York; to a private New York collection; Doyle New York, Modern & Contemporary and European & American Art, November 12, 2008, Lot 1262; to the current owner. N.B. Born in 1907, Esther Goetz studied at The Art Students League under John Sloan while Gifford Beal was serving as president. The painting, done in 1930-31, is numbered as 1-31 in Beal’s personal catalog. It is reported that Beal was intrigued by the young artist’s defiant yet gentle personality which he sought to reflect in the portrait. $1,200-1,800 405 Carmelo Iglesias Gonzalez (Cuban, 19201990) 404A

Guajiros Descansando Signed and dated “CabanE/. 1949” l.r., signed, dated, and titled on the reverse. Oil on canvas, 29 1/2 x 41 1/2 in. (74.9 x 105.4 cm), framed. Condition: Surface grime. N.B. Accompanied by a certificate of authenticity issued by Aldo Menendez in 2011. $1,500-2,500

405

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406

406 Hans Snel (Dutch, 1925-1998) Balinese Portrait Signed and dated “Snel ‘57” l.r., inscribed “Bali” l.l. Oil on canvas, 21 x 17 1/2 in. (53.4 x 44.5 cm), framed. Condition: Minor surface grime. $1,500-2,000 407 Duilio Barnabè (Italian, 1914-1961) Una Suora (A Nun) Signed “Barnabè” l.r. Oil on canvas, sight size 7 1/2 x 5 3/8 in. (19.0 x 13.5 cm), framed. Condition: Canvas mounted to heavy paper support, the paper glued to the window mat along the top edge of the recto. N.B. Accompanied by a Duilio Barnabè exhibition catalog published by International Galleries, Chicago, Illinois, April–May, 1969. $800-1,200

407

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408 Hans Erni (Swiss, 1909-2015) Mother and Child Signed and dated “Jee 58 Erni” l.r. Tempera on canvas, 39 x 19 in. (99.0 x 48.3 cm), framed. Condition: Slight canvas deformation l.l., surface grime. N.B. Painter, sculptor, illustrator, and stage designer Hans Erni was Switzerland’s most important 20th century artist. He trained at the Ecole des Arts et Métiers in Lucerne, the Académie Julian in Paris, and the Vereinigte Staatschulen für freie und angewandte Kunst in Berlin. During his early career Erni was deeply inspired by ancient Greek art, and often signed his paintings using the pseudonym François Grècque. However, by 1933, he joined the Abstraction-Création group, a loose, international association of artists based in Paris comprised of Joseph Albers, Alexander Calder, Wassily Kandisky, László Moholy-Nagy, and Sophie Tauber-Art, among others. At the end of the 1930s, Erni returned to his hometown of Lucerne and worked on a number of public commissions, including the fresco The Three Graces of Lucerne that decorates the railway station and Switzerland: The People’s Holiday Country for the Landesausstellung in Zurich.

408

Although it is a later work, we can still see both a classical and abstract quality in the painting at hand. The figure’s elegant posture recalls the harmonious poses of Hellenistic sculpture, and the sweet expression of both the mother and child brings to mind the paintings of the Renaissance artist Sandro Botticelli, who at the time was rediscovering the art of antiquity. Meanwhile the acid green colors and depthless background evoke early 20th century abstraction, as the figures seem to exist in a weightless emerald space. In this painting, Erni elegantly weds traditional figurative form and charged abstraction. The Hans Erni Museum, situated in the grounds of the Swiss Museum of Transport in Lucerne, contains a large collection of the artist’s work. The lot is accompanied by an e-mail from Doris Erni, descendant of the artist, confirming the authenticity of this painting. $12,000-18,000

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409

410

409 Gustavo Foppiani (Italian, 1925-1986)

410 Martin Tanner (American, 1906-1968)

Horn Player Signed and dated “Foppiani ‘57” l.l., titled on the reverse. Oil and chalk on panel, 23 x 11 in. (58.4 x 27.9 cm), framed. Condition: Possible pigment discoloration. $1,000-1,500

Woman with Red Flower Signed and dated “Martin Tanner ‘48” l.r. Oil on canvas, 27 x 20 in. (68.5 x 50.8 cm), framed. Condition: Surface grime. $1,000-1,500

144

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411

411 Gen Paul (French, 1895-1975) The Cellist Signed “Gen Paul� u.l. Oil on Masonite, 16 x 10 3/4 in. (40.8 x 27.4 cm), framed. Condition: Surface grime. $2,500-3,500

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145


412 Eduardo Abela (Cuban, 1889-1965) Untitled Signed “Abela” l.r. Oil on pressed paperboard, 27 1/2 x 19 1/2 in. (69.8 x 49.5 cm), framed. Condition: Minor craquelure, surface grime. $1,000-1,500 413 Shanti Dave (Indian, b. 1931) Abstract Composition Signed and dated “Shanti Dave ‘70.” l.r. Oil on canvas, 23 x 29 in. (58.4 x 73.6 cm), framed. Condition: Surface grime. $2,500-3,000

412

413

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414

414 Robert W. Kelly (American, b. 1956) Dorje XXXVII Signed, titled, and dated “R.W. Kelly/...1985” on the reverse. Mixed media with collage on canvas, 40 x 65 in. (101.6 x 165.1 cm), framed. Condition: Good. $5,000-7,000 415 Gandy Brodie (American, 1924-1975) Untitled Dated, dedicated, and signed “1951 PARIS FOR ANN BERNAYS GANDY” on the reverse. Oil and mixed media on pressed paperboard, 29 x 36 in. (73.6 x 91.4 cm), framed. Condition: Extensive craquelure, surface grime. $800-1,200

415

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416

417

148

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418

416 David H. Dale (Nigerian, b. 1947)

417 Osvaldo Gutierrez (Cuban, 1917-1997)

418 Jan Cybis (Polish, 1897-1972)

Emergence of Africa Signed “David H. Dale” l.r., dated “Lagos 1995” l.c., titled l.l. Watercolor and graphite on paper, 10 x 12 in. (25.4 x 30.4 cm), framed. Condition: Good. $800-1,200

Abstract Cityscape Signed and dated “OSVALDO./93.” l.r. Mixed media on paper, sight size 10 5/8 x 14 5/8 in. (27.0 x 37.2 cm), framed. Condition: Not examined out of frame. $800-1,200

The White House in the Grove Signed “Jan Cybis” l.l. Oil on Masonite, 18 x 22 in. (45.7 x 55.8 cm), framed. Condition: Surface grime. $1,000-1,500

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419

419 Charles Schulz (American, 1922-2000) Educational Costs Are Really Going Up, A Peanuts Cartoon Signed “Schulz” l.r., pasted label in the fourth frame: “Tim. Reg. U.S. Pat. Off - All rights reserved © 1969 by United Featured Syndicates, Inc.” Ink on paper, sight size 7 x 28 1/2 in. (17.7 x 72.3 cm), framed. Condition: Rippling, minor toning. $6,000-8,000 420 Eugene Berman (American, 1899-1972) Costume Design for Despina from Mozart’s Così fan tutte Unsigned, identified and dated “1955” on a fragmentary label from Richard...rcada Gallery, New York, affixed to the frame backing. Ink and watercolor on Fabriano paper, 8 3/4 x 6 5/8 in. (22.0 x 16.8 cm), framed. Condition: Subtle rippling, tipped to secondary paper at corners on reverse. $800-1,200

420

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421 Eugene Berman (American, 1899-1972) Costume Design for Giovanna from Verdi’s Rigoletto Monogrammed and dated “E.B. 1951” l.c., inscribed “Giovanna/(servant)” l.r. and “.../”Rigoletto” u.c. Ink and watercolor on laid paper, 11 1/2 x 8 5/8 in. (29.3 x 22.0 cm), framed. Condition: Fading, rippling, not examined out of frame. N.B. Eugene Berman was the designer for the Metropolitan Opera’s production of Rigoletto which opened November 15, 1951. This production marked Berman’s debut with the company. In the review in the New York Times, Olin Downes wrote, “The production of Verdi’s ‘Rigoletto’ last night in the Metropolitan Opera House, with new scenery and costumes by Eugene Berman and stage direction by Herbert Graf, was one of the most interesting and exciting interpretations of this work that we have seen.” $600-800

421

422 Milton Clark Avery (American, 1885-1965) Child by the Sea Signed and dated “Milton Avery 1957” l.l. Pencil and ink on paper, sight size 8 1/4 x 10 3/4 in. (21.0 x 27.0 cm), framed. Condition: Two small tears u.c., sheet creasing along top edge, toning. N.B. A certificate of authenticity from the Milton & Sally Avery Arts Foundation Inc. (ID A21016) accompanies the lot. $3,000-5,000 423 No lot.

422

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424

424 Viola Frey (American, 1933-2004) Two-piece Vessel Depicting Nude Figures on a Brick Wall Signed and dated “V. Frey 72� on the bottom. Glazed ceramic, 10 x 13 1/2 x 4 in. (25.4 x 34.3 x 10.2 cm). Condition: Dust and dirt to the interstices, subtle crack where arms of two middle figures join. $3,000-5,000

152

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425

425 J. Jean Dubuffet (French, 1901-1985) Situation LXXXXI (a l’arbre) Signed and dated “J.D. ‘79” l.l., titled on labels from Pace Gallery, New York, and Hokin Gallery, Palm Beach, affixed to the reverse. Ink on paper, 13 3/4 x 10 in. (34.9 x 25.3 cm), framed. Condition: Minor toning. Provenance: Purchased from the Hokin Gallery, c. 1979-80, then by gift to the current private Massachusetts collection. N.B. This is a later work by the French painter, sculptor, and writer Jean Dubuffet. He is best known for canvases painted in a purposefully naïve and confrontational style, which caused quite a scandal when he first began to exhibit them just after World War II.

Dubuffet was reacting against the professionalization of art and what he saw as the stifling conformity of “high” culture. Instead, he channeled the raw emotional spontaneity of untrained artists, children, and the mentally disbled. Dubuffet created incredibly tactile, almost formless figurative paintings that assaulted the very notions of Western beauty and harmony. For his radical style and ideas, Dubuffet gained much critical attention during the 1950s. Purportedly inspired by a doodle he made while on the telephone in 1962, Dubuffet began creating new work in the style he called “Hourloupe.” He would fill entire pages or canvases with fluid scribble-like lines in densely packed, allover compositions.

Dubuffet explained that these forms evoked the manner in which objects appear in the mind; a crowded jumble of images and emotions. As he continued to experiment, Dubuffet did not limit himself to two-dimensional surfaces, but extended his running lines to three-dimensional sculptures and entire environments. This style would preoccupy Dubuffet for decades, and this drawing is a perfect example. This work is listed as #264 in Max Loreau, Catalogue des traveaux de Jean Dubuffet, Fascicule XXV: Arbres, murs, architectures (Weber, 1974), “fascicule XXXII: Théâtres de mémoire,” p. 140. $35,000-55,000

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426

426 Roberto Estopiñán (Cuban, 1921-2015) Seated Torso Signed and dated “R. Estopinan NY 1982” toward the bottom. Alabaster, 18 x 9 1/2 x 7 in. (45.8 x 24.2 x 17.8 cm). Condition: Minor dust to the interstices. Provenance: From the artist to SchweyerGaldo Galleries, Birmingham, Michigan, 1983, to the current owner.

154

N.B. Accompanied by a signed copy of the exhibition catalog by Roberto Estopiñán, Olga Nodarse-Chao, José Gómez Sicre, Judith Weiner, and Carlos Franqui, Estopiñán Sculpture and Related Drawings (Birmingham, Michigan: Schweyer-Galdo Editions, 1983), in which Seated Torso is reproduced, and a certificate of authenticity from the SchweyerGaldo Galleries, Birmingham, Michigan, dated October 5, 1983. $1,500-2,000

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427

427 Francisco Zúñiga (Mexican, 1912-1998) Amantes Signed and dated “Zúñiga 1975” on the man’s shin. Black marble, 10 1/8 x 20 1/4 x 10 in. (25.9 x 51.4 x 25.4 cm), marble base. Condition: Dust to interstices on the exterior. Provenance: A private Massachusetts collection.

N.B. Costa-Rican born, Mexican artist Francisco Zúñiga was the most important sculptor, printmaker, and draughtsman of the Mexican modern style. He trained first with his father, Manuel María Zúñiga, and then with Guillermo Ruíz (1895-1964) and Oliverio Martínez at the Escuela de Talla Directa in Mexico City. Important influences for the development of Zúñiga’s monumental forms came both from Aztec sculpture and the European avant-garde tradition, especially the work of Auguste Rodin and Aristide Maillol. In all his work, Zúñiga glorified the humble nature of Latin American figures, exalting peasant mothers with their children (see Lot 399 in this sale) and resolute workers.

While exploring boldly simplified forms, Zúñiga always preferred figurative representation because he found the human figure to be the most important element in the world around him. In this compact composition two lovers are indistinctly intertwined. The fusion of the two bodies, cut from the same elegant black stone, conspicuously characterizes the act of love-making. Today, his works can be found in the permanent collections of the Metropolitan Museum of Art in New York, the Museo de Arte Moderno in Mexico City, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. $40,000-60,000

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428 Hans Huggler-Wyss (Swiss, 1877-1947) Head of Jesus Signed and dated “H.HUGGLER-WYSS./28.” on the base. Wood, 19 x 6 x 6 in. (48.2 x 15.2 x 15.2 cm), without base. Condition: Specks of paint on the back of the head, dust to interstices. $1,200-1,800 429 Aaron Fink (American, b. 1955) Grapes Signed and dated “Aaron Fink 1987” on the reverse. Acrylic on canvas, 60 x 67 in. (152.4 x 170.1 cm), framed. Condition: Good. $1,500-2,000

428

429

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430

430 Aaron Fink (American, b. 1955) Flame Signed and dated “Aaron Fink 1989” on the reverse. Acrylic on canvas, 84 x 60 in. (213.3 x 152.4 cm), unframed. Condition: Good. $1,500-2,000 431 Juan Carlos Liberti (Argentine, 1930-2014) La isla misteriosa Signed “LIBERTI” l.r., signed, titled, and dated “LIBERTI/.../1979” on the reverse. Oil on canvas, 17 5/8 x 13 3/4 in. (44.8 x 35.0 cm), framed. Condition: Minor retouch to l.l. corner, scattered varnish inconsistencies in the sky. $800-1,200

431

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432

432 Murray Hantman (American, 1904-1999) Untitled Signed “HANTMAN� l.r. Oil on canvas, 20 x 30 in. (51.0 x 76.3 cm), framed. Condition: Minor paint losses to u.l. and l.l. corners, fine craquelure. $1,200-1,800

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433

433 Charles Shaw (American, 1892-1974) Abstract Composition Signed “Shaw� l.r., signed and inscribed on the reverse. Oil on canvas, 19 x 31 in. (48.2 x 78.7 cm), framed. Condition: Surface grime. $1,000-1,500

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159


434

435

160

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436

434 Laurence Philip Sisson (American, 19282015)

435 Ethel Polacheck Margolies (American, b. 1907)

October Sea and Dory Signed “L. Sisson” l.l., titled, inscribed, and signed “.../Purchased by Dr. and Mrs. Jack H. Bloch from the artist Laurence P. Sisson” in ink on the back of the frame liner. Oil on canvas mounted on Masonite, 22 x 30 in. (56.0 x 76.5 cm), framed. Condition: Good.

Cubist Landscape with Houses Signed and dated “Ethel Margolies ‘54” l.r. Gouache on paper, 21 x 27 in. (53.3 x 68.5 cm), unframed. Condition: Minor sheet warping, toning. $800-1,200

436 American School, 20th Century Modernist Landscape with Sailboats and Full Moon Dated and signed indistinctly “1945/W. J...” l.r. Oil on canvas, 8 x 12 in. (20.5 x 30.7 cm), in a hand-embellished frame. Condition: Minor surface grime. $1,500-2,000

Provenance: From the artist to Dr. and Mrs. Jack H. Bloch, California, purchased through representatives of the estate of Dr. Jack H. Bloch by the current owner. $1,000-1,500

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437

437 Humberto Calzada (Cuban, b. 1944) Dialect of Stones Signed “Calzada” l.r., titled and dated “1988” on an unattributed label on the frame backing paper. Acrylic on museum board, 16 7/8 x 23 in. (43.0 x 58.5 cm), framed. Condition: Not examined out of frame. $1,000-1,500

162

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438

438 Alfred McNamara (American, 1911-1994) Music Forms Signed “A MCNAMARA” l.r., titled and inscribed “…R3-7” on the reverse. Oil on Masonite, 24 x 30 in. (60.9 x 76.2 cm), framed. Condition: Varnish discoloration, surface grime. $1,500-2,000

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163


439

440

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439 Herbert Ferber (American, 1906-1991) Orange, Red, White, and Black Abstraction Signed and dated “Ferber 63” on the reverse. Oil on paper affixed to Masonite, 23 x 32 3/4 in. (58.5 x 83.2 cm), unframed. Condition: Minor surface grime. $3,000-4,000 440 Larry Zox (American, 1937-2006) Hedges Bank Unsigned, identified on a label from Art Options Inc., New York, affixed to the stretcher. Acrylic on canvas, 44 1/4 x 91 1/4 in. (112.4 x 231.8 cm), framed. Condition: Minor surface grime. N.B. The sale of this lot benefits the College of Fine Arts, Boston University. $2,500-3,500 441 György Kepes (Hungarian/American, 19062001) Untitled Unsigned. Mixed media including oil and sand on canvas, 72 1/2 x 30 in. (183.0 x 76.5 cm), framed. Condition: Scattered very minor surface losses. Provenance: Gift from the artist to Mimi and Gerald Berlin, Cambridge, Massachusetts, to the current owner by descent. $7,000-9,000 441

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165


442

442 Leonardo Nierman (Mexican, b. 1932) Wind of Illusion Signed “nierman” l.r., titled and inscribed “Wind of Illusion/by/Leonardo Nierman” on the reverse. Oil on Masonite, 23 1/2 x 31 1/4 in. (59.5 x 79.5 cm), accompanied by a frame. Condition: Loss to surface at u.r. corner, subtle scuffing. Provenance: A Massachusetts estate. $400-600 443 John Way [Wei Letang] (Chinese/American, 1921-2012)

443

Untitled Signed and dated “John Way ‘76” l.l. Oil on paper, 19 1/8 x 24 in. (48.5 x 61.0 cm), unmatted, unframed. Condition: Minor crease to l.l. corner. Provenance: The family of the artist. $2,000-3,000

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444 Leonardo Nierman (Mexican, b. 1932) Flight Signed “nierman” l.l., titled on the reverse. Oil on Masonite, 31 1/2 x 23 5/8 in. (80.0 x 60.0 cm), framed. Condition: Good. $800-1,200 445 Vladimir Lebedev (Russian/American, 1910-1989) Abstract Landscape Signed “Lebedev” l.r., inscribed and dated “V. Lebedev 1961” on the reverse and on the stretcher, stamped “ESTATE OF VL VLADIMIR LEBEDEV” on the stretcher. Oil on canvas, 30 x 40 in. (76.2 x 101.6 cm), framed. Condition: Craquelure, minor surface grime, scattered losses l.r., several small punctures and damage visible on the reverse. $1,800-2,200

444

445

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446

447

446 Trevor Bell (American, b. 1930)

447 Trevor Bell (American, b. 1930)

Wheal [sic] Dream Signed, titled, and dated “Trevor Bell...1985” on the reverse. Oil on canvas, overall 140 x 89 1/2 in. (355.6 x 227.3 cm), dismantles into three pieces, unframed. Condition: Dust and surface grime.

Split Wheal [sic] Signed, dated, and titled “Trevor Bell 1985...” on the reverse. Oil on canvas, overall 140 x 77 1/8 in. (355.6 x 196.0 cm), dismantles into two pieces, unframed. Condition: Dust and surface grime.

Provenance: A corporate collection, Florida. $2,000-3,000

Provenance: A corporate collection, Florida. $2,000-3,000

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448

448 Ilya Bolotowsky (Russian/American, 19071981) Diamond with Three Blues Signed and dated “Ilya Bolotowsky/69” l.r., titled on a label affixed to the stretcher. Acrylic on canvas, 42 1/4 x 42 1/4 in. (107.3 x 107.3 cm), framed (under glass). Condition: Minor puncture, craquelure, surface grime. N.B. Russian born, American painter and sculptor Ilya Bolotowsky immigrated to the United States when he was sixteen years old. During the 1930s, Bolotowsky connected with many of the European avant-garde artists who found themselves in New York City. He became particularly close to Piet Mondrian who served as a mentor, teaching him the tenets of De Stijl, a movement that sought ideal harmony in the abstract use of color and line.

Bolotowsky was also inspired by Joan Miró’s Surrealist biomorphic forms and Pierre Matisse’s bold, Fauvist colors, as he was able to see examples of their work in the New York galleries. Absorbing all of these influences, Bolotowsky advocated for abstract art in the U.S. at a time when Realism and Regionalism were dominant. He was a founding member of the “American Abstract Artists,” and he painted numerous abstract murals under the auspices of government-sponsored programs, such as the WPA’s Federal Art Project (FAP). Bolotowsky’s 1936 Williamsburg Housing Project Mural was one of the first abstract murals done under the program. Throughout his career, Bolotowsky created variations on geometric abstraction. In the painting at hand, we see a square canvas with dynamic intersecting blue shapes. Much like Mondrian’s paintings, color here functions to balance the composition: the smaller rectangle

of yellow on the right counterbalances the larger rectangle of blue on the left. The darker, thinner rectangles of blue seem to move towards each other, but stop just before meeting, creating tension at the center of the canvas. During this time Bolotowsky also experimented with a variety of shaped canvases: round, elliptical, and diamond, and in 1961 he took the sculptural and architectural possibilities of Mondrian’s teachings further and began painting columns. In 1974 the Solomon R. Guggenheim Museum in New York presented a retrospective of his work. The sale of this lot benefits the College of Fine Arts, Boston University. $18,000-22,000

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449 Ruben Torres Llorca (Cuban, b. 1957) La soledad es el peor tormento Signed and dated “Ruben Torres Llorca 19871991” on the reverse, titled in an inscription on the front. Wood and mixed media, 13 3/4 x 9 1/2 x 3 1/2 in. (34.7 x 24.2 x 8.9 cm). Condition: Adhesive deterioration, scattered paint residue on wood surface, minor scuffs. $2,000-3,000 450 No lot. 451 Robert Motherwell (American, 1915-1991) Sketch for Mural Signed and dated “RM/82” l.r. Ink on heavy tracing paper, 6 1/4 x 4 1/2 in. (15.8 x 11.4 cm), framed. Condition: Minor toning.

449

451

170

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Provenance: Gift of the artist to Charles Percy Parkhurst (1913-2008), Williamstown, Massachusetts. Parkhurst, an art historian, was a part of the so-called Williams Art Mafia. He worked as a museum curator, professor, and was one of the “Monuments Men.” A note on the reverse of the frame reads: “Robert Motherwell: Study for canvas mural related to mural canvas (drawing for National Gallery Washington, in the face of E. Wall, balcony of New Building at opening). Gift to CP of Robert Motherwell.” $1,000-1,500


452

452 Clement L. Meadmore (Australian, 19292005) THROUGH WAY, 1965 Unsigned. Steel, 78 x 19 x 18 in. (198.1 x 48.2 x 45.7 cm). Condition: Oxidation, minor scrapes. Provenance: The estate of Audrey Deckoff of Manhattan to current owner. N.B. Australian-American sculptor Clement Meadmore is known for his massive outdoor steel sculptures. He trained as an aeronautical engineer at the Royal Melbourne Institute of Technology, but did not complete his degree. Instead, during the 1950s, he worked as an industrial designer, specializing in furniture.

In his designs, Meadmore experimented with steel, laminates, and cord, basic materials that would later inform his aesthetic practice. Meadmore began making his first welded steel sculptures after a trip to Europe in 1953. The textured surfaces and monolithic quality of his massive steel slabs must have been inspired by the prehistoric sites of Carnac, Stonehenge, and Avebury. In 1963, Meadmore relocated to New York City where he met members of the Abstract Expressionist group, including David Smith. As a result, Meadmore began to create more geometric sculpture, while still maintaining a heavy, monumental quality. It was in the United States that Meadmore created this sculpture, originally part of a series titled CRISS CROSS, which included five sculptures in all.

The series was later separated into groups of three and two, and subsequently the group of two was divided into single works, one being THROUGH WAY, the sculpture offered here. Just after this series, Meadmore’s style shifted direction, and he began to use curves in his sculptures. His later work is more dynamic, as the long, twisted, square-faced forms become seemingly weightless, rather than static and grounded. Meadmore’s sculptures can be found in the collections of museums, corporate headquarters, and schools internationally. His work has been exhibited in a number of galleries, including the Anita Shapolsky Gallery in New York City, the Columbus Gallery of Fine Art in Ohio, and the Davenport Municipal Art Gallery in Iowa. We would like to thank Hugo Rivera, from the Meadmore Studio in New York City, for his help in preparing this entry. $15,000-25,000

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453

453 Hsiang-Ning Han (Chinese, b. 1939) Street View, Soho Signed and dated “H.N. HAN 1974� on the reverse. Acrylic on canvas, 68 x 48 in. (172.7 x 121.9 cm), framed. Condition: Good. N.B. The sale of this lot benefits the College of Fine Arts, Boston University. $4,000-6,000

172

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454

454 Michael Mazur (American, 1935-2009) Cambridge Signed “Mazur” l.r., titled and dated “...75” on the reverse. Oil and elvacite on canvas, 66 x 66 in. (167.6 x 167.6 cm), framed. Condition: Good. Provenance: A Vermont estate. $12,000-18,000

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173


455 Bo Bartlett (American, b. 1955) Study for Six Seconds Unsigned, titled on the original receipt from The More Gallery, Philadelphia. Oil on canvas, 14 x 10 in. (35.5 x 25.4 cm), framed. Condition: Surface grime. N.B. This quick oil sketch purportedly depicts the artist’s daughter. The original receipt, dated August 18, 1986, from The More Gallery, Philadelphia, accompanies the lot. $800-1,200 456 Terri Priest (American, 1928-2014) Parachute History, from the Angel Series Signed and dated “T. Priest ‘97-98” l.l., signed and inscribed on the reverse. Oil on canvas with collage, 28 x 28 in. (71.5 x 71.5 cm), framed. Condition: Good. Provenance: Estate of the artist, Worcester, Massachusetts.

455

Literature: Terri Priest, Interactions: Paintings and Works on Paper (Worcester, MA: College of the Holy Cross, 2005), exhibition catalog, illus. p. 21. N.B. In the inscription on the reverse, the artist cites the sources for the work’s imagery, including a collaged photograph of a parachute taken by the artist in New Zealand in 1998 (and further hand-embellished by the artist), a collaged reproduction of Francesco Albani’s painting Adonis Led by Cupids to Venus, and a collaged and painted angel after the 18th-century Neapolitan crèche angels from the annual Christmas Tree at the Metropolitan Museum of Art. $800-1,200

456

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457

457 Miguel Padura (Cuban, b. 1957) Woman in a White Head Wrap Signed and dated “Padura 90� u.l. Watercolor and gouache on paper/board, sight size 11 1/2 x 8 1/2 in. (29.2 x 21.5 cm), framed (under glass). Condition: Fine, stable craquelure in areas of gouache, not examined out of frame. $2,000-2,500

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175


459

458

458 Joyce Stillman-Myers (American, b. 1943)

459 Michael Zigmond (American, b. 1962)

Cut Rocks Signed “JSM” l.r., titled and dated “...1981” on a label from the Louis K. Meisel Gallery, New York, affixed to the stretcher. Acrylic on canvas, 36 x 20 in. (91.4 x 50.8 cm), framed. Condition: Good. $2,500-3,500

Two Tulips Signed “M. Zigmond” l.r., titled on a label affixed to the stretcher. Oil on canvas, 38 x 30 in. (96.5 x 76.2 cm), framed. Condition: Good. $1,200-1,800

176

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460

460 Joyce Stillman-Myers (American, b. 1943) Solomon’s Box Signed “JSM ©” l.l., titled and dated “...1977” on the reverse. Oil on canvas, 50 x 72 in. (127 x 182.8 cm), framed. Condition: Good. $4,000-6,000

End of Sale 2930B

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Artist Index Abela, Eduardo........................................412

Dale, David H...........................................416

Han, Hsiang-Ning.....................................453

Alken, Henry (Attributed to).......................208

Darnaut, Hugo..........................................226

Hantman, Murray.....................................432

American School, 19th Century.. 253, 280, 362

Dave, Shanti.............................................413

Von Hanzen, Aleksei Vasilievich................247

American School, 19th/20th Century........350

Davidson, Roy Atherton............................290

Hart, Willian (Attributed to)........................256

American School, 20th Century........................

Davis, Vestie E.........................................338

Hays, William Jacob.................................272

.........................................330, 334, 386, 436

Dawson, Montague..................................264

Hazard, Arthur Merton..............................265

Anderson, Karl.................................364, 374

de Guastavino, Clement Pujol..................216

Hidalgo, Fernando Liger...........................232

Anglo/American School, 19th Century......270

DeCamp, Joseph Rodefer................225, 359

Hill, Edward..............................................266

Artz, Constant David Ludovic...................228

Deming, Edwin Willard..............................277

Hill, Roswell Stone................................. 316A

Avery, Milton Clark...........................336, 422

Dix, Otto...................................................326

Hingham, Thomas....................................304

Dolph, John Henry...................................273

Hudson, Thomas (Attributed to)...............201

Bacon, Henry...................................237, 239

Dubuffet, J. Jean......................................425

Huggler-Wyss, Hans................................428

Barber, Sam (Samir).................................316

Dunkel, Eugene........................................340

Hunter, Robert Douglas............................302

Barnabè, Duilio.........................................407

Dutton, Thomas Goldsworth....................242

Barney, Frank A........................................301

Dyf, Marcel.......................................393, 396

Icart, Louis...............................................342 Italian School, 17th/18th Century.............212

Bartlett, Bo...............................................455 Beal, Gifford.......................................... 404A

Emile Albert Gruppé.................................314

Italian School, 18th Century.....................213

Becker, Maurice.......................................390

Enneking, John Joseph............................262

Italian School, 19th Century.....................230

Bell, Trevor.......................................446, 447

Erni, Hans................................................408

Bemelmans, Ludwig.........................333, 388

Estopiñán, Robert....................................426

Benson, Frank Weston.............................387

Jones, Franklin Reed................................285 Joullain, François (Attributed to)................210

Berman, Eugene..............................420, 421

Faed, Thomas..........................................218

Berra, William...........................................278

Farquharson, Joseph...............................261

Kaula, William Jurian.........................293, 294

Beyle, Pierre-Marie...................................217

Felix, Karl Eugene.....................................231

Kelly, Robert W........................................414

Bierhals, Otto...........................................383

Ferber, Herbert.........................................439

Kepes, György.........................................441

Bierstadt, Albert.......................................281

Ferguson, Nancy Maybin..................322, 335

Kingman, Dong Moy Chu.........................332

Blashfield, Edwin Howland.......................360

Fink, Aaron.......................................429, 430

Koekkoek, Hendrik Barend.......................209

Bolotowsky, Ilya.......................................448

Fitzgerald, James.............................327, 345

Koeniger, Walter.......................................287

British School, 18th/19th Century.............203

Flint, William Russell......................... 366-368

Koerner, William.......................................288

Brodie, Gandy..........................................415

Foppiani, Gustavo....................................409

Brown, Harrison Bird................................258

French School, Late 19th Century............215

La Farge, John.........................................267

Burchfield, Charles Ephraim.............369, 370

French, Daniel Chester.....................352, 356

Landaluze, Victor Patricio.........................214

Burchfield, Charles Ephraim (After)...........372

French, Jared...................................401, 402

Laurence, Sydney Mortimer......................310

Frey, Viola................................................424

Leader, Benjamin Williams........................220

Calzada, Humberto..................................437

Lebedev, Vladimir.................... 337, 391, 445

Camoin, Charles.......................................392

Gifford, Robert Swain...............................251

Liberti, Juan Carlos..................................431

Cape Ann School, 20th Century...............313

Gisson, Andre (Gittelson)..........................341

Lie, Jonas.................................................303

Cassidy, Gerald Ira Diamond (Attributed to)....

Gladenbeck, Oskar...................................378

Llorca, Ruben Torres................................449

................................................................275

Gonzalez, Carmelo Iglesias.......................405

Loiseau, Gustave......................................224

Champney, Benjamin (School of)..............257

Gorman, R.C. (Rudolph Carl)....................397

van Loo, Carle (School of)........................211

Cirino, Antonio..................................315, 317

Grandma Moses.......................................305

Luks, George Benjamin............................363

Clark, C. Myron........................................306

Greenwood, Joseph H.............................296

Clays, Paul Jean.......................................240

Griffin, Thomas Bailey...............................263

Malva, George..........................................382

Coleman, Loring Wilkins...........................299

Griggs, Samuel W............................252, 259

Margolies, Ethel Polacheck.......................435

Cooper, Alexander (Attributed to).............202

Gruppé, Emile Albert................................292

de Maria, Francesco.................................235

Corbino, Jon............................................403

Gutierrez, Osvaldo....................................417

Cram, Leighton........................................344

Marquet, Albert........................................380 Marsh, Reginald.......................................404

Cunaeus, Conradyn.................................271

Hagedorn, Edward...................................373

Mazur, Michael.........................................454

Curtis, Roger............................................308

Hallowell, Robert......................................328

McCord, George......................................250

Cybis, Jan................................................418

Hamilton, Hamilton...................................279

McNamara, Alfred....................................438

178


Meadmore, Clement L..............................452

Schulz, Charles........................................419

Meadows, James Edwin..........................223

Sebire, Gaston.........................................384

Mears, George.................................241, 244

Shapleigh, Frank Henry....................254, 255

Menkes, Sigmund Joseph........................400

Shaw, Charles..........................................433

Midwood, William Henry...........................219

Sisson, Laurence Philip............................434

Millet, Jean François (Attributed to)...........222

Smith, Frank Vining..................................376

Moffett, Ross E........................................329

Smith, Henry Pember...............................249

Motherwell, Robert...................................451

Smythe, Edward Robert...........................207 Snel, Hans................................................406

Nierman, Leonardo...........................442, 444

Soyer, Raphael.........................................395

Noyes, George Loftus..............................269

Stevens, William Lester.............................312 Stillman-Myers, Joyce......................458, 460

Osborn, Hillary......................... 318, 319, 325

Story, Julian.............................................349

Padura, Miguel.........................................457

Tait, Arthur Fitzwilliam...............................274

Paeschke, Paul................................339, 343

Tanner, Martin..........................................410

Palizzi, Filippo...........................................204

Teed, Douglas Arthur...............................234

Pape, Eric L. (Frederic).............................377

Teniers the Younger, David (After)............205

Pardo, Isaac Diaz.....................................358

Tyler, Bayard Henry..................................311

Parker, John Adams.................................248 Patterson, Charles Robert........................307

Ward, James (Attributed to)......................206

Paul, Gen.................................................411

Watson, Sydney Robert...........................229

Pearce, Charles Sprague..........................268

Waugh, Frederick Judd............................309

Peterson, Jane.........................................320

Way, John................................................443

Phelps, William Preston............................260

Webber, Wesley Elbridge.................245, 246

Pissarro, Paul-Émile......................... 346-348

Webster, E. Ambrose...............................323

Pope, Alexander............................... 282-284

Weeks, Edwin Lord..................................233

Potthast, Edward.....................................298

Wei Letang...............................................443

Powell, Arthur James Emery.....................291

Whitcombe, Thomas (School of)...............243

Priest, Terri...............................................456

Wilson, Sol...............................................385 Wood, Christopher (Kit)............................381

Quincy, Edmund.......................................324

Wood, Grant (Attributed to)......................297

Quinton, Clément (Charles-Henri).............221

Woodbury, Charles Herbert........... 321, 333A Wyeth, Andrew Newell.............................286

Reid, Janet...............................................331 Reid, Robert Lewis...................................365

Yuon, Konstantin Fedorovich....................289

Reiffel, Charles.........................................295 Reynolds, Sir Joshua................................200

Zigmond, Michael.....................................459

Ritman, Louis.................. 300, 379, 389, 394

Zorach, William.................................375, 398

Ritter, Louis..............................................355

Zox, Larry.................................................440

Robertson, Anna Mary.............................305

Zúñiga, Francisco.............................399, 427

Robinson, Henry Harewood.....................351 Rodin, Auguste.........................................354 Russell, Charles Marion............................276 Rötig, Georges Frédéric...........................227 Saint-Gaudens, Augustus.........................361 Sandby, Thomas (Attributed to)................238 Sargent, John Singer................................357 Schreyer, Adolph (School of)....................236

179


Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot. 2. All property is sold “as is,� and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. 3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. Any bidder that plans on spending in excess of $100,000 should make arrangements with the accounting department at least five (5) days in advance of the sale, as a deposit may be required to participate. 4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and the purchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days of the date of sale. Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than three (3) days from the date of sale. If any property has not been removed within three (3) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc., may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the three days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser. 5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases. 6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. Sales in Massachusetts, Florida, and New York are subject to the respective current sales taxes. Dealers, museums, and other qualifying parties may be exempt from sales tax upon submission of proper documentation. 10. A premium equal to 23% of the final bid price up to and including $100,000, plus 20% of the final bid price from $100,001 up to and including $1,000,000, plus 12% of the final bid price from $1,000,001 and over will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid. 12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent. 13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the exclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit. Revised January 21, 2015

180


Absentee Bid Form Sale Title

Sale Date

First Time Bidder?

YES

NO

Customer #

Name (Please Print)

Business Name

Address City

Phone #

Alternate #

check if change in address

State

Zip Code email

I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids as a convenience, and will not be held responsible for any errors or failure to execute bids. I understand that my bids are executed and accepted as per Conditions of Sale as printed in the catalog of this sale. Signature (Required)

Lot #

Date

Description

Bid confirmation via email?

YES

NO

Bid Price

Phone bid?

YES

Mail

Person

NO

FOR OFFICE USE Marlborough

Boston

Phone

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

Fax

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

Employee:

www.skinnerinc.com

181


Board of Directors

Departments

Chairman of the Board

20th Century Design

Discovery Auctions

Jane D. Prentiss

Carly Babione

20thcentury@skinnerinc.com

Kyle Johnson

508.970.3253

Melanie Trottier-Mitcheson

Stephen L. Fletcher Richard Albright

discovery@skinnerinc.com

John Deighton

508.970.3202

Karen M. Keane

American & European Paintings & Prints

Andrew Payne

Robin S.R. Starr Elizabeth C. Haff Michelle Lamunière

Executive Management

Martina Tanga paintings@skinnerinc.com 508.970.3206

Karen M. Keane

Stephen L. Fletcher Chris Barber Christopher D. Fox americana@skinnerinc.com

Chief Financial Officer Don Kelly

Executive Vice President

Stuart G. Slavid Stephanie Opolski Gwendolyn L. Smith european@skinnerinc.com 508.970.3203

American Furniture & Decorative Arts President/Chief Executive Officer

European Furniture & Decorative Arts

Historic Arms & Militaria Joel Bohy militaria@skinnerinc.com 508.970.3215

508.970.3200

Jewelry American Indian & Ethnographic Art

Victoria Bratberg

Douglas Deihl

John Colasacco

indian@skinnerinc.com

Kaitlin Shinnick

Stephen L. Fletcher

508.970.3254

jewelry@skinnerinc.com

Managing Director

Antique Motor Vehicles

Marie Keep

617.874.4313

Jane D. Prentiss antiquemotorvehicles@skinnerinc.com 508.970.3253

Kerry Shrives Stuart G. Slavid

Asian Works of Art Judith Dowling Helen Eagles Suhyung Kim

Vice Presidents

asian@skinnerinc.com

Gloria Lieberman

508.970.3216

Devon Eastland

rugs@skinnerinc.com

508.970.3293

508.970.3247

Photographs

Robin S.R. Starr

Ceramics

Michelle Lamunière

Stuart G. Slavid

photographs@skinnerinc.com

ceramics@skinnerinc.com

508.970.3264

508.970.3203

Western Massachusetts:

Silver

George Thomas Lewis

Clocks, Watches & Scientific Instruments

413.727.2721 glewis@skinnerinc.com

Robert C. Cheney Jonathan Dowling

New York: Katie Banser-Whittle

Paul Dumanowski

212.787.1114 kbanser-whittle@skinnerinc.com

clocks@skinnerinc.com 508.970.3201

305.503.4423 florida@skinnerinc.com

music@skinnerinc.com

Lawrence Kearney

Jane D. Prentiss

Florida: April L. Matteini, G.G.

Adam Tober

Oriental Rugs & Carpets

books@skinnerinc.com

Regional Directors

Musical Instruments

Books & Manuscripts

Carol McCaffrey

L. Emerson Tuttle

judaica@skinnerinc.com

508.970.3263

Victoria Bratberg Eric Jones

Kerry Shrives 508.970.3256

Senior Vice Presidents Marie Keep

Judaica

Stuart G. Slavid silver@skinnerinc.com 508.970.3203

Wine, Whisky & Ale Marie Keep Joseph Hyman Anna Ward finewines@skinnerinc.com

Maine: Bruce Buxton 207.772.6979 bbuxton@mainerr.com

182

508.970.3296


Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services LaGina Austin Christine E. Finn Katie Fitzgerald Rachel Kingsley Elizabeth Zwicker

Exhibitions & Property Boston:

Marketing

Laura V. Sweeney

L. Emerson Tuttle

Sarah L. Collins

Linsey MacDougall

Benjamin Evans

Jenna Nastri

Jessica R. Lincoln

Jessica Pratas

508.970.3299

Subscriptions

Institutional Relations

Linsey MacDougall

L. Emerson Tuttle

Receptionist Emily Gerling 617.350.5400

508.970.3240

508.970.3130

Advertising/Production

Consignment Services

Pamela Van de Houten

Patricia Walker King

Jeffrey R. Antkowiak

Rebecca Hamel

Stanley P. Bystrowski

Carol Zeigler

John Cornelius

508.970.3204

Kristina M. Harrison

Marlborough: Warehouse Frederic Trottier 508.970.3209 Samatha Heighton

Kathleen Jones

Customer Relations/Human Resources

Cheryl Richards Photography

Carol McCaffrey

Skinner Online

508.970.3252

Kerry Shrives

Receptionist Lindsay White 508.970.3000

Daniel Bar

Accounting

Judie Ochsner

Transportation

Lizz Webber

Eric Jones

online@skinnerinc.com

508.970.3229

508.970.3279

Denise Johnson

Absentee & Telephone Bidding

508.970.3269

William Madden

Boston: 617.874.4318

508.970.3266

Marlborough: 508.970.3211 Discovery: 508.970.3208

Kevin Rota 508.970.3283

Auctioneers Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Jessica R. Lincoln, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

www.skinnerinc.com

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

130 Miracle Mile, Suite 220 Coral Gables, FL 33134 305.503.4423 Fax 305.709.2143

415 Madison Avenue, #1418 New York, NY 10017 212.787.1113 Fax 646.893.0179

183


Directions to Skinner’s Boston Gallery/63 Park Plaza, Boston, MA 02116 617.350.5400 From the West: Take the Massachusetts Turnpike to the Prudential/Copley exit located in the Prudential tunnel. Once on the exit ramp, stay in the right hand lane and follow the signs for Copley. The ramp exits onto Stuart Street. Drive straight through five sets of lights and take a left onto Charles Street South. Take your first left off of Charles St. South onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From the South: Take 93-N to Exit 20 for I-90 W toward Worcester. Follow signs for Chinatown/South Station. Bear left at the fork to continue towards Kneeland Street. Turn left onto Kneeland Street. Kneeland Street becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From Logan Airport: Take the Ted Williams Tunnel. Take Exit 25 toward South Boston and bear left at the fork in the ramp. Bear right onto B St. Turn left onto Northern Ave which becomes Seaport Blvd. Turn left onto Surface Rd. Turn right onto Kneeland Street which becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From the North: Take I-93 South towards Boston. Take exit 26 towards Storrow Drive.  Merge onto MA-28 South via the ramp on the left. Turn left onto Beacon Street. Turn right onto Arlington Street. Turn left onto Boylston Street. Turn right onto Hadassah Way. Skinner is on the right at 63 Park Plaza.

184



Fine Paintings & Sculpture | Skinner Auction 2930B