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American & European Works of Art Sale 3203B | January 25, 2019 | Boston


American & European Works of Art


Specialists

Robin S.R. Starr

Elizabeth C. Haff

Kathleen M. Leland

Department Director 508.970.3259

508.970.3258

508.970.3297

Department Inquiries: 508.970.3206

Auction Information Auction 3203B

Preview

Absentee Bidding

Friday, January 25

Wednesday, January 23 12 to 5PM

T: 617.874.4318 F: 617.350.5429

Fine Prints, Multiples & Photographs, 10AM Fine Paintings & Sculpture, 2PM

Thursday, January 24 12 to 8PM

63 Park Plaza Boston, MA

View all lots online at www.skinnerinc.com cover : 472 ; interior front cover : 273; back cover : 136

General Inquiries 617.350.5400

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Lot 477: Sam Cady (American, b. 1943) Country Church, New England Oil on shaped canvas with detachable spires, 38 x 55 in. (96.5 x 139.5 cm).

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Table of Contents 1

Auction & Specialist Information

2

Online Bidding

4

Provenance and Glossary of Terms

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Prints, Multiples & Photographs: Lots 1–150

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Paintings & Sculpture: Lots 201–480

220

Artist Index

221

Conditions of Sale

222

Company Directors & Specialty Departments

223

Administrative Staff & Client Services

224

Absentee Bid Form

Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 221 of this catalog for the full terms and conditions governing your purchase.

Copyright © Skinner, Inc. 2019 All rights reserved MA LIC. 2304


Provenance Ex-collection of the Kunstehalle Bremen Property of deCordova Sculpture Park and Museum, Lincoln, Massachusetts Ex-collection Worcester Art Museum, Worcester, Massachusetts

Private Collections in Maine, Massachusetts, New Hampshire, Rhode Island, Virginia, and Florida Estate of Elie Nadelman Estate of Paul J. Tracey, New York State Estate of David F. Post, New Hampshire

Collection of Maria Lopez and Stephen Mindich, Massachusetts

Estate of Richard L. Elia, Winchester, Massachusetts

Collection of Joseph Thomas Alvarez III, California

Estate of a New York State Art Conservator

Collection of Frederic and Jean Sharf, Massachusetts and Florida

Estate of Francis M. Bator, Massachusetts Estate of the Artist Otto Walter Beck

Collection of Joseph H. Hirshhorn (American, 1899-1981) Estates in Connecticut, Massachusetts Collection of Eunice Katz (American, d. 1994), Denver, Colorado

Family of Frank Weston Benson

Collection of Dr. Richard Young, Massachusetts

Family of Orrin Freeman

Collection of Joce Novakovica, Belgrade

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.


Fine Prints, Multiples & Photographs Lots 1–150 to be sold Friday, January 25, 10AM


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1 Albrecht Dürer (German, 1471-1528)

2 Albrecht Dürer (German, 1471-1528)

Christ on the Mount of Olives, 1508, from The Engraved Passion, 1508-13 (Meder/ Hollstein, 4d/e). Monogrammed and dated within the plate, collector’s and duplicate stamps (see below) on verso. Engraving on laid paper with partial watermark, plate size 4 9/16 x 2 7/8 in. (11.5 x 7.1 cm), framed. Condition: Margins about 1/8 inch, hinged at upper corners on verso, several minute stains and/or fox marks, old hinges and pencil annotations to verso.

Joachim’s Offering Rejected, from The Life of the Virgin, 1511 (Meder/Hollstein, 189d/g). Monogrammed within the block. Woodcut on laid paper with watermark, image/sheet size 11 7/8 x 8 5/8 in. (30.1 x 21.8 cm), framed. Condition: Trimmed irregularly along or just outside of the borderline, repairs along edges and along irregular horizontal central crease, minute loss along upper edge, unobtrusive stains u.l. $1,000-1,500

Provenance: Ex-collection of the Kunstehalle Bremen (Lugt, 292 & 293). $700-900

3 Albrecht Dürer (German, 1471-1528) Erasmus of Rotterdam, 1526 (Meder/ Hollstein, 105h or i/i). Monogrammed, identified, and dated within the plate. Engraving on laid paper with partial watermark, sheet size 9 13/16 x 7 5/8 in. (24.8 x 19.3 cm), matted, unframed. Condition: Trimmed to or just within the plate mark, toning, ink (possibly iron gall with corresponding damage to sheet) and other staining, u.r. corner repaired, u.l. corner with losses, thinned spots to verso, repair within figure’s right sleeve. $800-1,200

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4 Francisco José de Goya y Lucientes (Spanish, 1746-1828) Tal para qual, from Los Caprichos, 1799, probably from the first edition of twelve (Harris, 40iii/iii). Unsigned, the title and plate number within the plate. Etching with aquatint on laid paper, plate size 8 x 5 5/8 in. (20.3 x 14.2 cm), framed. Condition: Taped to facing mat with brown paper tape to entire perimeter on verso, several thinned spots to verso. $300-500

5 Francisco José de Goya y Lucientes (Spanish, 1746-1828) Two Plates from Los Caprichos, 1799; Tantalo, plate 9 (Harris, 44iii/iii) and El amor y la muerte, plate 10 (Harris, 45iii/iii), both from the third edition of twelve. Both unsigned and with the title and plate number within the plate. Etchings with aquatint on white wove paper, plate sizes 8 1/2 x 5 7/8 in. (21.4 x 14.7 cm), matted, unframed. Condition: Deckled edges, minor staining (including possible oxidation stains from tack heads) along some edges, pencil annotations to lower margins and versos. $500-700


6 Francisco JosĂŠ de Goya y Lucientes (Spanish, 1746-1828) Disparate Claro, from Los Proverbios, 1816-24, probably from the fifth edition of nine (Harris, 262iii/iii). Unsigned. Etching with aquatint on white wove paper, image size 8 3/8 x 12 5/8 in. (21.3 x 31.9 cm), framed. Condition: Mat obscures the plate mark, not examined out of frame. $400-600

7 Lucas van Leyden (Dutch, 1494-1533)

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The First Prohibition, from The Story of Adam and Eve, 1529 (Hollstein, 2Ic/ III). Monogrammed and dated in the plate. Engraving on laid paper, sheet size 6 1/2 x 4 9/16 in. (16.4 x 11.5 cm), unmatted, unframed. Condition: Trimmed to or just within the plate mark, even toning, gentle staining (more prominent to verso), pencil annotations to verso. $300-500 8 Lucas van Leyden (Dutch, 1494-1533) Adam and Eve Lamenting the Dead Abel, from The Story of Adam and Eve, 1529 (Hollstein, 6Ic/III). Monogrammed and dated in the plate. Engraving on laid paper with gothic p and quatrefoil watermark, sheet size 6 1/2 x 4 9/16 in. (16.4 x 11.5 cm), unmatted, unframed. Condition: Trimmed to or just within the plate mark, subtle toning and staining, pencil annotations to verso. $300-500

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9 Rembrandt van Rijn (Dutch, 1606-1669) Self Portrait in a Cap and Scarf with the Face Dark: Bust, 1633, a later impression (Bartsch/Hollstein, 17ii/ii). Signed and dated within the plate. Etching on 19th century laid paper, plate size 5 1/4 x 4 in. (13.2 x 10.0 cm), framed. Condition: Margins over 1/8 inches, toning, staining, not examined out of frame. $250-350

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10 Rembrandt van Rijn (Dutch, 1606-1669)

11 Rembrandt van Rijn (Dutch, 1606-1669)

13 William Blake (British, 1757-1827)

The Angel Appearing to the Shepherds, 1634, probably a 19th century impression (Bartsch/Hollstein, 44iii/iii). Signed within the plate. Etching on wove paper, plate size 10 1/4 x 8 1/2 in. (25.9 x 21.5 cm), framed. Condition: Margins 1/8 inch or more, not examined out of frame. $500-700

The Angel Departing from the Family of Tobias, 1641, probably a 19th century impression (Bartsch/Hollstein, 43iv/iv). Signed and dated within the plate. Etching on wove paper, plate size 4 1/16 x 6 1/8 in. (10.2 x 15.3 cm), framed. Condition: Thread margins, floated within the mat, not examined out of frame. $400-600

Seized on his Arm And Mangled Bore away the Sinewy Part (The Demons Tormenting Ciampolo), plate 2 from Illustrations to Dante’s Divine Comedy, 1827, proof before letters (Binyon, 128). Unsigned. Engraving on chine collÊ, plate size 11 x 13 7/8 in. (27.6 x 35.2 cm), framed. Condition: Not examined out of frame. $700-900

12 Rembrandt van Rijn (Dutch, 1606-1669) Abraham Francen, Apothecary, c. 1657, probably a 19th century impression (Bartsch/ Hollstein, 273x/x). Unsigned. Etching on wove paper, plate size 6 1/8 x 8 1/8 in. (15.4 x 20.5 cm), framed. Condition: Thread margins or greater, toning, not examined out of frame. $400-600

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14 William Blake (British, 1757-1827) He Eyed the Serpent and the Serpent Him (Buoso Attacked by Francesco di Cavalcanti in the Form of a Serpent), plate 5 from Illustrations to Dante’s Divine Comedy, 1827, proof before letters (Binyon, 131). Unsigned. Engraving on chine collé, plate size 11 x 13 7/8 in. (27.6 x 35.2 cm), framed. Condition: Not examined out of frame. $700-900

15 Jean-Baptiste-Camille Corot (French, 17961875) Souvenir D’Italie, 1863, probably the fourth state of four, published by A. Cadard et al., Paris (Delteil 5; Melot 5). Unsigned. Etching on Japan paper, plate size 12 1/2 x 9 3/8 in. (31.6 x 23.7 cm), framed. Condition: Deckled lower edge, gently lightstruck, mat burn. $400-600 15

16 Augustus Edwin John (Welsh, 1878-1961) The Idiot, alternatively titled The Imbecile, 1902-03, edition of 25 (Dodgson, 74). Signed “AEJohn” in pencil l.r. Etching on paper, plate size 5 1/2 x 3 5/8 in. (13.8 x 9.0 cm), framed. Condition: Mat burn, gentle rippling, not examined out of frame. $300-500

17 Odilon Redon (French, 1840-1916) Quel est le but de tout cela?, from Tentation de Saint-Antoine, 1896, printed by Clot and Blanchard, Paris (Mellerio, 151). Unsigned. Lithograph on chine volant, image size 12 3/8 x 10 in. (31.3 x 25.5 cm), framed. Condition: Gentle cockling, not examined out of frame. $1,000-1,500

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18 Auguste Rodin (French, 1840-1917) Le printemps, 1882-88, only state (Thorson, 4). Unsigned. Drypoint on cream paper, plate size 5 7/8 x 3 7/8 in. (14.5 x 9.8 cm), framed. Condition: Gentle toning, unobtrusive mat burn, not examined out of frame. $400-600

19 Auguste Rodin (French, 1840-1917) La Ronde, 1883-84, final state of three (Thorson, 5). Unsigned. Drypoint on cream paper, plate size 9 x 7 in. (23.0 x 17.5 cm), framed. Condition: Gentle toning, not examined out of frame. $400-600

20 Graham Sutherland (British, 1903-1980) Hanger Hill, 1929, final state of six, edition of 77, printed by Twenty-one Gallery, London (Tassi, 27). Signed “Graham Sutherland.” in pencil l.r., numbered “69/77” in pencil l.l. Etching on laid paper, plate size 5 5/8 x 5 1/8 in. (14.0 x 13.0 cm), framed. Condition: Pale foxing, mat burn, not examined out of frame. $1,500-2,000

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21 Jacques Villon (French, 1875-1963) La Parisienne (tournée à gauche, petite planche), 1904, possibly a proof impression outside of the edition of 100 (Ginestet & Pouillon, 93). Signed “Jacques Villon” in pencil l.r., identified on a label from Retina Gallery, Inc., Cambridge, affixed to the backing. Color etching and aquatint on Japan paper, plate size 9 3/8 x 6 5/8 in. (23.7 x 16.7 cm), framed. Condition: Full sheet with deckled edges and gentle toning/staining, registration pinhole to image as printed, subtle handling and/or printing creases. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $800-1,200

22 John Taylor Arms (American, 1887-1953)

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In Memorium, alternatively titled The North Portal of Chartres Cathedral, 1939, second state of two, edition of 312 (Fletcher, 317). Signed and dated “John Taylor Arms 1939” in pencil l.r., numbered and dedicated “II To Kate Rennell with affection - Dorothy and John Taylor Arms” in pencil l.l., identified on a fragmentary label from the artist’s studio affixed to the backing. Etching on paper, plate size 14 5/8 x 12 in. (37.0 x 30.4 cm), framed. Condition: Not examined out of frame. $300-500

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23 Will Barnet (American, 1911-2012) The Young Couple, 1971, edition of 225. Signed “Will Barnet” in pencil l.r., titled in pencil l.l., numbered “122/225” in pencil l.c. Color etching and aquatint on paper, plate size 17 3/4 x 15 1/2 in. (45.0 x 39.0 cm), framed. Condition: Not examined out of frame. $300-500

24 Will Barnet (American, 1911-2012) The Bannister, 1981, edition of 300, published by Circle Fine Art Corp., Chicago, printed by American Atelier, New York. Signed and dated “© Will Barnet 1981” in pencil l.r., titled in pencil l.l., numbered “162/300” in pencil l.c. Color lithograph on Arches paper, image size 32 5/8 x 25 3/8 in. (82.8 x 64.3 cm), framed. Condition: Not examined out of frame. $300-500 25 Will Barnet (American, 1911-2012) Totem, 1982, outside of the edition of 112. Signed and dated “© Will Barnet 1982” in pencil l.r., titled in pencil l.l., inscribed “artist’s proof” in pencil l.c. Color screenprint on paper, image size 40 1/2 x 15 in. (102.7 x 38.0 cm), framed. Condition: Not examined out of frame. $300-500

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26 Will Barnet (American, 1911-2012) Peter Grimes, 1983, outside of the edition of 250, published by the Metropolitan Opera Association, New York. Signed and dated “© Will Barnet 1983” in pencil l.r., numbered “VII/ XXV” in pencil l.c. Color screenprint on paper, image size 21 1/8 x 21 in. (53.5 x 53.2 cm), framed. Condition: Possible mat burn, not examined out of frame. $300-500

27 Will Barnet (American, 1911-2012) Stairway to the Sea, 1984, edition of 250. Signed and dated “© Will Barnet 1982-1984” in pencil l.r., titled in pencil l.l., numbered “182/250” in pencil l.c. Color screenprint on paper, image size 33 x 30 in. (83.8 x 76.2 cm), framed. Condition: Not examined out of frame. $300-500 24

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28 Will Barnet (American, 1911-2012)

29 Will Barnet (American, 1911-2012)

30 George Bellows (American, 1882-1925)

Spring Morning, 1985, edition of 175. Signed and dated “© Will Barnet 1985” in pencil l.r., titled in pencil l.l., numbered “43/175” in pencil l.c. Color screenprint on paper, image size 27 3/4 x 52 3/4 in. (70.5 x 133.8 cm), framed. Condition: Not examined out of frame. $300-500

Between Life and Life, 1998, edition of 200, published by The Print Club of New York, New York. Signed “Will Barnet” in pencil l.r., titled in pencil l.l., numbered “116/200” in pencil l.c., identified in information affixed to the backing paper. Lithograph on paper, image size 21 5/8 x 23 3/4 in. (54.8 x 60.3 cm), framed. Condition: Not examined out of frame. $300-500

The Crowd, from Men Like Gods, 1923, first state of two, total edition between both states probably 18 (Mason, 162). Signed “Geo Bellows” in pencil l.r. and within the matrix, titled in pencil l.c., inscribed “Bolton Brown, imp.” in pencil l.l. Lithograph on wove paper, image size 14 3/4 x 11 3/4 in. (37.3 x 29.8 cm), framed. Condition: Full sheet with deckled left and upper edges, toning, staining, pale fox marks. $500-700

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31 Frank Weston Benson (American, 18621951) Marsh Gunner, 1918, from the published state, edition of 150 (Paff, 149). Signed “FrankWBenson.” in pencil l.l., numbered “93” in pencil l.r., identified on a fragmentary label from J.J. Gillespie Company, Pittsburgh, affixed to the backing. Etching on paper, plate size 10 7/8 x 8 7/8 in. (27.5 x 22.5 cm), framed. Condition: Pale foxing, gentle toning, not examined out of frame. $600-800

32 Frank Weston Benson (American, 18621951)

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Soaring Fish Hawk, 1923, published state of 150 (Paff, 225). Signed “FrankWBenson.” in pencil l.l. Drypoint on paper, plate size 5 7/8 x 7 7/8 in. (14.8 x 20.0 cm), unmatted, unframed. Condition: Margins over 1 3/4 inches with deckled left and lower edges, pencil annotations l.l. Provenance: Descended within the family of the artist. $500-700 33 Frank Weston Benson (American, 18621951) The Long Journey, 1926, trial proof B-4 (Paff, 254). Signed “FrankWBenson-” in pencil l.l., inscribed “B-4” in pencil l.l. Etching on laid paper, plate size 9 3/4 x 11 3/4 in. (24.6 x 29.8 cm), unmatted, unframed. Condition: Minor handling creases to upper margin, soft breaks to sheet along upper edge of plate mark, pencil annotations to lower margin and verso. Provenance: Descended within the family of the artist.

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N.B. Benson created three trial states prior to the published state. The changes made between the B trial and the final version are subtle and effect primarily the shading of the breasts of the geese, and the edge of the shoreline on the right side. $700-900


34 Frank Weston Benson (American, 18621951) The Passing Flock, 1927, published edition of 150 (Paff, 277). Signed “FrankW.Benson-” in pencil l.l. Etching on laid paper with partial “ENGLAND” watermark, plate size 11 3/4 x 13 7/8 in. (29.7 x 35.0 cm), unmatted, unframed. Condition: Margins 1 1/4 inches or more with deckled edges on two sides, minor soiling to margins, minor handling creases to lower margin. Provenance: Descended within the family of the artist. $300-500

35 Frank Weston Benson (American, 18621951)

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Yellowlegs in Sunlight, 1928, trial proof C-8 (Paff, 285). Signed “FrankWBenson.” in pencil l.l., initialed and dated within the plate, inscribed “C-8” in pencil l.l. Drypoint on laid paper, plate size 9 7/8 x 7 3/4 in. (25.0 x 19.5 cm), unmatted, unframed. Condition: Full margins with deckled edges to three sides, pencil annotations l.r. Provenance: Descended within the family of the artist. N.B. The inscription implies that this is a trial proof, but Paff mentions only trial proofs A and B. The changes between the B proofs and the published state which Paff describes are present here. $700-900

36 Frank Weston Benson (American, 18621951) Casting for Salmon, 1929, published state of 150 (Paff, 288). Signed “FrankWBenson.” in pencil l.l. Etching on laid paper, plate size 7 3/4 x 9 7/8 in. (19.5 x 25.1 cm), unmatted, unframed. Condition: Full margins with deckled left and lower edges, pencil annotations l.l., crease (probably from printing) to right margin. Provenance: Descended within the family of the artist. $700-900 36

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37 Frank Weston Benson (American, 18621951) Woodcock, 1930, from the published state, edition of 150 (Paff, 292). Signed “FrankWBenson.” in pencil l.l., label from The Guild of Boston Artists, Boston, affixed to the backing. Drypoint on paper, plate size 11 7/8 x 9 3/4 in. (30.0 x 24.5 cm), framed. Condition: Gentle toning, not examined out of frame.

38 Edward Borein (American, 1872-1945)

39 Rockwell Kent (American, 1882-1971)

The Church at Acoma (Galvin, 227). Signed “Edward Borein” in pencil l.r. Etching on paper, plate size 7 7/8 x 11 7/8 in. (19.8 x 30.0 cm), framed. Condition: Gentle rippling, not examined out of frame. $400-600

Wake Up, America!, alternatively titled It’s Later Than You Think, 1945, edition of 100, printed by George Miller (Burne Jones, 136). Signed “Rockwell Kent” in pencil l.r., titled in pencil l.l. Lithograph on paper, image size 13 1/8 x 9 3/8 in. (33.3 x 23.7 cm), framed. Condition: Unobtrusive toning, not examined out of frame. $400-600

N.B. The American woodcock has many local names including the timberdoodle, the bogsucker, and the wafflebird. $400-600

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40 Yasuo Kuniyoshi (Japanese/American, 1893-1953) Deserted Brickyard, 1939, edition of 30 (Davis, L76). Signed “Yasuo Kuniyoshi” in pencil l.r., inscribed “Beach Scene” in pencil l.l. Lithograph on paper, image size 10 5/8 x 15 5/8 in. (26.8 x 39.5 cm), framed. Condition: Pale foxing/staining, possible mat burn, gentle rippling, not examined out of frame. $300-500

41 Bernard Joseph Steffen (American, 19071980) 40

Race Against Rain, c. 1940. Signed “Bernard Steffen” in pencil l.r., titled in pencil l.l. Color screenprint on paper, image size 8 7/8 x 13 in. (22.4 x 33.0 cm), framed (unglazed). Condition: Subtle toning visible to margins, gentle surface rubs to image, not examined out of frame. $400-600 42 George Tooker (American, 1920-2011) Repose, 1975, edition of 150. Signed “George Tooker” in pencil l.r., numbered “50/150” in pencil l.l. Embossing on heavy cream paper, image size 7 1/8 x 10 in. (18.0 x 25.5 cm), unmatted, unframed. Condition: Full sheet with three deckled edges. $300-500

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43 George Tooker (American, 1920-2011) Embrace II, 1984, edition of 175. Signed “George Tooker” in pencil l.r., numbered “13/175” in pencil l.l. Lithograph on BFK Rives paper with watermark, image size 12 1/8 x 16 1/8 in. (30.5 x 40.5 cm), unmatted, unframed. Condition: Very pale staining (primarily to left and upper margins). $500-700 44 James Abbott McNeill Whistler (American, 1834-1903) Thames Police, 1859, final state of five (Glasgow, 53; Kennedy, 44). Signed and dated within the plate. Etching on laid paper, plate size 6 x 8 7/8 in. (15.2 x 22.5 cm), matted, unframed. Condition: Margins approximately 1 inch, subtle toning or soiling (primarily to margins), pencil annotations to lower margin and verso. $800-1,200

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45 James Abbott McNeill Whistler (American, 1834-1903) Ponte del Piovan, 1879-80, fifth state of seven (Glasgow, 220; Kennedy, 209). Signed with butterfly monogram in pencil l.c. and within the plate c.r. Etching printed in brown/ black on paper, plate size 8 3/4 x 5 3/4 in. (22.0 x 14.5 cm), framed. Condition: Trimmed to or just within the plate mark with a tab for the pencil monogram, even toning, floated within the mat, not examined out of frame. N.B. Whistler went to Venice in September of 1879 and sojourned there for over a year, returning to London in November of 1880. $2,000-3,000

46 Karel Appel (Dutch, 1921-2006) Untitled. Signed “Appel” in pencil within the image l.r., numbered “38/175” in pencil within the image l.l. Color lithograph on cream wove paper, image size 21 3/4 x 29 7/8 in. (55.2 x 76.0 cm), unmatted, unframed. Condition: Subtle soiling and transfer to verso. $400-600

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47 Jennifer Bartlett (American, b. 1941) From Rhapsody/A Portfolio of Three Works, 1987, edition of 100, published by Parasol Press, Ltd., New York. Each numbered “63/100...” in pencil on the reverse, the last also signed and dated “J Bartlett 87” in pencil on the reverse, identified on the colophon. Sugarlift, aquatint, and spit-bite over photo-etching on Rives BFK, plate/sheet sizes 12 x 12 in. (30.4 x 30.4 cm), unmatted, presented in the original folder. Condition: Very minor wear to several corners and/or deckles. $1,000-1,500 48 Georges Braque (French, 1882-1963) Paroles Peintes, 1962, from a proof edition of 25 (Vallier, 183). Signed “G Braque” in pencil l.r., initialed within the plate, numbered “XXI/ XXV” in pencil l.l. Color etching and aquatint on paper, plate size 13 5/8 x 9 3/4 in. (34.5 x 24.5 cm), framed. Condition: Gentle rippling, not examined out of frame. $1,000-1,500

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49 No lot.

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50 partial

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51 After Alexander Calder (American, 18981976)

50 Alexander Calder (American, 1898-1976) Flying Colors/A Suite of Six Prints, 1974, published in 1975 for Braniff International. Each initialed and dated within the matrix and with Flying Colors dry stamp l.r. Color lithographs on wove paper, image/sheet sizes 20 x 26 in. (50.6 x 65.8 cm), framed. Condition: Strong colors, Sunburst with pale fox marks, not examined out of frames. $1,500-2,500

South America with Flying Colors...Braniff International, 1976. Identified within the matrix. Color offset lithographic poster, sight size 31 1/2 x 42 1/4 in. (79.9 x 107.2 cm), framed. Condition: Handling creases (some with breaks to ink surface), pale foxing or staining, not examined out of frame. N.B. A plastic shopping bag produced for Braniff, decorated with Calder’s motifs for the bicentennial plane as well as a press package discussing Braniff’s commission with Calder, accompany the lot. $300-500

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52 Alexander Calder (American, 1898-1976) Flying Colors of the United States/The Bicentennial Plane, 1976. Signed and dated within the matrix, identified in information (see below) affixed to the backing. Color lithograph on paper, image size 20 1/4 x 27 3/4 in. (51.4 x 70.4 cm), framed. Condition: Not examined out of frame. N.B. A letter from Harding L. Lawrence, CEO of Braniff International, explains that this work is a reproduction of Calder’s gouache made as a commemoration of the bicentennial plane Calder decorated for Braniff, and which was christened by Betty Ford. The gouache was reproduced as a print exclusively for Braniff employees and associates. $400-600 53 Leonetto Cappiello (French, 1875-1942)

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Nitrolian Sec Aussitôt Peint, 1929. Signed, dated, and identified within the matrix. Color lithographic poster on paper, sheet size 63 x 47 in. (160.0 x 119.4 cm), framed. Condition: Mounted to stabilize creases, nicks, and tears, minute soiling, not examined out of frame. $300-500

54 Marc Chagall (Russian/French, 1887-1985) Pétrouchka retire les bottes, from Les âmes mortes, 1948, total edition of 368 (Cramer Books, 17). Signed within the plate. Etching on paper, plate size 10 7/8 x 8 5/8 in. (27.5 x 21.8 cm), framed. Condition: Subtle toning, not examined out of frame. $400-600

55 Marc Chagall (Russian/French, 1887-1985)

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Salvation for Jerusalem, plate 98 from the series The Bible, from the edition of 100, published by Tériade, Paris, 1958 (Cramer Books, 30). Initialed “M. Ch.” in pencil l.r., numbered “64/100” in pencil l.l. Etching with hand-coloring on paper, plate size 11 1/2 x 9 3/4 in. (29.2 x 24.5 cm), framed. Condition: Gentle toning, not examined out of frame. $1,000-1,500


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58

56 Marc Chagall (Russian/French, 1887-1985) The Meeting of Ruth and Boaz, from Dessins pour la Bible, 1960, from the signed edition of 50, published by Revue Verve, Paris, printed by Mourlot Frères, Paris (Cramer Books, 42). Signed “Marc Chagall” in pencil l.r., numbered “8/50” in pencil l.l., identified on a label from William A. Findlay, Inc., Chicago, affixed to the backing. Color lithograph on cream paper, image size 14 x 10 5/8 in. (35.4 x 26.8 cm), framed. Condition: Even toning, not examined out of frame. $3,500-5,500

57 After Marc Chagall (Russian/French, 18871985)

58 Willem de Kooning (Dutch/American, 19041997)

Saint-Jean-Cap-Ferrat, 1949, published as the exhibition poster Ville de Nice/Chagall..., by Fernand Mourlot, Paris, in 1952, edition of 750 (Sorlier Posters, pp. 73-74). Signed and dated within the matrix. Color lithograph on paper, sheet size 38 3/4 x 24 3/4 in. (98.3 x 62.8 cm), framed. Condition: Linen-backed, text beneath image folded underneath plus additional handling and other minor creases, unobtrusive toning, minor soiling, masking tape to recto along lower edge, tear to upper edge. $2,000-3,000

The Man and the Big Blond, 1982, from the edition of 150 plus 15 artist’s proofs, published by The Rainbow Art Foundation, New York. Signed within the matrix, numbered “XXXI/ CL” in pencil within the image l.l., dry stamp l.l. Color lithograph on paper, image size 21 1/4 x 27 in. (53.9 x 68.5 cm), framed. Condition: Not examined out of frame. N.B. There was also a signed edition of 150 numbered with arabic numerals. $1,500-2,000

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60

59

61

59 Jim Dine (American, b. 1935)

60 Jim Dine (American, b. 1935)

61 Max Ernst (German, 1891-1976)

Hammers/A Diptych, 1970, edition of 53 plus proofs, published by Petersburg Press, New York (Williams College, 13). Numbered and signed “11/53 Jim” in white pencil on left sheet l.r., signed and dated “Dine 1970” in white pencil on right sheet l.l. Offset lithographs on orange paper, sheet sizes 26 x 15 3/4 in. (65.9 x 39.9 cm), hinged to a shared backing mat, unframed. Condition: Deckled edges, cockling, minor handling creases, right sheet gently faded. $500-700

Toothbrush, 1973, edition of 35 plus proofs, published by Petersburg Press, New York (Williams College, 106). Signed, numbered, and dated “Jim Dine 33/35 1973” in pencil along lower edge. Etching on paper, plate size 9 5/8 x 7 5/8 in. (24.3 x 19.0 cm), framed. Condition: Deckled edges, gentle toning and several pale fox marks to deckles, floated within the frame, not examined out of frame. $500-700

Comète Wall Hanging, 1950, probably made by La Lucie, Inc., New York. Signed “ERNST” in the weave on the reverse. Woven short pile wool, 64 3/4 x 83 1/2 in. (164.5 x 212.1 cm). Condition: Minor soiling.

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Provenance: The collection of artist Eunice Katz (American, d. 1994), Denver, Colorado; by descent to the current owner. $2,000-4,000


62 M.C. Escher (Dutch, 1898-1972) Tower of Babel, 1928 (Bool et al., 118). Signed “MCEscher” in pencil l.l., inscribed “eigendruk” in pencil l.r., initialed, dated, and inscribed within the block. Woodcut on fine Japan paper, image size 24 1/2 x 15 1/4 in. (62.0 x 38.5 cm), framed. Condition: Margins over 2 inches with deckled left edge, gentle cockling (especially to left margin), foxing and unobtrusive toning to margins. $6,000-8,000

63 M.C. Escher (Dutch 1898-1972) Fish, Vignette, 1956 (Bool et al., 414). Signed “MCEscher” in pencil l.l., initialed within the block. Woodcut on paper, image size 3 1/4 x 3 1/4 in. (8.1 x 8.1 cm), framed. Condition: Not examined out of frame. $1,500-2,500

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63

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64

65

67

66

64 M.C. Escher (Dutch 1898-1972)

65 Hou Chun-Ming (Taiwanese, b. 1963)

66 Alex Katz (American, b. 1927)

Man with Cuboid, 1958 (Bool et al., 430). Signed “MCEscher” in pencil l.l., initialed within the block. Woodcut on paper, image size 2 9/16 x 2 9/16 in. (6.5 x 6.5 cm), framed. Condition: Not examined out of frame.

Bastard and Bitch, 1997, edition of 300. Numbered, inscribed and/or signed, and dated “8/300...1997...” in pencil beneath image, chop stamp u.r. Woodcut on chine collé, image size 5 3/4 x 8 in. (14.5 x 20.3 cm), framed. Condition: Rubs to paper with some rolling outside of image, stray ink and/or soiling to upper margin, cellophane or similar tape along edges to verso. $400-600

3 P.M., 1988, edition of 50 plus proofs, published by Peter Blum Edition, New York (Blum, 33). Signed and numbered “Alex Katz 33/50” in pencil within the image l.l., identified on a label from The Harcus Gallery, Boston, on the backing. Woodcut on paper, image/ sheet size 36 3/4 x 71 3/4 in. (93.3 x 182.2 cm), framed. Condition: Deckled edges, gentle rippling, floated within the frame, not examined out of frame.

N.B. The same figure appears in reverse at the base of the tower in Escher’s Belvedere, also of 1958. $1,000-1,500

Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $3,000-5,000

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68

67 Käthe Kollwitz (German, 1867-1945)

68 Roy Lichtenstein (American, 1923-1997)

69 Henri Matisse (French, 1869-1954)

Kleiner Männerkopf ohne Hände, 1922 (Klipstein, 163VIc). Signed “Kollwitz” in pencil l.r., initialed within the block. Woodcut on laid paper, image size 2 7/8 x 2 5/8 in. (7.2 x 6.5 cm), unmatted, unframed. Condition: Full sheet with deckled edges, toning (more prevalent to verso), staining and old hinges/residue along upper edge, mat burn, losses to both lower corners, 1 inch tear to lower edge. $600-800

Crak!, 1964, total edition size uncertain (Corlett, II.2). Signed “rf Lichtenstein” in pencil l.r., identified and with “LEO CASTELLI GALLERY. LITHOGRAPHED BY TOTAL COLOR, NEW YORK” within the matrix. Offset color lithograph on paper, sheet size 19 3/8 x 27 3/4 in. (49.1 x 70.3 cm), framed. Condition: Pale staining and toning, gentle fading, pinholes to three corners, floated within the frame, not examined out of frame.

La Cité - Notre-Dame, 1937, edition of 500 (Duthuit, 248). Signed within the plate. Etching on paper, plate size 13 3/8 x 10 3/16 in. (33.8 x 25.8 cm), framed. Condition: Not examined out of frame. $500-700

Provenance: A private Maine collection. $7,000-9,000

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70 Joan Miró (Spanish, 1893-1983) Exposition XXIIe, Salon de Mai, 1966, edition of 100 before lettering (Mourlot, 432). Signed “Miró.” in pencil l.r., numbered “23/100” in pencil l.l., identified on a label from the Kanegis Gallery, Boston, affixed to the backing. Color lithograph on buff paper, image/sheet size, 26 1/2 x 20 1/2 in. (67.3 x 52.0 cm), framed. Condition: Full sheet with deckled right and lower edges, possible subtle toning, floated within the mat, not examined out of frame. $3,000-5,000 71 Joan Miró (Spanish, 1893-1983) Plate 5 from Ma de Proverbis, 1970, from the edition of 100 (Mourlot, 677). Signed “Miró” in pencil l.r., inscribed “H.C.” in pencil l.l. Color lithograph on paper, image size 20 1/4 x 28 1/2 in. (51.3 x 72.3 cm), framed. Condition: Deckled edges, gentle rippling, unobtrusive bleed-through staining to verso. $800-1,200 70

72 Joan Miró (Spanish, 1893-1983) Plate from Ubu aux Baléares, 1971, edition of 120 plus proofs, printed by Mourlot, Paris (Mourlot, 766). Signed “Miró” in pencil l.r., numbered “103/120” in pencil l.l. Color lithograph on paper, image size 18 7/8 x 24 3/8 in. (47.8 x 61.8 cm), framed. Condition: Full sheet with deckled edges, possible fading, gentle rippling, floated within the frame, not examined out of frame. $300-500 73 Robert Motherwell (American, 1915-1991)

72

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Elegy Studies, 1977, edition of 34, published by the artist and Brooke Alexander, Inc., New York (Dedalus, 216; Terenzio & Belknap, 189). Initialed and numbered “R.M./29/34” in brown pencil l.r., artist’s dry stamp l.r. Lithograph on buff wove paper, image size 19 5/8 x 15 1/4 in. (49.6 x 38.5 cm), framed. Condition: Full sheet with deckled edges, pale foxing, floated within the frame, not examined out of frame. $350-550


74 Robert Motherwell (American, 1915-1991) Dance II, 1978, edition of 30, published by the artist and Brooke Alexander, Inc., New York (Dedalus, 231; Terenzio & Belknap, 200). Initialed and numbered “R.M./5/30” in pencil u.r., artist’s dry stamp l.r., identified on a label from Gump’s Gallery, San Francisco, affixed to the backing. Etching and aquatint on paper, plate size 17 3/4 x 35 1/2 in. (45.0 x 90.0 cm), framed. Condition: Full sheet with deckled edges, gentle rippling, floated within the frame, not examined out of frame. $800-1,200

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75 Robert Motherwell (American, 1915-1991) Untitled, plate 4 from The Berggruen Series, 1980, edition of 100 plus proofs, published by Berggruen & Cie, Paris, John Berggruen Gallery, San Francisco, and Brooke Alexander, Inc., New York (Dedalus, 261; Belknap et al., 228). Signed and numbered “Motherwell 87/100” in pencil l.r. Color lithograph with embossed plate mark on paper, plate size 10 x 10 3/4 in. (25.4 x 27.2 cm), framed. Condition: Margins over 1 inch, gentle rippling, not examined out of frame. $500-700

76 Robert Motherwell (American, 1915-1991)

75

Red Samurai, plate 21 from the Octavio Paz Suite, 1988, proof outside of the edition of 20, published by The Limited Editions Club, New York (Dedalus, 408; Terenzio & Belknap, 374). Initialed and inscribed “R.M./h.c.” in pencil l.l., letterpress text to left half of sheet, identified on a label from Gump’s Gallery, San Francisco, affixed to the backing. Lithograph and linocut printed in colors on chine appliqué on wove paper, image size 13 3/4 x 11 in. (34.8 x 27.8 cm), framed. Condition: Full sheet with deckled left and right edges, pale staining and/or foxing, floated within the frame, not examined out of frame. $1,500-2,000

76

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77 Robert Motherwell (American, 1915-1991) 77

Untitled, plate 23 from the Octavio Paz Suite, 1988, edition of 50, published by The Limited Editions Club, New York (Dedalus, 437; Terenzio & Belknap, 376). Initialed and numbered “R.M./31/50” in pencil l.r. Lithograph on chine appliqué on wove paper, image size 11 1/8 x 14 3/8 in. (28.2 x 36.4 cm), framed. Condition: Pale staining and/or fox mark to right margin, not examined out of frame. $1,500-2,000

78 Elie Nadelman (American, 1885-1946) Female Nude, 1920. Unsigned. Engraving on cream paper, plate size 8 3/8 x 3 7/8 in. (21.0 x 9.8 cm), framed. Condition: Not examined out of frame. Provenance: From the artist’s estate to the current owner. $250-350 79 Carl-Henning Pedersen (Danish, 19132007) Barbizon Suite Number 2, 1976, edition of 150. Signed, inscribed, and dated “Carl-Henning Pedersen Paris 1976” in pencil l.r., numbered and titled “27/150...” in pencil l.l. Color lithograph on paper, image size 20 1/8 x 29 1/2 in. (51.0 x 74.8 cm), framed. Condition: Pale mat burn, gentle rippling, not examined out of frame. $300-500 78

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80 Pablo Picasso (Spanish, 1881-1973)

80

Taureau et Cheval, from Le Chef-d’Oeuvre Inconnu by Honoré de Balzac, 1934, from the edition of 99 aside from the full book edition of 340, published by Ambroise Vollard, Paris (Bloch, 84). Signed “Picasso” in brown ink l.r., numbered “23/99” in brown ink l.l. Etching on Van Gelder Zonen wove paper with partial watermark, plate size 7 3/4 x 11 in. (19.5 x 27.8 cm), framed. Condition: Full sheet with deckled edges, unobtrusively light-struck and brown ink faded, mat burn. $2,500-3,500 81 Pablo Picasso (Spanish, 1881-1973) Célestine et fille, avec un chat et un jeune client, 1968, plate 107 from the series 347 Gravures, published by Galerie Louise Leiris, Paris, in 1969, from the proof edition of 17 (Baer et al., 1603Bb2). Signed “Picasso” in pencil l.r., dated “24.5.68 I” within the plate. Aquatint on wove paper, plate size 3 1/2 x 4 7/8 in. (8.8 x 12.2 cm), framed. Condition: Gentle rippling, not examined out of frame.

81

N.B. The same plate was used in the suite La Célestine, published as an unsigned edition of 400 in 1971. $1,500-2,000

82 Pablo Picasso (Spanish, 1881-1973) Vieux modèle-jeune odalisque, femme androgyne, berger arcadien et pêcheur à la Boina pendante, second state of two, 1970, plate 8 from Séries 156, from the edition of 50, published by Galerie Louise Leiris, Paris, in 1978 (Baer et al., 1868IIBa). Stamped signature l.r., dated (twice) “29.1.70 4.3.70” within the plate, numbered “5/50” in pencil l.l. Etching on wove paper, plate size 18 3/4 x 23 1/4 in. (47.5 x 59.0 cm), framed. Condition: Full sheet with deckled edges, pale staining to upper margin, minute handling crease to lower margin. $3,000-5,000

82

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83

83 Pablo Picasso (Spanish, 1881-1973) Autour du Bain Turc, avec un petit intrus, 1970, plate 49 from Séries 156, from the edition of 50, published by Galerie Louise Leiris, Paris, in 1978 (Baer et al., 1910Ba). Stamped signature l.r., dated “15.5.70” within the plate, numbered “5/50” in pencil l.l. Etching on wove paper, plate size 10 5/8 x 13 7/8 in. (26.8 x 35.0 cm), framed. Condition: Not examined out of frame. $2,500-3,500

84 Pablo Picasso (Spanish, 1881-1973) La maison tellier, filles entre elles, Degas sidéré, 1971, plate III from Séries 156, from the edition of 50, published by Galerie Louise Leiris, Paris, in 1978 (Baer et al., 1975Ba). Stamped signature l.r., numbered “44/50” in pencil l.l., dated “9.4.71” within the plate. Etching on wove paper, plate size 14 1/2 x 19 3/8 in. (36.7 x 49.2 cm), framed. Condition: Margins over 1 inch, gentle rippling, not examined out of frame. $5,000-7,000

84

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85

85 Pablo Picasso (Spanish, 1881-1973) Prow Figure, 1952, edition of 300 (Ramié, 136). Inscribed “EDITION PICASSO 209/300 MADOURA” within the glaze on underside, stamped “EDITION PICASSO” and “MADOURA” to the underside. Turned white earthenware pitcher with blue, beige, and black, height 8 1/2 in. (21.5 cm). Condition: Minor pitting to glaze from firing, subtle soiling to interstices. $8,000-12,000

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86

88

87

86 Serge Poliakoff (Russian, 1906-1969)

87 Serge Poliakoff (Russian, 1906-1969)

88 Serge Poliakoff (Russian, 1906-1969)

Composition in Green, Blue, and Red, 1965, outside of the edition of 75, published by Galerie im Erker, St. Gallen (Poliakoff & Schneider, 48). Signed “Serge Poliakoff” in pencil l.r., inscribed “E a a” in pencil l.l., publisher’s dry stamp l.l. Color lithograph on paper, image size 18 7/8 x 25 1/4 in. (47.7 x 63.8 cm), framed. Condition: Not examined out of frame. $800-1,200

Composition in Yellow, Red, and Blue, from the portfolio Serge Poliakoff, 10 Lithografies, 1966, edition of 75, published by Galerie im Erker, St. Gallen (Poliakoff & Schneider, 56). Signed “Serge Poliakoff” in pencil l.r., numbered “75/75” in pencil l.l., publisher’s dry stamp l.l. Color lithograph on paper, image size 25 x 19 in. (63.4 x 48.3 cm), framed (unglazed). Condition: Very pale fox marks to margins, minute abrasion into sheet within white ink, not examined out of frame. $800-1,200

Composition in Red and Blue, 1967, outside of the edition of 75, published by XXe Siècle, Paris (Poliakoff & Schneider, XXXII). Signed “Serge Poliakoff” in pencil l.r., inscribed “E d a” in pencil l.l. Color aquatint on paper, plate size 24 x 17 1/4 in. (61.0 x 43.6 cm), framed. Condition: Gentle rippling, not examined out of frame. $800-1,200

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89

89 Serge Poliakoff (Russian, 1906-1969) Composition in Blue, Green, and Red, 1968, edition of 75, published by XXe Siècle, Paris (Poliakoff & Schneider, XXXIV). Signed “Serge Poliakoff” in pencil l.r., titled in pencil l.c., numbered “46/75” in pencil l.l. Color aquatint on paper, plate size 16 3/4 x 25 1/2 in. (42.4 x 64.6 cm), framed. Condition: Even toning, pale fox marks, not examined out of frame. $800-1,200

90 Georges Rouault (French, 1871-1958) La Baie de Trépassés, 1939, edition of 175, printed by Lacourière, Paris, published by Vollard, Paris (Chapon/Rouault, 141; Wofsy, 286). Signed “Georges Rouault” in brown ink l.r., signed and dated within the plate, numbered “82/175” in pencil l.r. Color aquatint on paper, plate size 24 1/8 x 18 in. (61.2 x 45.7 cm), framed. Condition: Pinpoint fox marks visible to margins, not examined out of frame. $1,200-1,800 90

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91

91 Ed Ruscha (American, b. 1937) Sin, 1970, edition of 150 plus proofs, published and printed by Cirrus Editions, Los Angeles (Engberg & Phillpot, 41). Numbered, signed, and dated “47/150 E. Ruscha 1970� in pencil l.l., identified on a label from Kayne Griffin Corcoran, Los Angeles, affixed to the backing. Color screenprint on Louvain Opaque Cover paper, image size 13 x 21 3/4 in. (32.9 x 55.1 cm), framed. Condition: Not examined out of frame. N.B. At this point in his career Ruscha consciously included objects that were actual size in his works. The olive is one of these elements. $8,000-12,000

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92 Billy Schenck (American, b. 1947) Psycho Killer, 1990, edition of 67. Signed and dated “Schenk Sept 90” in pencil l.r., titled and signed “...1/67” in pencil l.l., dry stamp l.r. Color screenprint on paper, image size 28 1/4 x 23 in. (71.5 x 58.3 cm), framed. Condition: Rippling, not examined out of frame. $300-500

93 Joel Shapiro (American, b. 1941) Untitled, probably from the series Untitled A through R, 1994, published in 1995 by the artist, printed by Maurice Payne Studios, New York. Signed “Joel Shapiro” in pencil l.r., numbered “API/VI” in pencil l.l. Etching on paper, plate size 11 3/4 x 14 in. (29.8 x 35.5 cm), framed. Condition: Not examined out of frame. $500-700 94 Saul Steinberg (American, 1914-1999) 92

Braque, from the portfolio Six Drawing Tables, 1970, edition of 100, published by Abrams Original Editions, New York. Signed and dated “STEINBERG/70” in pencil l.r., numbered “45/100” in pencil l.l., publisher’s and a second dry stamp l.l., copyright dry stamp l.r. Color lithograph with collage on cream paper, image size 18 1/16 x 25 5/8 in. (45.8 x 65.0 cm), framed. Condition: Deckled edges, unobtrusive staining near edges, floated within the frame, not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $500-700 95 Victor Vasarely (Hungarian/French, 19061997) Untitled, c. 1979, edition of 250. Signed “Vasarely-” in pencil within the image l.r., numbered “231/250” in pencil within the image l.l. Color screenprint on paper, image/ sheet size 24 x 22 1/4 in. (61.0 x 56.4 cm), framed. Condition: Not examined out of frame. $500-700

93

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96

96 Andy Warhol (American, 1928-1987) S & H Green Stamps, 1965, from the edition of 6,000 issued as an invitation, printed by Eugene Feldman, Philadelphia, published by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia (Feldman, Schellmann & Defendi, II.9). Unsigned, identified in text printed on the verso. Color offset on folded paper, sheet size 23 x 22 3/4 in. (58.4 x 57.6 cm), unmatted, unframed. Condition: Folded (as issued), subtle toning to verso. $600-800

97 Tom Wesselmann (American, 1931-2004) Rosemary Sitting Up Straight, 1990, edition of 26. Signed and numbered “Wesselmann 22/26� in pencil l.r. Lithograph on paper, image size 37 1/4 x 31 1/2 in. (94.5 x 80.0 cm), framed. Condition: Deckled edges, gentle rippling, floated within the frame, not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $5,000-7,000 97

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Fine Photographs 98 American School, 19th Century

98 partial

Album of Photographs from the Family of Orrin Freeman (American, 1830-1866), including sixty-five cartes-de-visite, five tintypes, fifteen gem-sized tintypes, and one carte-sized watercolor and gouache floral still life. Comprised primarily of portraits (of people, dogs, and several figures on horseback), but also including views of grave monuments, the Washington Elm in Cambridge Common, the White House, the Castle (the first Smithsonian Building), and other architectural renderings, a photographic reproduction of John. H. Littlefield’s painting Death-Bed of Lincoln, a portrait of Millie and Chrissie McCoy, and several Asian exteriors and landscapes. Albumen silver prints and tintypes in an album with painted cover, 6 x 9 1/2 x 2 1/4 in. (15.0 x 24.0 x 5.5 cm). Condition: Minor foxing, primarily to album pages, album binding is broken. Provenance: By descent in the family of photographer Orrin Freeman. N.B. Of particular interest is a John H. Fitzgibbon (British/ American, 1819-1882) portrait of Millie and Christine McKoy, conjoined twins who were born into slavery in North Carolina in 1851. Also known as Millie-Crissie, the sisters toured America and Europe as the “The TwoHeaded Nightingale,” playing piano, dancing, and singing. Cartes-de-visite such as this one were sold to support and publicize their performances. $1,500-2,500

99 Maxime Du Camp (French, 1822-1894) Eleven Plates from Egypte, Nubie, Palestine et Syrie, 1852, printed by Blanquard-Evrard, Lille. Identified on preprinted mounts. Salted paper prints, images sizes to 6 5/8 x 8 3/8 in. (16.8 x 21.2 cm), one matted, all unframed. Condition: The majority with scattered foxing. Provenance: A private Massachusetts collection. N.B. Plates 12, 33, 41, 46, 61, 67, 74, 75, 76, 95, and 112 are included. $3,000-5,000 99 partial

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100 Francis Frith (British, 1822-1898) The Mosque of the Emeer Akhoor, Cairo, 1858. Signed and dated “Frith...” in the negative l.r., titled on the pre-printed mount. Albumen silver print mounted to heavyweight paper, image/sheet size 19 1/4 x 15 3/8 in. (48.8 x 39.0 cm), unmatted, unframed. Condition: Creases in l.r. and u.r. corners. Provenance: A private Massachusetts collection. N.B. Francis Frith turned to photography in the early 1850s, and in 1856 made his first trip to Egypt, traveling up the Nile from Cairo to Abu Simbel, and photographing ancient monuments and locations using a stereoscopic camera and two large format cameras with different negative sizes (8 x 10 and 16 x 20 inches). Despite the challenging environmental conditions, Frith succeeded in producing his arresting images using a portable darkroom with wet-plate collodion on glass negatives. His use of three negative formats demonstrates the commercial nature of his enterprise and the high demand in mid19th century England for pictorial evidence of Middle Eastern subjects. 100

The successful sale of Frith’s views financed his next trip to Palestine, Syria, and Egypt in late 1857, and in the summer of 1859, he returned to Egypt, traveling up the Nile to the Fifth Cataract, and venturing further south than any other photographer before him. Settling back in Britain, he opened his own firm in Reigate, Surrey, near London, to publish and sell his images, as well as the work of other photographers. $1,200-1,800

101 Edward Sheriff Curtis (American, 18681952) An Oasis in the Badlands, 1905. Signed “CURTIS” in black ink on the mount l.r., copyright blindstamp l.l. Platinum print, image/sheet size 5 7/8 x 7 3/4 in. (14.7 x 19.5 cm), unframed. Condition: Tipped to paper mount, lifting at right edge; discoloration and minor wear to mount edges. N.B. Edward Sheriff Curtis is best known for his Herculean effort to document the North American Indian through photographs and recordings of song and speech. As the western United States was developed, he endeavored to record the vanishing cultures of the land’s original inhabitants, creating a body of work that at the time defined the country’s popular vision of Native American culture. Curtis began his fieldwork in 1906 with the support of financier J. Pierpont Morgan, and by 1930 he had documented more than eighty tribes and made over 40,000 photographs. $3,000-5,000

101

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102 Gertrude Käsebier (American, 1852-1934) The Manger, 1899, published in Camera Work, Number 1, 1903. Photogravure on paper, image size 8 3/8 x 5 7/8 in. (21.0 x 14.8 cm), framed. Condition: Not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $500-700

103 Alfred Stieglitz (American, 1864-1946) Camera Work, Number 36. Edited and published by Alfred Stieglitz, New York, October 1911. Periodical with photogravure and half-tone reproductions, 11 3/4 x 8 3/8 in. (29.7 x 21.0 cm). Condition: Plates in good condition, cover and back wrapper with chips and losses, spine missing, front and back covers detached, fox marks and/or fly specks on cover along l.l. edge. N.B. As a founding member of the Photo-Secession and publisher of Camera Work, Alfred Stieglitz was a major force in the promotion and elevation of photography as a fine art in America at the turn of the 20th century. While he first championed a Pictorial aesthetic making painterly, soft focus images with subtle tonal variation and unusual compositions, he went on to embrace a more modernist, “straight” depiction of contemporary life, and the 1911 issue of Camera Work was devoted exclusively to his own photographs made in this new style. 102

The Stieglitz photographs in the issue are: The City of Ambition (1910), The City Across the River (1910), The Ferry Boat (1910), The Mauretania (1910), Lower Manhattan (1910), Old and New New York (1910), The Aeroplane (1910), A Dirigible (1910), The Steerage (1907), Excavating, New York (1911), The Swimming Lesson (1906), The Pool – Deal (1910), The Hand of Man (1902), In the New York Central Yards (1903), The Terminal (1892), and Spring Showers, New York (1903). $15,000-20,000

103 partial

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104 Paul Strand (American, 1890-1976) Photograph—New York, 1917, published in Camera Work, Number 49/50. Photogravure on paper, image size 8 7/8 x 6 5/8 in. (22.4 x 16.7 cm), framed. Condition: Minor discoloration to sheet margins and verso, scattered fox marks on the verso. $1,000-1,500 105 Willard Van Dyke (American, 1906-1986) Funnels, 1933, printed later. Signed and dated “Willard Van Dyke...” in pencil l.r., dedicated and signed in pencil on the mount verso. Gelatin silver print mounted to board, image/sheet size 7 x 9 3/8 in. (17.6 x 23.7 cm), unframed. Condition: Scattered subtle mold spots or similar on the print surface, mount with light foxing and a water stain or similar u.r. $300-500

106 Willard Van Dyke (American, 1906-1986)

104

106

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Boxer’s Hands, c. 1933, printed later. Unsigned, dedicated in pencil on mount verso. Gelatin silver print mounted to board, image/ sheet size 7 1/2 x 9 3/8 in. (18.9 x 23.7 cm), framed. Condition: Subtle creases u.l. and u.r., sheet is detaching slightly at the left and right edges, light foxing on the mount. $300-500


107 George Platt Lynes (American, 1907-1955) Two Photographs of Charles “Tex” Smutney and Charles “Buddy” Stanley, 1941. One inscribed “For B.R ex dono G.W./March 30, 1952.” on the verso in black ink. Gelatin silver prints, image/sheet sizes to 7 1/2 x 9 1/2 in. (18.9 x 24.0 cm), unmatted, unframed. Condition: Minor wear at corners, subtle silvering at edges. Provenance: A Connecticut estate.

107 partial

N.B. George Platt Lynes is recognized today as a master of 20th century photography, influencing artists such as Robert Mapplethorpe and Herb Ritts. Though Lynes was commercially successful in New York fashion and portrait photography, his art practice is largely characterized today by his remarkable photographs of nude men, from the 1930s until his death in 1955. Using inventive lighting, posing, and cropping techniques within his carefully staged studio settings, he was able to visually translate both the physical and psychological nuances of his subjects (biography from http://www.robertmillergallery.com/georgeplatt-lynes-c1f6c, accessed 12/5/2018). $1,500-2,500

108 George Platt Lynes (American, 1907-1955) Female Nude, c. 1950. Inscribed “Mildred Lynes/GPL’s sister-in-law” in pencil on the verso, artist’s New York studio stamp on the verso, “Collection of Paul Cadmus” stamp on the verso, identified (incorrectly as George P. Lyons) on a label from Midtown Galleries, New York, affixed to the backing. Toned gelatin silver print, image/ sheet size 9 1/2 x 7 1/2 in. (24.0 x 19.0 cm), framed. Condition: Subtle handling crimp u.c., sheet curling slightly, minor soiling to verso. Provenance: A Connecticut estate. N.B. The subject is identified as Marguerite Cato in David Leddick, George Platt Lynes (Cologne and New York: Taschen, 2000). $800-1,200

109 George Platt Lynes (American, 1907-1955) Two Portraits of Jack Fontan (Nude and Clothed), c. 1954. One stamped “GEORGE PLATT LYNES/229 EAST 47 STREET NEW YORK” on the verso in black ink. Gelatin silver prints, image/sheet sizes to 9 1/4 x 7 1/2 in. (23.3 x 18.9 cm), unmatted, unframed. Condition: The nude version has residue on the verso suggesting that it was previously mounted. 108

Provenance: A Connecticut estate. $2,000-3,000

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110 Attributed to George Platt Lynes (American, 1907-1955) Group of Thirty-one Photographs of Men (Both Nude and Clothed), 1930s-50s. Without artist stamps. Gelatin silver prints, image/sheet sizes to 10 x 8 in. (25.5 x 20.4 cm), matted, unframed. Condition: Minor wear at corners and edges, two prints mounted to board. Provenance: A Connecticut estate. $3,000-5,000

111 Ansel Adams (American, 1902-1984) Young Oaks, Winter, c. 1938, printed later. Initialed “AA” in pencil l.r., “Special Edition Photographs of Yosemite” hand stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 7 1/2 x 9 5/8 in. (18.8 x 24.3 cm), framed. Condition: The window mat is adhered to the mount with double-sided tape or similar. 111

N.B. Adams began making the Special Edition series of prints in 1958. They were approved by him, but made by assistants. He signed them until around 1972, and initialed them until 1974. The Special Edition prints continued to be made, but without Adams’s signature or initials because he wanted to distinguish them from his fine photographs, which he printed himself. New prints from the series are still made by Alan Ross, who began as Adams’s assistant in 1974. $1,000-1,500

112 Ansel Adams (American, 1902-1984) Jeffrey Pine, Sentinel Dome, 1940, printed later. Initialed “AA” in pencil l.r., “Special Edition Photographs of Yosemite” hand stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 7 3/4 x 9 1/2 in. (19.5 x 24.0 cm), framed. Condition: Scratches/indentations u.c. $1,000-1,500

112

113 Ansel Adams (American, 1902-1984) Ferns, Valley Floor, 1948, printed later. Initialed “AA” in pencil l.r., “Special Edition Photographs of Yosemite” hand stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 9 5/8 x 7 5/8 in. (24.3 x 19.3 cm), framed. Condition: The window mat is affixed to the mount edges with white tape, subtle lifting of emulsion at l.r. edge, minor soiling to the mount verso. $1,000-1,500

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114 Ansel Adams (American, 1902-1984) Forest Detail, Winter, 1949, printed later. Initialed “AA” in pencil l.r., “Special Edition Photographs of Yosemite” hand stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 9 1/4 x 7 1/2 in. (23.4 x 18.8 cm), framed. Condition: The window mat is adhered to top of mount with double-sided tape. $1,000-1,500

115 Ansel Adams (American, 1902-1984) Morning, Merced River Canyon, 1950, printed later. Initialed “AA” in pencil l.r., “Special Edition Photographs of Yosemite” hand stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 7 3/4 x 9 5/8 in. (19.5 x 24.3 cm), framed. Condition: The window mat is adhered to mount with white tape along top edge, subtle emulsion losses at u.r. and l.r. edges. $1,000-1,500 113

116 Ansel Adams (American, 1902-1984) Set of Twenty-five Yosemite Special Edition Photographs, 1927-60, printed 2002-07 by Alan Ross. Each with identifying stamp, print date, and Ross’s initials on the mount verso. Gelatin silver prints mounted to board, sizes to 8 x 10 in. (20.4 x 25.5 cm), matted, unframed. Condition: Good. Provenance: A Connecticut estate. N.B. Images include: Gates of the Valley, Winter; Half Dome, Merced River, Winter; Yosemite Valley from Inspiration Point, Winter; Merced River, Cliffs, Autumn; Lake Tenaya; Mt. Ansel Adams, Lyell Fork of the Merced River; Tenaya Creek, Dogwood, Rain; Early Morning, Merced River Canyon; Cathedral Spires and Rocks; Thunderstorm, Yosemite Valley; Cathedral Peak and Lake; Jeffrey Pine, Sentinel Dome; El Capitan; Vernal Fall; Nevada Fall, Rainbow; Bridalveil Fall; El Capitan, Winter; Half Dome from Glacier Point; Unicorn Peak, Thunderclouds; Oak Tree, Snowstorm; El Capitan, Merced River, Clouds; Upper Yosemite Fall, Profile; Dogwood Blossoms; Moon and Half Dome; and Moonrise from Glacier Point. $5,000-7,000

115

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117 Ansel Adams (American, 1902-1984) Farm Near Orderville, Utah, c. 1958. Identified on a label affixed to the mount l.c., with the artist’s San Francisco studio stamp on the mount l.l. Gelatin silver print mounted to board, image/sheet size 7 5/8 x 9 1/2 in. (19.2 x 24.0 cm), unframed. Condition: Minor surface scuffs, wear to mount, especially at corners. $800-1,200

118 Ansel Adams (American, 1902-1984) Merced River, Reflection, Yosemite National Park, 1960s. Signed “Ansel Adams” in ink l.r., titled in ink with Carmel studio credit stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 19 1/2 x 15 1/8 in. (49.5 x 38.2 cm), framed. Condition: Window mat is adhered to mount recto.

117

Provenance: Gift of the artist to Dr. Richard Young, a senior executive at the Polaroid Corporation from 1962-1982, by family descent. $6,000-8,000

119 Ansel Adams (American, 1902-1984) Old Water Tower, San Francisco, 1961. Mural-sized gelatin silver print mounted to board, 38 1/4 x 29 1/2 in. (97.0 x 74.8 cm), unframed. Condition: Scattered frame abrasions around edges, subtle spatters/surface grime u.r. and l.r., minimal scratches to surface. Provenance: Dr. Richard Young, a senior executive at the Polaroid Corporation from 1962-1982, by family descent. Dr. Young served as Senior Vice President of Research and Development, and later as President of the International Division and played a key role in the development and marketing of Polaroid’s revolutionary products. N.B. Ansel Adams’s interest in printing mural-size photographs began in the mid1930s. Adams preferred a smooth, matte double-weight paper with neutral tone, and the resulting prints were typically affixed to plywood or Masonite panels and coated with a thin layer of varnish. $8,000-12,000 118

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119

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121

120

120 Berenice Abbott (American, 1898-1991) Wall Street, Broadway to Battery, New York, 1938, printed later. Signed “BERENICE ABBOTT” in pencil l.r., stamped “PHOTOGRAPH/BERENICE ABBOTT/ABBOTT, MAINE 04406” on the mount verso at center. Gelatin silver print mounted to board, image/sheet size 9 5/8 x 7 3/8 in. (24.4 x 18.7 cm), unmatted, unframed. Condition: Small emulsion loss to l.r. corner. Provenance: A private Massachusetts collection. $800-1,200

121 Louis Faurer (American, 1916-2001) Freudian Woman, New York City, 1947, printed later. Signed, dated, and inscribed “Louis Faurer...N.Y.C.” in pencil on the mount verso. Gelatin silver print mounted to Masonite, image/sheet size 12 5/8 x 10 5/8 in. (32.0 x 27.0 cm), unmatted, unframed. Condition: Minor wear at the corners, several horizontal lines (possibly spot toning) at center. Provenance: A private Massachusetts collection. $1,000-1,500

122 Ruth Bernhard (American, 1905-2006) Rockport Nude, 1947, printed later, from an edition of 25, published by Debra Heimerdinger|Fine Art Photographs, San Francisco, 1999. Signed “Ruth Bernhard” in pencil on the mount l.r., titled, dated, and numbered “...5/25” in pencil on the verso l.c. with additional pencil annotations l.l. and l.r. Platinum palladium print, image size 13 7/8 x 8 3/4 in. (35.0 x 22.0 cm), framed. Condition: Good.

122

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Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $2,500-3,500


123 Gyula Halász, called Brassaï (Hungarian/ French, 1899-1984)

123 partial

Three Photographs: La Vallée de l’Isère, La Mente, and Se Guedilla à la Féria de Séville, 1937, 1947, and 1951, respectively, printed later. Each signed “Brassaï” in black ink l.r., La Mente numbered “2/40” in black ink l.l., the others numbered “3/40” in black ink l.l., La Mente titled, numbered, and signed “…2/40…” in black ink on the verso, the others titled, numbered, and signed “Brassaï 3/40…” in black ink on the verso, each with the photographer’s copyright stamp on the verso. Gelatin silver prints, image sizes to 9 1/4 x 12 1/2 in. (23.5 x 31.8 cm), one matted, all unframed. Condition: Slight rippling to sheets, crease in u.c. margin of La Vallée. Provenance: A private Massachusetts collection. $1,500-2,500

124 Robert Frank (Swiss, b. 1924) Vernacular Image Still Life, 1950s, printed later. Signed “Robert Frank” in ink l.r., “COPYRIGHT © Robert Frank” stamp inscribed “Robert Frank 1980” in ink on the verso l.l., “ROBERT FRANK ARCHIVE” stamp inscribed “2723” in pencil on the verso l.r. Gelatin silver print, image size 7 3/4 x 11 3/4 in. (19.6 x 29.8 cm), unmatted, unframed. Condition: Minor wear at sheet corners. 124

Provenance: A private Massachusetts collection. $2,000-3,000 125 Robert Frank (Swiss, b. 1924) Paris, 1950, printed later. Signed “Robert Frank” in ink l.r., titled and dated in ink l.l., “COPYRIGHT © Robert Frank” stamp inscribed “Robert Frank 1979” in ink on the verso l.l., “ROBERT FRANK ARCHIVE” stamp inscribed “Paris 1950/589” in pencil on the verso l.r. Gelatin silver print, image size 9 x 13 3/8 in. (22.8 x 34.0 cm), unmatted, unframed. Condition: Minor handling crease l.r. Provenance: A private Massachusetts collection. $2,000-3,000

125

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126 Robert Frank (Swiss, b. 1924)

126

Andrea, Southampton, 1954-55, printed later. Signed “Robert Frank” in ink on the verso l.r., “COPYRIGHT © Robert Frank” stamp inscribed “Robert Frank 1980” in ink on the verso l.l., “ROBERT FRANK ARCHIVE” stamp inscribed “Lines of My Hand 55/ Andrea, 1954/2663” in pencil on the verso l.r. Gelatin silver print, image size 8 x 11 3/4 in. (20.0 x 29.8 cm), unmatted, unframed. Condition: Scattered handling creases in margins. Provenance: A private Massachusetts collection. $2,000-3,000

127 Robert Frank (Swiss, b. 1924)

127

Interior with Chandelier, 1950s, printed later. Signed “Robert Frank” in ink on the verso l.r., “COPYRIGHT © Robert Frank” stamp inscribed “Robert Frank 1980” in ink on the verso l.l., “ROBERT FRANK ARCHIVE” stamp inscribed “2676” in pencil on the verso l.r. Gelatin silver print, image size 8 1/2 x 12 7/8 in. (21.5 x 32.6 cm), unmatted, unframed. Condition: Minor wear at sheet corners. Provenance: A private Massachusetts collection. $2,000-3,000 128 Robert Frank (Swiss, b. 1924) Workers in Hard Hats, 1950-60s, printed later. Signed “Robert Frank” in ink on the verso l.r., “COPYRIGHT © Robert Frank” stamp inscribed “Robert Frank 1980” in ink on the verso l.l., “ROBERT FRANK ARCHIVE” stamp inscribed “2680” in pencil on the verso l.r. Gelatin silver print, image size 10 1/2 x 13 1/2 in. (26.6 x 34.3 cm), unmatted, unframed. Condition: Good. Provenance: A private Massachusetts collection. $2,000-3,000

128

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129 Ruth Bernhard (American, 1905-2006) 129

Hand in Hand, 1956, printed later. Signed “Ruth Bernhard” in pencil l.r., titled, dated, and signed “...Ruth Bernhard” in pencil on the mount verso, artist copyright stamp on the mount verso. Gelatin silver print mounted to board, image/sheet size 13 1/2 x 10 1/2 in. (34.2 x 26.5 cm), matted, unframed. Condition: Subtle matte area (1 in.) in center. Provenance: A Connecticut estate. $3,000-5,000

130 Diane Arbus (American, 1923-1971) Hezekiah Trambles, “The Jungle Creep,” on Stage at Hubert’s Museum, New York City, 1960, printed later. Stamped “Not to be reproduced in any way without/written permission from Doon Arbus.” on the verso u.l., stamped and inscribed “Copyright © 1986/The Estate of Diane Arbus” on the verso u.c., stamped and inscribed “a diane arbus print #830-19-10-1114/doon arbus administrator Doon Arbus” on the verso u.r. Gelatin silver print, image size 8 3/4 x 5 15/16 in. (22.0 x 15.0 cm), framed. Condition: Minor wear to sheet corners, floated in frame, not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $3,000-5,000

130

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130A Otto Fenn (American, 1914-1993)

130A partial

Group of Negatives, Contact Sheets, and Prints, including portraits of Andy Warhol, Jean Cocteau, and Otto Fenn, 1960s. Several stamped “otto fenn” on the verso. Gelatin silver prints and negatives, image sizes to 11 x 11 in. (27.8 x 27.8 cm), unmatted, unframed. Condition: Scattered handling crimps, chemical stains, and wear to sheet corners. N.B. The group is comprised of nineteen 2 1/4 inch negative strips, eight contacts sheets and four prints of Warhol, a contact sheet of Cocteau portraits, a contact sheet and two prints of Fenn made for a Christmas card, and a contact sheet of an older woman and nude figure on a bed. The property being sold as Lot No. 130A includes only the physical material as described. All rights to images and/or recordings are reserved by the original copyright holder(s). $4,000-6,000

131 Garry Winogrand (American, 1928-1984) Muhammad Ali and Oscar Bonavena Press Conference, New York City, 1970. Signed and numbered “Garry Winogrand/#33” in pencil on the verso l.l., identified on a label from Robert Klein Gallery, Boston, affixed to the backing, dedicated and signed “To Stephen/From/Muhammad Ali/.../526-94” in ballpoint pen on the backing. Gelatin silver print, image size 10 5/8 x 15 7/8 in. (26.8 x 40.2 cm), framed. Condition: Image has yellowed, minor creases in l.r. and l.l. corners.

131

Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,500-2,500

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132 Harry Callahan (American, 1912-1999) Cape Cod, 1972. Signed “Harry Callahan” in pencil below the image l.r. Gelatin silver print, image size 8 7/8 x 9 in. (22.5 x 22.9 cm), unmatted, unframed. Condition: Minor wear at sheet corners. Provenance: A private Massachusetts collection. $2,000-3,000

133 Harry Callahan (American, 1912-1999) Cape Cod, 1974, printed 1980. Signed “Harry Callahan” in pencil below the image l.r., numbered “IV/21” in pencil below the image l.l., signed, titled, dated, and numbered “Harry Callahan...” in pencil on the mount verso u.c. Gelatin silver print mounted to card, image/ sheet size 5 3/4 x 5 7/8 in. (14.4 x 14.7 cm), unmatted, housed in a paper folder. Condition: Good. 133

Provenance: A private Massachusetts collection. N.B. The photograph was issued with the publication Water’s Edge (Lyme, CT: Calloway Editions, 1980). The book, which accompanies the lot, is signed “Harry Callahan” in black ink and numbered “IV/21” in pencil on the last page. $2,000-3,000

134 Aaron Siskind (American, 1903-1991) Lima 55, 1975. Signed “Aaron Siskind” l.r., titled, dated, and numbered “...2/50” in pencil l.l. Photogravure on BFK Rives paper, image size 14 1/4 x 15 in. (36.0 x 38.0 cm), matted, unframed. Condition: Sheet with deckled edges. N.B. While he also made gelatin silver prints of this subject, Siskind appreciated the rich and painterly quality of the photogravure technique, a process with visual qualities similar to aquatint etching. $1,000-1,500 135 Aaron Siskind (American, 1903-1991) 134

Lima 101, 1975. Signed “Aaron Siskind” l.r., titled, dated, and numbered “...2/50” in pencil l.l. Photogravure on BFK Rives paper, image size 15 x 14 5/8 in. (38.1 x 37.0 cm), matted, unframed. Condition: Sheet with deckled edges. $1,000-1,500

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136 Richard Avedon (American, 1923-2004) Louise Nevelson, Sculptress, New York City, 1975. Signed “Avedon” in ink on the verso at center, numbered “18” from an edition of “50” in ink on the verso l.l., artist’s copyright information and title stamped on the verso. Gelatin silver print, image/sheet size 10 x 8 in. (25.5 x 20.4 cm), framed. Condition: Good. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $4,000-6,000

137 Jack Mitchell (American, 1925-2013) Two Contact Sheets with Portraits of John Lennon and Yoko Ono, 1980. Stamped “© JACK MITCHELL 1980” on the verso, with the photographer’s New York studio label affixed to the verso. Gelatin silver prints, sheet sizes 11 x 8 1/2 in. (27.8 x 21.5 cm), unframed. Condition: Minor handling crimps. N.B. Mitchell photographed Lennon and Ono in November 1980; Lennon was killed several weeks later on December 8. According to a note accompanying the lot, these were among the contact sheets brought to the couple at the Dakota for their review and approval. $500-700 136

137

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138

138 Mark Morrisroe (American, 1959-1989) “Nymph-0-Maniac” Promo Still, 1984. Signed and dated “Mark Morrisroe/© 10o/o84” in ink l.r., titled in ink l.c., with additional inscriptions and marks in ink and watercolor along the bottom margin, inscribed and numbered “MM-00121/12” in red ink on the verso l.c. Chromogenic print, image size 11 3/4 x 17 7/8 in. (29.7 x 45.3 cm), framed. Condition: Hinged to board at upper corners and at the center of the left and right edges, floated in frame, possible subtle shift in color and fading of marks, slight curling to sheet. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $3,000-5,000

139 Steve McCurry (American, b. 1950) Afghan Girl (Sharbat Gula), Refugee Camp, Pakistan, 1984, printed later. Signed “Steve McCurry” in black ink on the verso. Chromogenic print on Fuji Crystal Archive paper, image size 19 1/2 x 13 in. (49.4 x 33.0 cm), matted, unframed. Condition: Good. Provenance: Acquired from Howard Greenberg Gallery, New York; to a Connecticut estate. N.B. This now iconic portrait was featured on the cover of the June 1985 issue of National Geographic. A label from the Howard Greenberg Gallery accompanies the lot. $8,000-12,000 139

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140 Doug and Mike Starn (American, b. 1961) Place St. Michel (Blue), 1985. Unsigned, identified on a label from Stux Gallery, New York, affixed to the backing. Toned gelatin silver prints and tape, sheet size 46 x 36 1/2 in. (116.8 x 92.7 cm), framed. Condition: Per the artists’ process, prints are purposefully distressed, including creases, scattered losses, pinholes in the corners, and tape affixed to the sheets, floated in the frame, not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. N.B. Doug and Mike Starn are identical twins whose unique style infuses iconic images with new depth and meaning; once straightforward photographs become suddenly personal through their “handmade” manipulation as they confront the viewer with their notions of intimacy, aging, and mortality. The Starns tear, crease, crop and otherwise “damage” in the traditional sense of the word. They also expose the paper to chemicals to create variations in tones and clarity. Born in New Jersey, the Starns studied at the School of the Museum of Fine Arts, Boston. $1,500-2,500

141 Doug and Mike Starn (American, b. 1961)

140

Horses, 1986. Signed and numbered “Starn Twins 1/100” l.c. Toned gelatin silver prints and tape, sheet size 13 3/4 x 23 3/4 in. (34.8 x 60.2 cm), framed. Condition: Per the artists’ process, prints are purposefully distressed, including creases, scattered losses, pinholes in the corners, and tape affixed to the object, floated in the frame, not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,500-2,500

141

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142 Thomas Ruff (German, b. 1958) Porträt, 1986. Signed, numbered, and dated “Thomas Ruff 2/3...” in pencil on the reverse l.r. Chromogenic print face-mounted to acrylic, image size 65 3/4 x 51 in. (167.0 x 129.5 cm), framed. Condition: Subtle surface scratches in margin l.r., tape residue or similar below sitter’s chin. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts.

142

N.B. Ruff began making portraits around 1980 at a time when the genre had largely disappeared from the curriculum of the Staatlichen Kunstakademie in Düsseldorf where he was a student. He decided on a specific format: bust length portraits of sitters in their regular clothes with calm, serious expressions on their faces. Between 1981 and 1985, Ruff photographed his subjects against a colored background and made prints measuring approximately 9 1/2 x 7 inches. Beginning in 1986, he began using a neutral background and printing at a much larger scale so that the presence of both the sitter and the photograph become intensified. The portrait on offer is from this latter group. $7,000-9,000

143 Annette Lemieux (American, b. 1957) I Am, 1989. Titled, dated, numbered, and signed “...56/100 Lemieux” in pencil l.l. Gelatin silver print, image size 13 3/8 x 7 1/2 in. (33.8 x 19.0 cm), framed. Condition: Subtle rippling to paper. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $300-500

143

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144 Chuck Close (American, b. 1940) Bill (William Wegman), 1990. Signed and dated “C. Close...” l.c., titled u.c. Polaroid print, image size 26 1/4 x 20 7/8 in. (66.5 x 50.3 cm), framed. Condition: Colors may have shifted slightly, subtle crease l.l. corner, not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $7,000-9,000

145 William Wegman (American, b. 1943) Self-Portrait with Puppy as Camera, 1989. Signed and dated “William Wegman...” in ink on the verso l.r., numbered “1/25” in ink on the verso l.l. Chromogenic print, image size 9 x 9 in. (22.7 x 22.7 cm), framed. Condition: Good. Provenance: Institute of Contemporary Art, Boston, Benefit Auction; Collection of Maria Lopez and Stephen Mindich, Massachusetts. $800-1,200

146 Nan Goldin (American, b. 1953) Kim Harlow in the Dressing Room, Paris, 1991. Titled, dated, signed, and numbered “...Nan Goldin #2/25” in black ink on the mount verso l.r., identified on a label from Robert Klein Gallery, Boston, affixed to the backing. Cibachrome print mounted to board, image/sheet size 39 1/2 x 26 1/2 in. (101.1 x 67.2 cm), framed. Condition: Subtle fingerprints at several edges, subtle surface scratch at right edge of figure’s hair, bowing to the print and board.

144

Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $3,000-5,000

147 Harriet Casdin-Silver (American, 19252008) Venus of Willendorf, 1991. Signed “CasdinSilver” l.r., illegible inscription l.l., identified on labels from Gallery NAGA, Boston, and Levinson Kane Gallery, Boston, affixed to the backing. Hologram, sight size 5 5/8 x 3 1/4 in. (14.0 x 8.0 cm), framed. Condition: Several subtle crimps at left edge, not examined out of frame. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $500-700

145

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146

148

148 Helmut Newton (German, 1920-2004) Sumo, from an edition of 10,000, published by Taschen, Cologne, 1999. Stamped/ numbered “08058” and signed “Helmut Newton” in blue crayon on one of the opening pages. Collector’s edition book with Philippe Starck-designed metal stand, 28 1/4 x 20 1/2 x 3 in. (71.6 x 52.0 x 17.5 cm). Condition: Dust jacket with scattered tears including one at top of spine repaired with scotch tape. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $2,500-3,500

147

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149 Bonnie Porter (American, b. 1959)

149

Nerve I and Nerve II, c. 1997. Each titled and signed “...Bonnie Porter” in ink on white labels affixed to the reverse. Cibachrome prints mounted to board, image/sheet sizes 48 x 23 1/2 in. (121.8 x 59.5 cm), framed (without glass). Condition: Minor dust and fingerprints on print surface. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,000-1,500

150 Amy Arbus (American, b. 1954) Legs Spread/Belle Epoque, 2004. Titled and numbered “...1/25” in ink on the verso u.r., artist copyright stamp with date in ink on the verso u.c. Gelatin silver print, 9 7/8 x 9 7/8 in. (25.0 x 25.0 cm), framed. Condition: Good. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,000-1,500

End of Fine Prints, Multiples & Photographs 150

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Fine Paintings & Sculpture Lots 201–480 to be sold Friday, January 25, 2PM


201 Continental School, 18th Century Apollo with His Lyre Unsigned, with a partial loan label from the Museum of Fine Arts, Boston, affixed to the stretcher. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Lined, retouch, craquelure, surface grime. N.B. The name on the loan label is “H.C. Merwin,� probably referring to Henry Childs Merwin (1853-1929), Harvard Class of 1874. $400-600 202 No lot.

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203 School of Hans von Aachen (German, 1552-1615) The Dream of Paris Faintly inscribed l.r., inscribed “J. Saenredam” and “...E” in a later hand on the reverse. Ink and red chalk on laid paper, 6 x 7 1/4 in. (15.3 x 18.4 cm), framed. Condition: Creasing, toning, sheet mounted onto a supporting paper. N.B. This drawing, depicting the sleeping figure of Paris and the goddesses, was reviewed via photographs by Dr. Yvonne Bleyerveld of the RKD, who suggested that it was created c. 1600 in the environment of Hans von Aachen. $800-1,200

204 Flemish School, 17th/18th Century Putti with Flowers Unsigned. Oil on canvas, 20 x 25 1/2 in. (51.5 x 64.8 cm), framed. Condition: Lined, patch reinforcement, retouch, varnish discoloration, fine craquelure. N.B. The work at hand was reviewed via photographs by the RKD, who provided the following analysis. The painting is reminiscent of the works of Hendrik van Balen the Elder (Flemish, 1575–1632), but the overall style and manner of execution suggest that it was probably created later in the 17th century, or perhaps even in the 18th century. $1,000-1,500

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205 School of Salvator Rosa (Italian, 16151673) Figures on a Rocky Ledge Unsigned, inscribed with museum accession number “186.1939” on the stretcher. Oil on canvas, 14 5/8 x 12 in. (37.0 x 30.5 cm), framed. Condition: Trimmed of tacking edges and lined, craquelure, minor surface grime. Provenance: A private Massachusetts collection. $2,500-3,500 206 Attributed to Albert Bierstadt (American, 1830-1902) Joseph and Potiphar’s Wife Unsigned. Oil on canvas, 43 5/8 x 59 in. (110.8 x 150.0 cm), framed. Condition: Lined, retouch, craquelure. Provenance: A Virginia collection. $4,000-6,000 205

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207 French School, 18th Century Roman Family Group in an Arcadian Landscape Unsigned. Oil on canvas, 22 x 30 1/4 in. (55.3 x 76.5 cm), framed. Condition: Lined, retouch, craquelure. $800-1,200 208 Attributed to the School of Giorgione (Italian, c. 1477-1510)

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Mother and Children Accosted by a Thief Unsigned. Oil on canvas, 12 x 16 1/4 in. (30.5 x 41.0 cm), framed. Condition: Lined, retouch, craquelure, scattered losses and accretions. Provenance: A private Massachusetts collection. $2,000-3,000

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209

210

209 French School, 19th Century

210 Walter Moras (German, c. 1856-1925)

An Avenue at Vitré, Brittany Unsigned, titled in a pencil inscription in English on the top bar of the stretcher. Oil on canvas, 12 5/8 x 18 1/8 in. (32.0 x 46.0 cm), in a period frame. Condition: Craquelure, minor surface grime.

Sunlight through Trees in Winter Signed “W. Moras” l.l. Oil on canvas, 31 1/2 x 47 1/2 in. (80.0 x 120.0 cm), framed. Condition: Minor canvas deformation at corners, surface grime. $3,000-5,000

Provenance: A private Massachusetts collection. $1,500-2,500

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211 Hippolyte Camille Delpy (French, 18421910) Lavandières au bord de la Seine Signed and dated “h.c. Delpy” l.r., identified on a label from David B. Findlay Galleries, New York, affixed to the frame backing. Oil on canvas, 17 5/8 x 32 in. (44.5 x 81.0 cm), framed. Condition: Lined, stable craquelure, minor surface grime. Provenance: Purchased from David B. Findlay Galleries, c. 1966-67. $8,000-12,000

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212 Edward George Armfield (British, 18171896) Otterhounds Frolicking at a River Signed “E. Armfield� l.r. Oil on canvas, 30 x 50 in. (76.2 x 127.0 cm), framed. Condition: Lined, scattered retouch, craquelure. $1,000-1,500 213 Continental School, 19th Century Alpine Landscape with Deer by a River Unsigned. Oil on canvas, 39 1/2 x 29 1/8 in. (100.3 x 74.0 cm), framed. Condition: Lined, scattered minor retouch, craquelure, minor surface grime. $1,000-1,500

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214 Charles Émile Jacque (French, 1813-1894) La Bergère Signed “Ch. Jacque” l.r., titled on a presentation plaque, with a label from Scott & Fowles Co., New York, affixed to the stretcher. Oil on canvas, 25 1/2 x 21 1/4 in. (64.7 x 53.9 cm), framed. Condition: Lined, stable craquelure, surface grime. Provenance: Collection of Mary Lucia Leighton, New York City; by descent to the current private collection, New Hampshire. $3,000-5,000 215 John Blake MacDonald (Scottish, 18291901) River Landscape with Falls Signed “JB McDonald R.S.A.” l.l. Oil on canvas, 24 x 36 in. (60.8 x 91.3 cm), framed. Condition: Lined, stable craquelure. $800-1,200

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216 James Henry Crossland (British, 18521939) Valley Landscape with Sheep at Pasture and Distant Lake Signed “J.H. Crossland.” l.l. Oil on canvas, 24 x 36 in. (59.5 x 91.0 cm), in a period frame. Condition: Retouch, craquelure with small area of lifting to u.c., minor canvas deformation, varnish discoloration, minor surface grime. $1,000-1,500 217 William Mellor (British, 1851-1931) 217

Windermere Signed “William Mellor” l.l., titled in an inscription on the frame. Oil on canvas, 20 x 30 in. (50.6 x 76.0 cm), framed. Condition: Lined, scattered retouch, minor surface grime. Provenance: The estate of Paul J. Tracey, New York State. $800-1,200 218 George Vincent (British, 1796-1831) Postwick Grove, Norwich Unsigned, identified and dated “...1824” on a presentation plaque affixed to the frame. Oil on canvas, 18 1/8 x 23 in. (46.0 x 58.5 cm), framed. Condition: Lined, retouch, craquelure, varnish discoloration. $1,000-1,500

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219 Mariano De Franceschi (Italian, 1849-1896) Peasant Figures in the Foro di Nerva Signed and inscribed “M. De Franceschi/ Roma” l.l. Watercolor on paper, 27 7/8 x 21 3/4 in. (71.0 x 55.5 cm), framed. Condition: Subtle rippling, toning and staining to the reverse with paper reinforcements along the vertical edges of the reverse. $800-1,200

220 Clelia Bompiani Battaglia (Italian, 18471927) The Gypsy Musician Signed “C. Bompiani Battaglia” l.r., inscribed indistinctly l.l. Watercolor on paper/board, sight size 18 1/4 x 25 1/2 in. (46.5 x 64.5 cm), framed. Condition: Scattered minor nicks and abrasions, not examined out of frame. $800-1,200

221 Charles Robert Leslie (British, 1794-1859) The Village Pedlar [sic] Signed “CR Leslie RA” l.l., titled on a presentation plaque affixed to the frame. Oil on canvas, 25 x 30 in. (63.4 x 76.0 cm), framed. Condition: Lined, fine craquelure. $1,500-2,500

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222 Vlaho Bukovac (Croatian, 1855-1922) Portrait of a Girl Signed and inscribed “Vlaho Bukovac/Split. 884.” l.l. Oil on canvas laid down on wood, 19 3/4 x 15 3/4 in. (50.0 x 40.0 cm), framed. Condition: Craquelure, retouch, small pinhole punctures near edges, scattered small abrasions and losses. Provenance: Collection of Joce Novakovica, Belgrade; through to the current owner. N.B. This work corresponds to the description of catalogue number 206, p. 339, Portret Djevojke, in Vlaho Bukovac. Život i djelo (Zagreb: Globus, 2005) by Vera Kružic Uchytil. We would like to thank Lucija Vukovic, Curator, Bukovac House, for her kind assistance cataloging this work. $1,200-1,800 223 Edgar Julien Bissell (American, 1861-1928) At the Café, Paris Signed and dated “EDGAR-JULIEN-BISSELLPARIS 85” l.l. Oil on canvas, 27 x 22 in. (68.6 x 55.9 cm), framed. Condition: Retouch, craquelure. $1,000-1,500 223

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224 Isaac Henry Caliga (American, 1857-1934) The Artist at Work Signed “...Caliga� u.l. Oil on canvas, 19 1/2 x 15 in. (49.5 x 38.1 cm), framed. Condition: Craquelure, scattered retouch. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $6,000-8,000

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225 Robert Weir Allan (British, 1852-1942) The Herring Fleet, Montrose Signed “Robert W. Allan” l.l., titled on a presentation plaque affixed to the frame, inscribed “arriving from the herring fishing at Montrose/by Robert W Allan R.W.S./98 James Street, Buckingham Gate” on a piece of paper taped to the stretcher. Oil on canvas, 34 x 48 in. (86.2 x 121.7 cm), framed. Condition: Lined, craquelure, retouch. $2,500-3,500

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226 John Linton Chapman (American, 18391905) Claudian Aqueduct Signed, inscribed, and dated “J. LINTON CHAPMAN/ROMA 1873” l.l., titled, inscribed, and dated “CLAUDIAN·AQUEDUCT/ for HENRY·DAY·ESQ N·Y·/by J·LINTON·CHAPMAN·ROMA·1873” on the reverse. Oil on canvas, 20 x 34 1/2 in. (50.5 x 87.0 cm), framed. Condition: Lined, scattered minor retouch, fine craquelure. Provenance: A Virginia collection. $4,000-6,000

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227 Carl Philipp Weber (American, 1849-1922)

228 Warren Sheppard (American, 1858-1937)

Mount Desert Cove Signed “C.Ph. Weber” l.r. Oil on canvas, 14 1/2 x 26 in. (36.8 x 66.0 cm), in a period frame. Condition: Scattered retouch, craquelure. $1,200-1,800

Moonlight Sailing, Saddleback Ledge Light Station, Maine Signed “WARREN SHEPPARD” l.r., an old image of the lighthouse affixed to the stretcher. Oil on canvas, 14 1/4 x 22 1/4 in. (36.0 x 56.4 cm), framed. Condition: Stable craquelure, lined, subtle retouch, minor losses l.c. edge. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $1,500-2,500

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229 Willard Leroy Metcalf (American, 18581925) Coastal Cliff with Distant Sailboats, Probably Manchester, Massachusetts Signed and dated “W.L. Metcalf- 1877-” l.r. Oil on canvas, 10 x 14 in. (25.0 x 35.5 cm), framed. Condition: Lined, scattered retouch primarily to sky, areas of fine craquelure. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. N.B. This work will be included in the forthcoming catalogue raisonné being coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonné Project, Inc. $40,000-60,000

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230 Attributed to Ernest Poulson (British, act. 1836-1865)

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Nighttime Encounter with Smugglers off the Isle of Thanet Unsigned, attributed and dated “.../c. 1836” on a gummed label and with a label from T. Bromley & Son, Bolton, England, both affixed to the stretcher. Oil on canvas, 24 x 34 in. (60.5 x 86.5 cm), framed. Condition: Trimmed of tacking edges and lined, retouch, craquelure, varnish discoloration. N.B. This noctural scene shows an area off the coast between England and France that was a famous corridor for smugglers. A break in the clouds has exposed the smugglers’ vessel to the English revenue cutter, who has fired a cannonball which the artist has shown mid-air. The English ship is shrouded in clouds of gunpowder smoke. We would like to thank Charles Lanagan for his kind assistance cataloging this lot. $2,000-3,000 231 Elisha Taylor Baker (American, 1827-1890)

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Off Huntington Light Signed “ETBaker” l.l., titled in an inscription on the reverse. Oil on academy board, 12 x 18 in. (30.5 x 45.7 cm), framed (in a liner). Condition: Retouch, craquelure, abrasions to edges, surface grime. $1,500-2,000

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232 William Preston Phelps (American, 18481923) Coast of Maine Signed “WP Phelps” l.r., titled on a presentation plaque affixed to the frame. Oil on canvas, 29 1/2 x 17 1/2 in. (75.0 x 44.4 cm), framed. Condition: Retouch, surface grime. $1,500-2,500 233 Theodore Victor Carl Valenkamph (Swedish/American, 1868-1924) Ship Under Sail Signed “T.V.C. VALENKAMPH” l.r. Oil on canvas, 12 1/4 x 16 in. (31.0 x 40.5 cm), framed. Condition: Good. $1,000-1,500

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234 Kanute Edwin Felix (American, 1852-1935) Coastal Scene at Sunset Signed and dated “K.E. FELIX 78” l.r. Oil on canvas, 18 x 28 in. (45.5 x 71.0 cm), framed. Condition: Lined, craquelure, scattered losses, paint lifting in u.r. corner. $700-900 235 Louis Michel Eilshemius (American, 18641941)

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Shore View with Seated Figure and Distant Sailboat Signed “EilshemiuS” l.r., dated “1919-” l.l. Oil on pressed paperboard, 13 1/2 x 22 in. (37.0 x 55.8 cm), framed. Condition: Small area of retouch u.c., fine vertical craquelure, surface grime, bowing to the support. Provenance: Collection of Joseph H. Hirshhorn (American, 1899-1981) financier, philanthropist, and benefactor of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; by descent in the Hirshhorn family. N.B. Joseph Hirshhorn discovered Eilshemius’s work at the Kleener Gallery in New York around 1930. He got to know the artist personally and over time purchased nearly 400 of his works. In 1980 Olga Hirshhorn noted that the couple had 65 Eilshemius works hanging in their bedroom. Biographer Gene Hirshhorn LePere quoted Joseph Hirshhorn on Eilshemius, “My first big love was Elshemius [sic]. He intrigued me. I knew him. He was the most poetic, lyrical, beautiful painter in America.”1

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1. Gene Hirshhorn LePere, Little Man in a Big Hurry, The Life of Joseph H. Hirshhorn, Uranium King and Art Collector (New York: 2009, Vantage Press, Inc.), pp. 68-69.

$800-1,200 236 Charles Day Hunt (American, 1840-1914) Sunset Coastal Scene Signed “C D HUNT” l.r. Oil on canvas, 12 x 20 1/4 in. (30.4 x 51.3 cm), framed. Condition: Mounted to Masonite, scattered losses l.l. and u.r. edge, minor surface grime. $800-1,200

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237 Frank Knox Morton Rehn (American, 18481914) The Rolling Sea Signed “F.K.M. Rehn” l.l., identified on a presentation plaque affixed to the frame. Oil on canvas, 16 x 28 in. (40.6 x 71.1 cm), framed. Condition: Lined onto a rigid surface, retouch, fine craquelure. $600-800

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238 Andrew Melrose (American, 1836-1901) Catskill Mountains from the Hudson River Signed “Andrew Melrose” l.l., titled on a label from Vose Galleries of Boston affixed to the backing. Oil on canvas, 15 x 20 in. (38.0 x 50.8 cm), framed. Condition: Lined, minor retouch. Provenance: A Massachusetts estate. $2,000-3,000

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239 Alexander Helwig Wyant (American, 18361892) Adirondacks-Early Autumn, alternatively titled Adirondack Lake, Autumn Signed and dated “AH Wyant 1872” l.l., titled and signed “Adirondacs [sic] - Early Autumn/ AH Wyant” in ink on a paper label affixed to the stretcher. Oil on canvas, 20 1/8 x 28 1/4 in. (50.8 x 71.5 cm), in a period frame. Condition: Lined, thinly brushed retouch to sky, fine craquelure. Provenance: Alexander Gallery, New York; through to Shannon’s, Fine American and European Paintings, Drawings and Sculpture, April 25, 2002, as Lot 73; to a private New England collection.

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Literature: Erin B. Coe and Gwendolyn Owens, Painting Lake George, 1774–1900 (Glens Falls, New York: Hyde Collection, 2005), exhibition catalog, p. 60, Plate 33; Antiques and the Arts Weekly, Oct. 3, 1980, p. 111. Exhibitions: Hyde Collection, Glens Falls, New York, Painting Lake George, 1774–1900, June 5–September 11, 2005. N.B. The painting is included on The Wyant Website as Ref. 116.010, under the title Adirondack Lake, Autumn. $8,000-12,000

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240 Jervis McEntee (American, 1828-1891) An October Day/The Maurice Cottage at Lake Bisby in the Adirondacks, 1888 Unsigned, identified on a presentation plaque and on a label from William Varieka Fine Arts, Newport, Rhode Island, affixed to the back of the frame. Oil on panel, 9 x 12 in. (22.7 x 30.1 cm), in a period frame. Condition: Minor retouch, fine craquelure.

Provenance: Originally by descent in the Maurice-Wilkinson family; to William Vareika Fine Arts, Newport, Rhode Island, mid 1990s; through to the estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. N.B. Jervis McEntee was a prolific diarist, penning five volumes during the 1870s and 1880s. The Adirondack Museum, Blue Mountain Lake, New York, holds a number of the artist’s diaries, including McEntee’s notes about his trip to Lake Bisby on October 10, 1888, where he described a cold, gloomy day and painting a sketch of the Maurice cottage from a boat, difficult circumstances which yielded a satisfactory painting nonetheless.

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241 Russell Smith (American, 1812-1896) Autumn Landscape Initialed and dated “R.S./1869” l.r., identified on a label from Vose Galleries of Boston affixed to the frame backing. Oil on canvas, 12 x 18 in. (30.5 x 46.0 cm), framed. Condition: Lined, scattered retouch, craquelure. Provenance: A Massachusetts estate. $1,500-2,500 242 Nelson Augustus Moore (American, 19241902) Lake George, South Shore Signed and dated “... A Moore/84” l.l., identified on a label from Vose Galleries of Boston affixed to the reverse. Oil on canvas, 14 x 11 in. (35.6 x 28.0 cm), framed. Condition: Lined onto a rigid surface, minor retouch, signature partially obscured by the lip of the frame. Provenance: A Massachusetts estate. $1,000-1,500 $25,000-35,000 242

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243 Nelson Augustus Moore (American, 19241902)

244 Russell Smith (American, 1812-1896)

Dark Bay, Lake George Signed and dated “NA Moore/84” l.r., identified on a label from Vose Galleries of Boston affixed to the reverse. Oil on canvas, 12 x 21 in. (30.5 x 53.3 cm), framed. Condition: Lined onto a rigid surface, scattered retouch.

Pennypack, Pennsylvania Initialed “RS” l.r., titled, dated, inscribed, and signed “...Oct. 1896./For Mrs. Clara Binder/ Russell Smith.” on the reverse, with a label from Vose Galleries of Boston affixed to the frame backing. Oil on canvas, 12 x 18 in. (30.5 x 45.7 cm), framed. Condition: Minor surface grime.

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

Provenance: A Massachusetts estate. $1,500-2,500

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245 Frank Henry Shapleigh (American, 18421906)

246 John Joseph Enneking (American, 18411916)

247 Worthington Whittredge (American, 18201910)

Mount Washington and Ellis River Signed and dated “F.H. Shapleigh 1885” l.l., titled and signed “.../by/F.H. Shapleigh.” on the reverse. Oil on academy board, 7 1/2 x 12 1/4 in. (19.0 x 31.1 cm), framed. Condition: Gold paint transfer from frame along upper edge.

November Twilight Signed “Enneking” l.r., titled in an inscription on the reverse. Oil on academy board, 12 x 18 in. (30.5 x 45.7 cm), framed (under glass). Condition: Small paint losses near upper edge, black tape remnants to lower and right edges, surface grime. $3,000-5,000

The Trout Brook Signed “W. Whittredge” l.r., identified on a handwritten period label affixed to the stretcher. Oil on canvas, 15 x 23 in. (38.0 x 58.5 cm), in a period frame. Condition: Fine craquelure.

Provenance: A Massachusetts estate. $700-900

Provenance: A private Connecticut collection. Exhibitions: The Union League Club, New York, The Hudson River School, December 7, 1978–February 2, 1979, cat. no. 29, lent by Mr. and Mrs. William Burt. $20,000-25,000

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248 William Charles Anthony Frerichs (American, 1829-1905) Winter Landscape with Skaters Signed “W. Frerichs f” c.r. Oil on canvas, 27 x 42 in. (68.5 x 106.7 cm), framed. Condition: Lined, scattered retouch, fine craquelure. Provenance: A Virginia collection.

249 Leonard Ochtman (American, 1854-1934)

250 Joseph Morviller (American, 1800-1870)

Snowbound Signed “LEONARD OCHTMAN” l.l., identified on a presentation plaque affixed to the frame. Oil on canvas, 16 x 22 in. (40.5 x 56.0 cm), framed. Condition: Lined, retouch, craquelure.

Winter Landscape at Dusk Signed and dated “J. Morviller, 1869” l.r., titled on a label from Vose Galleries of Boston affixed to the reverse. Oil on panel, 12 x 20 in. (30.5 x 50.8 cm), framed. Condition: Scattered retouch.

Provenance: A Virginia collection. $2,000-3,000

N.B. The location of this scene is not confirmed, and although it resembles the Hudson River near West Point or perhaps Seneca Lake, the artist also painted scenes of the mountains of North Carolina. $3,500-5,500

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Provenance: A Massachusetts estate. $1,500-2,500


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251 James Brade Sword (American, 18391915) Pastoral View of a House and Stream Signed “J.B. Sword” l.r. Oil on canvas, 20 x 28 in. (50.8 x 71.0 cm), framed. Condition: Stretcher bar marks, subtle craquelure, scattered retouch. $800-1,200 252 Frank Henry Shapleigh (American, 1842-1906)

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Old Barn in Tewksbury, Massachusetts Signed and dated “F.H. Shapleigh 1888” l.r., titled and signed “.../by/F.H. Shapleigh.” on the reverse. Oil on canvas (stretched with Boston tabs), 10 x 16 in. (25.4 x 40.6 cm), framed. Condition: Fine craquelure. Provenance: A Massachusetts estate. $1,000-1,500 253 American School, 19th Century View of Sunnyside (Pink House with Green Shutters), c. 1850 Unsigned. Oil on canvas, 18 x 24 1/4 in. (45.5 x 61.5 cm), framed. Condition: Stable craquelure, lined, minor retouch. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $1,500-2,500

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254 Willard Leroy Metcalf (American, 18581925) Harvesting Signed “W.L. Metcalf” l.l., signed, inscribed, dated, and titled “Willard L. Metcalf/Boston 1881/‘Harvesting’” on the reverse, identified on a label from Vose Galleries of Boston affixed to the frame backing board. Oil on canvas (stretched with Boston tabs), 16 x 20 in. (40.8 x 66.0 cm), in a period frame. Condition: Minor retouch.

N.B. This work will be included in the forthcoming catalogue raisonné being coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonné Project, Inc. $15,000-25,000

Provenance: A private Massachusetts collection.

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255 John Clifford Huffington (American, 18641929) Beached Dories Signed “JC Huffington” l.r., identified on a label from Comenos Fine Arts, Boston, affixed to the reverse. Oil on academy board, 12 1/4 x 9 1/4 in. (31.1 x 23.5 cm), framed. Condition: Retouch, fine craquelure. $500-700 255A Porfirio Salinas (American, 1910-1973) Fields of Bluebonnets Signed “Porfirio Salinas” l.l. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed (in a liner). Condition: Wax lined, craquelure. $8,000-12,000

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255A

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256 William Merritt Chase (American, 18491916) Landscape with Winding Uphill Road Signed “WmM.Chase.” l.r. Oil on panel, 10 1/8 x 16 in. (25.7 x 40.5 cm), framed. Condition: Gentle bowing to the panel, subtle horizontal cracks to panel at center of each side, minor retouch primarily to sky. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution.

N.B. This painting has been recently reviewed by D. Frederick Baker and is now included in Ronald G. Pisano’s The Complete Catalogue of Known and Documented Work by William Merrritt Chase (1849–1916). It has been given the catalogue no. LAA.346 and the information will be entered in the Pisano/ Chase Catalogue Raisonné Project files at the Kellen Archives, New York. In his report Dr. Baker writes, “Use of a winding hill road starting in the foreground is an oft used pictorial device by the artist. But the detail of the house (u.r.) on the horizon top of a hill and the surrounding trees and vegetation is also a motif known to have been used by Chase. Aside from the physical elements, the work appears to have been painted in a masterly manner, dashed off by the artist with aplomb. The only issue is the rather indefinable jumble in the lower right quadrant of the painting. Usually Chase, though painting pretty much exactly what he saw, was more exact in defining even

casual elements. It does, however, define spatial relationship adding to the sense of the receding hill. The signature is painted with authority and deftness, also a hallmark of Chase’s style. Alas, the artist rarely dated and/or noted location in his landscapes. One might opine it was painted in the Shinnecock hills surrounding his summer home, several miles west of his famous Shinnecock Summer School located in Southampton, NY. In the summer of 1891 before his home was completed, he painted several paintings of the surrounding countryside on roughly the same sized wood panels; however the telephone pole near the house on the horizon would suggest it was done near Carmel, California, during his 1914 summer school relocated to the west coast—telephone poles being most evident in his wood panel painting of Monterey, California.” A copy of Dr. Baker’s Art Research Report accompanies the lot. $300,000-500,000

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257 William Herbert Dunton (American, 18781936) Woodland Stream at Night Signed and dated “W. Herbert Dunton/’05” l.r. Oil on canvas, 22 x 15 in. (55.9 x 38.1 cm), framed. Condition: Puncture l.l., surface grime. $1,500-2,500 258 Joseph Eliot Enneking (American, 18811942) View of Mount Kearsage, New Hampshire/ Kearsage through the Trees Signed “J. Eliot Enneking” l.r., titled and dated “...1924” on a presentation plaque affixed to the frame and in an inscription on the reverse. Oil on academy board, 14 x 12 in. (35.5 x 30.5 cm), framed. Condition: Craquelure, small paint losses u.l., surface grime. Provenance: The estate of Paul J. Tracey, New York State. Exhibitions: The Society of Mystic Artists First Annual Exhibition, Mystic, Connecticut, 1925. $400-600 259

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259 Benjamin Champney (American, 18171907)

260 Richard Langtry Partington (American, 1868-1929)

River Birches Signed “B. Champney” l.l. Oil on panel, 9 1/8 x 7 in. (23.1 x 17.7 cm), framed. Condition: Original panel affixed to thicker supporting panel.

Ghost Tree, 17 Mile Drive Signed and dated “R.L. Partington/07” l.l., identified on labels from the Oakland Art Museum, California (see below) affixed to the back of the frame and from Trotter Galleries, Carmel, affixed to the frame backing. Oil on canvas, 50 x 40 1/4 in. (127.0 x 102.2 cm), in a period frame. Condition: Minor retouch, varnish discoloration, solvent or glue staining to the reverse.

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

Exhibitions: American-California Painting, The A.M. Robertson Collection, Oakland Art Museum, Oakland, California, 1962, lent by Mrs. Frank Vossler of Pacific Grove. N.B. The Oakland Art Museum was one of three predecessor institutions whose collections were combined and ultimately became the Oakland Museum of California in the late 1960s. The data on the abovereferenced exhibition was based solely upon the content of the label, because no further detail was available from OMCA records. $6,000-8,000

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution.

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262

261

261 American School, 19th Century Newspaper Boy Seated by a Water Trough Unsigned on the recto, inscribed “SH Crone” on the reverse, incised “S.H. CRONE” on the back of the frame. Oil on academy board, 18 x 12 5/8 in. (45.5 x 32.0 cm), framed. Condition: Retouch, slight bowing to the support. Provenance: A Virginia collection. N.B. The inscription on the reverse and on the back of the frame points to the artist Samuel Hester Crone (American, 1858-1913), however current scholarship does not support an attribution to him. $2,000-3,000 262 Benjamin Champney (American, 1817-1907) Figure and Dog at Rest by Hillside Trees Signed “B. Champney” l.l. Oil on canvas (stretched with Boston tabs), 20 x 16 in. (50.8 x 40.6 cm), unframed. Condition: Tears l.c. and c.r. edge, losses to the tacking edges, paint losses to u.r. corner, scattered small dents, fine craquelure, surface grime. $2,000-3,000 263

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264

263 Erich Brunkal (German, 1859-1930)

264 William Winner (American, 1815-1883)

Dreams of Faraway Places/Figure in a Railroad Office Signed “Erich Brunkal.” l.r. Oil on panel, 13 5/8 x 10 1/2 in. (34.5 x 26.7 cm), framed. Condition: Scattered retouch, fine craquelure.

View of Philadelphia from Fairmount Signed and dated “Winner, Phil. ‘71” l.r., titled on a presentation plaque affixed to the frame. Oil on panel, 32 x 44 in. (81.1 x 111.1 cm), framed. Condition: Craquelure, scattered minor retouch.

Provenance: A Virginia collection. $2,000-3,000

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $20,000-40,000

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265

265 Albert Francis King (American, 1854-1945) Still Life with Cherries in a Cabbage Leaf Signed “AF KING” l.l. Oil on canvas, 11 5/8 x 14 1/2 in. (29.5 x 37.0 cm), framed. Condition: Patch reinforcement, scattered retouch, fine craquelure, surface grime. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $3,000-5,000

266

266 Enoch Wood Perry Jr. (American, 18311915) Tying on the Bonnet Signed, dated, and inscribed “E. Wood Perry N.A./Brittany/1890” l.l., with a label from Brooks Reed Gallery, Boston, affixed to the back of the frame. Oil on canvas, 15 1/2 x 22 3/8 in. (39.0 x 56.5 cm), framed. Condition: Craquelure, minor surface grime. $700-900

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267

267 Enoch Wood Perry Jr. (American, 18311915) Breton Family in a Cottage Interior Signed and dated “E. Wood Perry N.A./1890 & 1903� l.r. Oil on canvas, 28 1/2 x 37 in. (72.4 x 94.0 cm), framed. Condition: Mounted to cradled Masonite panel, scattered retouch, varnish inconsistencies, fine craquelure. $800-1,200 268 School of John La Farge (American, 18351910) Double Hollyhocks, c. 1865 Unsigned. Oil on canvas, 43 x 32 in. (109.2 x 81.3 cm), framed. Condition: Lined, broadly brushed retouch to sky. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $7,000-9,000 268

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269

269 John McAuliffe (American, 1830-1900) Mr. Claflin Driving his Team on the Fleetwood Race Track Signed and dated “J. McAuliffe 1887” l.r., identified on a label affixed to the frame backing paper. Oil on canvas, 26 x 40 in. (65.6 x 101.5 cm), framed. Condition: Lined, scattered retouch. Provenance: A Virginia collection. $3,000-5,000 270

270 Ernest Lee Major (American, 1864-1950) Girl Resting on Wheelbarrow Signed “E.L. MAJOR” l.r. Oil on panel, 10 3/8 x 14 7/8 in. (26.2 x 37.7 cm), unframed. Condition: Minor surface grime, fine craquelure. $1,200-1,800

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271

271 Jean Richard Goubie (French, 1842-1899) A Gentle Greeting Signed and dated “Richard Goubie/1896” l.l. Oil on canvas, 13 x 16 1/4 in. (33.0 x 41.0 cm), framed (under glass). Condition: Craquelure, varnish discoloration. $1,500-2,500 272 Thomas Harris Robinson (American, 18351888) At Watering Trough Signed “T. Robinson” l.r., titled on an exhibition label from the Essex Institute, Salem, Massachusetts, affixed to the stretcher. Oil on canvas, 14 x 18 in. (35.5 x 45.5 cm), framed. Condition: Lined, minor retouch. 272

Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. Exhibitions: William Morris Hunt and the Summer Art Colony at Magnolia, Massachusetts, 1876–1879, Essex Institute, Salem, Massachusetts, November 18, 1981– February 28, 1982. $1,200-1,800

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273

273 John La Farge (American, 1835-1910) Apple Branch Initialed “L.F.” in red l.r. Oil on canvas, 9 1/8 x 12 in. (23.2 x 30.5 cm), framed. Condition: Lined, retouch, fine craquelure. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution.

N.B. The painting at hand was reviewed in May 1994 by Dr. James L. Yarnall, Director of La Farge Catalogue Raisonné, Inc. Dr. Yarnall stated that the work appeared to date c. 1865-70, years when La Farge was in Middletown, Rhode Island, where he lived in various farmhouses rented from land owners, often with crab apple trees on the grounds. A photocopy of Dr. Yarnall’s letter accompanies the lot. $80,000-120,000

Exhibitions: John La Farge at the Union League Club, New York, February 3–28, 1995.

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274 John La Farge (American, 1835-1910) Quince Blossoms with Tree Trunk, 1863 Unsigned, inscribed faintly “-D- 134/Mrs. HH Fuller-/will call” in pencil on the reverse. Oil on panel, 10 7/8 x 5 7/8 in. (27.8 x 14.8 cm), in a period frame. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. N.B. John La Farge’s flower paintings have been described as the most beautiful and poetic ever produced by an American artist. The example at hand was reviewed in 1990 by Dr. James L. Yarnall, Director of La Farge Catalogue Raisonné, Inc. He noted that the unexpected perspective, unusual composition, and spindling floral form of a flowering Japanese quince branch were characteristic of “nature-in-nature” still lifes dating from 1871. The work was newly discovered at the time of his review, and no provenance or exhibition history was known. Dr. Yarnall noted that the still life is similar in feeling to La Farge’s Flowers, Blue Iris with Trunk of Dead Apple Tree, also from the collection of Richard Mellon Scaife. A photocopy of Dr. Yarnall’s typed notecard accompanies the lot. $80,000-120,000 274

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275 Alexander Pope (American, 1849-1924) Vera Signed and dated “Alexander Pope/April 1890” l.r., titled “VERA” u.r., dedicated “Mr Eugene de Danckwardt/from his friend/ Alexander Pope/Boston - U.S.A./ May 2nd 1890.” on the reverse. Oil on canvas (stretched with Boston tabs), 10 x 8 in. (25.5 x 20.4 cm), framed. Condition: Subtle craquelure, retouch. Provenance: The estate of David F. Post, New Hampshire. $1,500-2,000 276 Sir Joseph Edgar Boehm (British, 18341890) Saint Simon Signed and dated “E Boehm 1885” in the bronze base. Bronze with black patina, height 21 3/4 in. (55.2 cm), on a marble plinth. Condition: Uneven patination with areas of wear. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. Saint Simon (1881-1908) was an undefeated British Thoroughbred racehorse and one of the most successful sires in the history of the Thoroughbred. $4,000-6,000

275

276

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277

277 Isidore Jules Bonheur (French, 1827-1901) The Steeplechase Signed “I. BONHEUR” on the top of the base at the front, incised with the foundry notation “H. Peyrol. F. bt (Paris)” along the back edge of the base. Bronze with dark brown patina, height 35 1/2 in. (90.2 cm). Condition: Stirrups on outside legs of each rider are loose, some irregular brush marks of darker color in the patina to the inside flank and back of the saddle of the horse on the left, dust and dirt to interstices, minor wear to patina on the muzzle of the horse on the left, rein on horse on left possibly detached and crop may be slightly bent.

Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. The younger brother of Rosa Bonheur, Isidore Bonheur was a prominent sculptor and animalier in his own right. He began studying painting with his father, but by 1848 he discontinued working in oil in favor of sculpture, enrolling at the Ecole des Beaux Arts in 1849. He is widely recognized for his small bronze groups, including sculptures of horses, cattle, sheep, and dogs, and like his sister, Isidore did not sentimentalize his animal subjects. His works were frequently cast by his brother-in-law, Hippolyte Peyrol. Like many 19th century French animaliers, Bonheur found that the market for his works was stronger in Britain.

This large double steeplechaser bronze has been described by Christopher Payne as “… one of the finest and largest groups in the animalier field.” (Animals in Bronze, p. 345). Unusual and ambitious in scale, the sculpture shows the vigorous movement and keenly observed detail characteristic of the artist at his best. $120,000-180,000

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278

278 Harry Jackson (American, 1924-2011) Stampede Signed and dated “Harry Jackson 1959” and stamped with the artist’s thumbprint along the front of the bronze base c.l., incised “Fond. Vignali-Tomassi” in the base l.r. Bronze with black/brown patina, 15 x 60 x 13 1/2 in. (38.1 x 152.4 x 34.3 cm). Condition: Dust and dirt to interstices, minor wear to patina. Provenance: The collection of Joseph Thomas Alvarez III, California.

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N.B. Stampede and Range Burial (Lot 279) were created as part of a pivotal commission Harry Jackson received from his friend Robert Coe in 1957. At the time, Coe was the U.S. Ambassador to Denmark and a trustee of the Whitney Gallery of Western Art in Cody, Wyoming, while Jackson was on a Fulbright to Italy. Coe’s original commission was for two heroic-scale paintings. It was in preparation for those paintings that Harry Jackson first turned to sculpture, and when he signed the contract with Coe in 1958, it included four works, two paintings and two bronzes on the same subjects. As he conceived the paintings, Jackson wanted a way to get to know each of the figures more completely, to fully understand them from every angle, and to experience them through touch as well as sight. From his time in Europe, Jackson had become aware of the precedent of painters exploring subjects through sculpture when charged with the creation of monumental canvases and murals. From this drive to truly know his subject, Jackson’s career as a sculptor was born.

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Working with Aldo Vignali of the VignaliTommasi foundry in Pietrasanta, Jackson immersed himself in creating the two Coe bronzes and several independent works between 1958 and 1960, many of which were shown at Jackson’s sold-out show of Western bronzes and drawings at Knoedler Gallery in New York in May of 1960. The independent sculptures included single figures of cowboys that helped the artist develop the presence and dignity of each individual within his larger compositions. The two paintings, The Stampede and The Range Burial, were completed in 1965 and 1963, respectively. All four works commissioned by Robert Coe are part of the collection of the Whitney Western Art Museum, Buffalo Bill Center of the West, Cody, Wyoming. $80,000-120,000


279

279 Harry Jackson (American, 1924-2011) Range Burial Signed, dated, and numbered “Harry Jackson/1959/4” and with the artist’s thumbprint on the l.r. side edge, incised “PIETRASANTA ITALY FONDERIA/VIGNALI TOMASSI” on the l.r. edge of the back of the base. Bronze with black/brown patina, 15 x 43 x 23 in. (38.1 x 109.2 x 58.4 cm). Condition: Dust and dirt to the interstices, areas of minor wear to the patina. Provenance: The collection of Joseph Thomas Alvarez III, California.

N.B. Stampede (Lot 278) and Range Burial have been described as poles of violent energy versus absolute stillness. In approaching the subject of the burial, Harry Jackson was influenced by Gustave Courbet (French, 1819-1877), more specifically Courbet’s monumental painting A Burial at Ornans done in 1849-1850. In that work, now in the Musée d’Orsay, Courbet depicted the burial of his great-uncle with challenging, unflattering accuracy and at a scale (10 x 22 feet) theretofore reserved for historic or religious painting. The similarities with Jackson’s Range Burial include not only impressive scale but the austere landscape, the gathering around the grave site of multiple figures which are conceived as individual portraits, and the foreground open grave. Jackson substituted a blasted tree for the crucifix in Courbet’s work. $50,000-70,000

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280

280 Harry Jackson (American, 1924-2011) Plantin’ Signed and dated “© Harry Jackson 59,” stamped with the foundry mark “WFS/ITALIA,” impressed with the artist’s thumbprint, and stamped “PL 6.” just above the signature, all on the center back edge. Bronze with black/brown patina, 11 x 26 1/2 x 13 in. (27.9 x 67.3 x 33.0 cm), on a wood plinth. Condition: Dust and dirt to interstices, very minor wear and losses to areas of the patina.

N.B. Cast in early 1960, Plantin’ is a smaller, second version of Range Burial. Here Jackson simplified the composition, reducing the number of figures to nine from fifteen and focusing the vantage point in closer to the grave. $22,000-28,000

Provenance: The collection of Joseph Thomas Alvarez III, California.

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281 Harry Jackson (American, 1924-2011) Sacajawea with Packhorse Signed, dated, and inscribed “© Harry Jackson/1978/SA PH 14” and with the “WFS/ ITALY” and the artist’s thumbprint on the back of the base, identified with alternate title “SACAJAWEA/SECOND WORKING MODEL/ FOR A MONUMENT/HARRY JACKSON” on a bronze plaque incorporated into the base. Bronze with brown patina, height 27 1/4 in. (69.2 cm). Condition: Dust and dirt to interstices. Provenance: The collection of Joseph Thomas Alvarez III, California.

281

N.B. In 1975 Harry Jackson began work for a major monument to Sacagawea, Lewis and Clark’s Shoshone guide, intended originally for the United States Capitol in one of the niches reserved for the state of Wyoming. However, political wrangling led to the revamping of the project with a revised focus on a site in Wyoming and an open competition. Jackson determined he would submit the Sacagawea figure as part of a pair of sculptures, the second figure being that of Chief Washakie on horseback. The new figure of Sacagawea evolved to include a pack horse behind the mother and child, and Jackson also elected to use the less familiar spelling Sacajawea. In the end, Jackson did not win the commission, but the sculptures marked a turning point in his work. Conceived for display outdoors, they were more massive and weighty, with Jackson’s hallmark movement conveyed now majestically in broadly expressed elements of the compositions. $12,000-18,000 282 Harry Jackson (American, 1924-2011) A Lack of Slack Signed, dated, and numbered “© Harry Jackson 1973/16” on the top of the base, titled on a presentation plaque affixed to the plinth. Bronze with brown/black patina, height 15 3/4 in. (40.0 cm), on a contoured stone base. Condition: Dust and dirt to interstices. Provenance: Purchased from the National Academy of Western Art Exhibition, June 1974, National Cowboy Hall of Fame, Oklahoma City, Oklahoma; by family descent to the current owner. N.B. In this well-known bronze, Jackson captured the intense movement of the horses and rider at a dramatic moment with painstaking attention to every detail. The lot is accompanied by a signed letter from Harry Jackson on Wyoming Foundry Studios stationery, dated September 19, 1974, certifying this cast, by other paperwork and ephemera about the purchase, and by several catalogs about Harry Jackson. The work comes in its original wood crate with mailing label from the Cowboy Hall of Fame. $5,000-7,000

282

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283 Mark Martensen (American, b. 1958) The Getaway Signed “©Martensen” l.r. Oil on canvas, 36 x 48 in. (91.4 x 122.0 cm), framed. Condition: Good. Provenance: The collection of Joseph Thomas Alvarez III, California. $2,000-3,000 284 Robert Ottokar Lindneux (American, 18711970)

284

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A Dangerous Visitor Signed and dated “Robt. Lindneux/ 1918. © 1919” l.r. Oil on canvas, 24 x 30 in. (61.0 x 76.4 cm), unframed. Condition: Retouch, craquelure with lifting and flaking, patch reinforcement, paint loss, canvas deformation. $1,200-1,800


285 Harry Jackson (American, 1924-2011) Two Champs II Numbered, signed, and dated “TC II P 15P/© Harry Jackson 1977” in the bronze; signed and dated “© Harry Jackson 1980” in brown ink on the pedestal, stamped with the WSF foundry mark and artist’s thumbprint also on the bronze pedestal, titled in a lengthy inscription incised on the front of the pedestal. Painted bronze, height 20 in. (51.0 cm), on a black marble plinth. Condition: Minor loss to polychrome, minor dust and dirt to the interstices. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. The lot is accompanied by a notarized certificate of origin signed by Harry Jackson and dated February 19, 1985. 285

The sculpture portrays Clayton Danks on Steamboat. Danks was the high sheriff of Fremont County, Wyoming, and was described by Harry Jackson as one of the best bronc riders and steer ropers for twenty years starting at the turn of the century. In his notes, Jackson recalled the challenge of crafting a bronze that is both physically and metaphysically balanced.1 1. Larry Pointer and Donald Goddard, Harry Jackson (New York: Harry N. Abrams Inc., 1981), p. 262.

$15,000-25,000

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286

286 Richard A. Myer (American, b. 1933) Legend Numbered, signed, and dated “2/24 ©Rich/ Myer/2000” incised and stamped on the side of the bronze base, titled on a presentation plaque affixed to the plinth. Bronze with dark brown patina, height 15 3/4 in. (40.0 cm) to the top of the taller spear, on a faux marble plinth. Condition: Dust and dirt to interstices. Provenance: The collection of Joseph Thomas Alvarez III, California. $2,000-3,000 287 Richard A. Myer (American, b. 1933) Eagle Horse Signed, dated, and numbered “© Rich Myer 1975 2/24” on the side of the bronze base, identified on a presentation plaque affixed to the side of the bronze base. Bronze with brown and black patina, height 21 7/8 in. (55.5 cm), on an oval wood plinth. Condition: Dust and dirt to interstices, possible wear to the wire fringes at the quiver. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. The lot is accompanied by a certificate of authenticity signed by Richard A. Myer. $3,000-5,000

287

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288

288 Ernest Martin Hennings (American, 18861956) Taos Profile (Study of Frank Samora) Signed and titled “E. Martin Hennings...” on the reverse, with a framer’s label or similar initialed “KW” affixed to the reverse. Oil on academy board, 14 x 14 in. (35.5 x 35.5 cm), in a period, if not original, frame. Condition: Varnish discoloration, surface grime. Provenance: Marshall P. Blankarn (19011987), Princeton, New Jersey, and New York City, to his nephew. $40,000-60,000

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289

289 Alexander Pope (American, 1849-1924) Pointer on Duty in the Woods Signed and dated “A Pope 86.” l.l. Oil on canvas, 36 x 46 in. (91.3 x 116.7 cm), framed. Condition: Lined, craquelure, retouch. Provenance: The estate of David F. Post, New Hampshire. $4,000-6,000 290 Adriano Manocchia (American, b. 1951) Fly Fisherman on a Quiet Autumn River Signed “Adriano Manocchia ©” l.r., signed and dated “Adriano Manocchia/©1990” on the reverse. Oil on canvas, 15 x 20 in. (38.0 x 50.5 cm), framed. Condition: Good. 290

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N.B. This work was used as the cover art for the Hunter’s Angling Supplies of New Boston, New Hampshire, in 1991. $1,500-2,000

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291 Léon Trousset (French/American, 18381917) Bullfight Signed “L. TROUSSET” l.r. Oil on canvas, 23 1/2 x 16 3/8 in. (59.5 x 41.5 cm), framed. Condition: Retouch, craquelure, scattered minor paint losses, surface grime. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. 291

N.B. Léon Trousset was an itinerant painter working in the American West and Southwest in the late 19th and early 20th centuries. He predominantly painted landscapes, architectural and historical scenes, and city views while traveling across Texas, up and down California, and along the Camino Real. He ultimately settled in Juárez, Mexico. $700-900

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292 John Nieto (American, b. 1936) “Big Horse” Southern Cheyenne Signed “Nieto” l.r., titled, signed, and dated “...©Nieto 1988” on the stretcher. Acrylic on canvas, 60 x 48 in. (152.3 x 121.9 cm), framed. Condition: Abrasion u.c., surface grime. $1,000-1,500 293 Kim Douglas Wiggins (American, b. 1960) Riding Beneath a Santa Fe Dawn Signed “Kim Wiggins” l.r., titled on a presentation plaque affixed to the frame, titled and dated “...2013” on the backing. Oil on canvas, 36 x 48 in. (91.2 x 121.7 cm), framed. Condition: Minor surface grime. Provenance: The estate of Paul J. Tracey, New York State. $1,000-1,500

292

293

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294 Harry Jackson (American, 1924-2011) Washakie II, alternatively titled Sunset Washakie Signed, dated, inscribed, and numbered “© Harry Jackson 1981/WA II II S 14P” and with the foundry stamp “WFS/ Italia” and the artist’s thumbprint, all incised in the bronze, also signed and dated in paint “© Harry Jackson/1986,” all on the side of the bronze base, alternate title given on a presentation plaque affixed to the plinth. Painted bronze, height 18 3/8 in. (46.7 cm), on a fauxpainted metal plinth. Condition: Good. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. Harry Jackson began his career as a painter, and color emerged, at first conservatively, as an important aspect of his sculpture beginning with Cowboy’s Meditation in 1963. In the early 1950s Jackson had experimented with Abstract Expressionism, but his desire to depict solid form within space caused him to turn away from their strict focus on two dimensions. Still, at heart Jackson remained a colorist. He wrote, “I can’t imagine the world without color.”1 His dream became to make polychrome bronzes that were, in essence, three-dimensional paintings. In the example at hand, Jackson has presented Shoshone chief Washakie on horseback, turned towards the sunset, bathed in rich warm colors on the front and in softened shades of blue and lavender shadows on the reverse. 1. Harry Jackson, Forty Years of His Work 1941–1981 (Cody, Wyoming: A WFS Publication, Bootstrap Fine Art Productions, 1981), p. 53.

$3,000-5,000 295 Billy Schenck (American, b. 1947) 294

Monday Morning at the T.E. Ranch Signed and dated “SCHENCK 96” l.l., signed, dated, and titled “SCHENCK/JAN 96/...” on the reverse. Oil on canvas, 20 1/2 x 40 5/8 in. (52.0 x 103.0 cm), unframed. Condition: Good. $1,000-1,500

295

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296 William Lester Stevens (American, 18881969) 296

Merry Hill Signed “W. LESTER STEVENS, N.A.” l.r. Watercolor and graphite on paper, 15 x 22 in. (38.0 x 56.0 cm), framed. Condition: Affixed to window mat with brown paper tape around the perimeter of the reverse, minor mat burn. Provenance: The estate of Paul J. Tracey, New York State. Provenance: Purchased from the artist c. 1950 by Mr. & Mrs. Llewellyn Fox, whose home in Greeneville, Tennessee, is depicted; Brunk Auctions, November 3, 2007, Lot 515; through to the estate of Paul J. Tracey. $600-800 297 Joseph Eliot Enneking (American, 18811942)

297

Annisquam Church Signed “J. Eliot Enneking” l.r., signed or inscribed “J. Eliot Enneking” on the frame, titled on a label from the North Shore Arts Exhibition of Gloucester (1940) affixed to the reverse. Oil on canvasboard, 12 x 16 in. (30.5 x 40.7 cm), framed (under glass). Condition: Not examined out of frame. Provenance: The estate of Paul J. Tracey, New York State. $400-600

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298 Arthur Clifton Goodwin (American, 18661929)

298

New England Landscape Signed “AC Goodwin” l.l., signed and inscribed “A.C. Goodwin/Painted in Jan’y” on the reverse, signed “A.C. Goodwin” on the stretcher, titled on a label from T. Gilbert Brouillette Paintings, Staten Island, New York, affixed to the stretcher, and on a loan label from the Museum of Fine Arts, Boston, affixed to the back of the frame. Oil on canvas, 38 x 44 in. (96.5 x 111.2 cm), framed (in a liner). Condition: Pinholes to upper edge, surface grime. Provenance: A private Massachusetts collection. Exhibitions: A.C. Goodwin, 1864–1929, Museum of Fine Arts, Boston, July 14–August 25, 1974, catalog number 14. $4,000-6,000 299 Robert William Wood (American, 18891979)

299

Sunset Signed “Robt. Wood” l.l., titled in an inscription on the stretcher. Oil on canvas, 28 x 36 in. (71.1 x 91.5 cm), framed (in a liner). Condition: Craquelure, varnish inconsistencies. $2,000-3,000

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300

300 Frederick John Mulhaupt (American, 18711938) East Gloucester Farm, alternatively titled Springtime Signed “Mulhaupt” l.l., titled on a presentation plaque affixed to the frame, inscribed “Springtime” in two places on the reverse. Oil on cardboard, 8 x 10 in. (20.5 x 25.5 cm), framed. Condition: Minor retouch. $2,500-3,500 301 Emile Albert Gruppé (American, 1896-1978) Gray Day Vermont Signed “Emile A. Gruppé” l.r., title inscribed on the stretcher, identified on a label from the Salmagundi Club, New York, affixed to the stretcher. Oil on canvas, 30 x 26 in. (76.2 x 66.0 cm), framed. Condition: Subtle craquelure, minor surface grime. $3,000-5,000

301

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302

302 Emile Albert Gruppé (American, 1896-1978) Between Seasons Signed “Emile A. Gruppé” l.r., titled and dated “...1969” on the stretcher. Oil on canvas, 30 x 36 in. (76.0 x 91.3 cm), framed. Condition: Good. $4,000-6,000 303 Robert Emmett Owen (American, 18781957) Windy Afternoon in Autumn Signed “R. Emmett Owen” l.r., identified on an unattributed label and with a label from Randall E. Decoteau Antiques and Fine Arts, Warren, Massachusetts, both affixed to the frame backing board. Oil on canvas, 18 x 20 in. (45.7 x 50.8 cm), framed. Condition: Good. $800-1,200

303

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304

304 Arthur Hill Gilbert (American, 1894-1970) The Front Stream Signed “Arthur Hill Gilbert” l.l., titled on the stretcher bar. Oil on canvas, 16 x 20 1/4 in. (40.5 x 51.3 cm), framed. Condition: Subtle craquelure, minor retouch (primarily to frame abrasions) u.r. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $3,000-5,000 305 Arthur Clifton Goodwin (American, 18661929) Landscape with Indian by a Stream Signed “A.C. Goodwin” l.r., titled on an unattributed label affixed to the stretcher. Oil on canvas, 24 1/4 x 30 in. (61.5 x 76.2 cm), framed. Condition: Retouch, craquelure, canvas rippling, stretcher marks, patch repair to the reverse u.c., surface grime. 305

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Provenance: Estate of the artist; to a private collection; to the current owner. $800-1,200


306 Clark Greenwood Voorhees (American, 1871-1933) Autumn Landscape Signed “-C.G. VOORHEES-” l.r., with an inscription from the original frame backing enclosed in a clear envelope affixed to the frame backing. Oil on canvasboard or similar, sight size 5 1/2 x 8 in. (14.0 x 20.3 cm), framed (under glass). Condition: Possible varnish discoloration. $800-1,200 307 Channing Cabot (American, 1868-1932) 306

Autumn Landscape with Quarry Signed and dated “Channing Cabot/1927” l.r. Oil on canvas, 18 x 28 in. (45.7 x 71.1 cm), framed (in a liner). Condition: Retouch, varnish discoloration, craquelure, tears c.l., c.r., and u.r. repaired with patches to the reverse, surface grime. $1,000-1,500 308 Edward Burrill (American, 1835-1913) Autumn Landscape with Cows Signed “E BURRILL” l.l. Oil on canvasboard, 8 1/4 x 11 1/2 in. (20.8 x 29.0 cm), framed. Condition: Good. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $800-1,200

307

308

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309

309 Henry Martin Gasser (American, 19091981) Snowy Village Overlooking a Harbor Signed, inscribed, and dated “H. GASSER DEMONSTRATION/’70” l.r. Watercolor on paper, sight size 20 5/8 x 29 in. (52.5 x 73.5 cm), framed. Condition: Not examined out of frame. $1,500-2,000

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310

310 Ernest Lawson (American, 1873-1939) Winter Road Signed “E. Lawson� l.l., identified on a label from Chapellier Galleries, New York, affixed to the back of the frame. Oil on canvas, 20 x 24 in. (50.5 x 60.5 cm), framed. Condition: Craquelure, minor surface grime, reverse with an unsigned painting of a nighttime outdoor political rally.

N.B. When the painting was examined during cataloging, it was found to have another composition on the back of the canvas. Different in subject and style from any known work by Ernest Lawson, the composition has been deemed to be by a different artist, and it is assumed Lawson simply reused the canvas for his own work. $15,000-25,000

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution.

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311

311 John Fabian Carlson (American, 18751947) Mountain Peace Signed “John F. Carlson” l.r., titled and signed on fragmentary paper backing affixed to the reverse. Oil on canvasboard, 11 7/8 x 15 3/4 in. (30.3 x 40.0 cm), framed. Condition: Signed on top of the varnish layer, varnish discoloration, minor surface grime. Provenance: A private Florida collection. $1,000-1,500 312 John Charles Terelak (American, b. 1942)

312

Winter Landscape Signed and dated “JC TERELAK 99” l.l., with a label from The Crane Collection, Wellesley, Massachusetts, affixed to the back of the frame. Oil on canvas, 30 x 36 in. (76.2 x 91.5 cm), framed (in a liner). Condition: Minor surface grime. Provenance: The estate of Paul J. Tracey, New York State. $800-1,200 313 Clark Greenwood Voorhees (American, 1871-1933) Winter Landscape Signed “-C.G. VOORHEES-” l.r. Oil on canvasboard or similar, sight size 5 1/2 x 8 in. (14.0 x 20.3 cm), framed (under glass). Condition: Varnish discoloration. $800-1,200

313

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314

314 Walter Launt Palmer (American, 1854-1932) Winter Woodlands Signed “-W·L·PALMER-” l.r. Watercolor and gouache on paper/board, sight size approximately 16 5/8 x 25 7/8 in. (42.0 x 66.0 cm), framed. Condition: Craquelure in the areas of heaviest gouache, not examined out of frame. $3,000-5,000 315 T.M. Nicholas (American, b. 1963) Tapping Maple Trees Signed “T.M. NICHOLAS” l.l. Oil on canvas, 16 x 20 in. (40.7 x 50.8 cm), framed. Condition: Minor surface grime, rust stains or similar on the reverse. Provenance: The estate of Paul J. Tracey, New York State. $800-1,200

315

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316

316 John Whorf (American, 1903-1959) Winter Night Signed “John Whorf” l.r., titled and dated “.../1938” on a label from The Milch Galleries, New York, affixed to the frame backing. Watercolor on paper, sight size 14 3/4 x 21 in. (37.5 x 53.3 cm), framed. Condition: Toning, gentle rippling, pinhole u.l., not examined out of frame. Provenance: The Milch Gallery, New York; by descent to the current private collection, Massachusetts. $2,000-2,500 317 John Fabian Carlson (American, 18751947) Springtime #2 Signed “John F. Carlson” l.r., titled and signed “.../John F. Carlson” on the reverse, with the artist’s estate stamp and a Vose Galleries of Boston label on the reverse. Oil on canvas mounted to paperboard, 8 1/4 x 10 5/16 in. (20.9 x 26.3 cm), framed. Condition: Subtle bowing to the support. 317

Provenance: The estate of Richard L. Elia, Winchester, Massachusetts. Exhibitions: John F. Carlson, Exhibition IV, Small Landscape Paintings, Vose Galleries of Boston, Inc., April 28–June 30, 1987. $1,500-2,500

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318

318 Lee Randolph (American, 1880-1956) Eucalyptus House Signed “RANDOLPH� l.r., titled on a presentation plaque affixed to the frame, alternatively titled House and Trees on several labels affixed to the stretcher. Oil on canvas, 35 1/4 x 39 1/4 in. (89.5 x 99.5 cm), framed. Condition: Stable craquelure, minor retouch. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $2,500-3,500

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319

319 Thomas Stanley Painter (American, 19282004) West Marin Hills Signed and dated “S. Painter 87” l.r., signed “© STAN PAINTER” on the stretcher, titled on the stretcher, identified on a label from Cottage Gallery at Carmel tucked into the stretcher. Oil on canvas, 36 x 36 in. (91.3 x 91.3 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $4,000-6,000 320 Clarkson Dye (American, 1869-1955) Valley Landscape with Grazing Cattle Signed “Clarkson Dye” l.r. Oil on canvas, 23 x 27 1/2 in. (58.4 x 69.9 cm), framed. Condition: Craquelure with minor alligatoring l.l., retouch. $1,000-1,500

320

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321

321 Stanley Wingate Woodward (American, 1890-1970) Verdant Valley and Mountains Signed “Stanley Woodward” l.r. Oil on Masonite, 12 x 16 in. (30.5 x 40.7 cm), framed. Condition: Minor retouch. Provenance: The estate of Paul J. Tracey, New York State. $600-800 322 Thomas Russell Dunlay (American, b. 1951)

322

Summer Meadow, Williamstown Signed and dated “Thomas R. Dunlay ‘78” l.r., with a label from Pierce Galleries, Hingham, Massachusetts, affixed to the back of the frame. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Craquelure, surface grime. $1,500-2,500

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129


323

323 Attributed to Theodore Wores (American, 1859-1939) In Ramona’s Garden, San Diego, c. 1920 Unsigned, titled on the reverse, identified on a label from Trotter Galleries, Pacific Grove, California, affixed to the backing. Oil on canvasboard, 12 x 15 7/8 in. (30.3 x 40.1 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $4,000-6,000 324 Theodore Wendel (American, 1859-1932) A New England Garden Signed “Theo Wendel” l.r., titled in an inscription on the frame backing. Pastel on paper/board, 24 x 21 in. (61.0 x 53.3 cm), framed. Condition: Not examined out of frame. Provenance: A private Massachusetts collection. $2,000-3,000

324

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325

325 Francis Hopkinson Smith (American, 18381915) Where The Town Constable Lived Signed “F Hopkinson Smith” in pencil l.l., titled on a presentation plaque affixed to the frame backing paper. Watercolor and gouache on paper/board, sight size 21 1/2 x 28 1/2 in. (54.6 x 72.4 cm), framed. Condition: Fine craquelure in gouache impasto, not examined out of frame. $1,500-2,000 326 Arthur Hill Gilbert (American, 1894-1970) Capistrano Mission and Gardens Signed “Arthur Hill Gilbert” l.r., identified on a label from Trotter Galleries, Carmel, California, affixed to the back of the frame. Oil on canvas, 20 1/4 x 26 in. (51.3 x 66.0 cm), framed. Condition: Lined, stable craquelure, minor retouch primarily to area of sky u.r. 326

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $4,000-6,000

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327

327 E. Joseph Fontaine (American, 1929-2004) Blossoms and Trees Along a Park Path Signed “Fontaine” l.l. Oil on canvas, 18 x 24 in. (45.5 x 60.8 cm), framed. Condition: Good. $1,000-1,500 328 Kenneth Frazier (American, 1867-1949) The Arbor Estate stamped l.l., identified and dated “...ca. 1900” on labels from Jeanne Frank, New York, The Westmoreland County Museum of Art, Greensburg, Pennsylvania (see below), and FAR Gallery, New York, on the reverse, stretcher, and frame, respectively. Oil on canvas, 14 x 18 in. (35.5 x 45.7 cm), framed. Condition: Minor surface grime. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. 328

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Exhibitions: Kenneth Frazier, 1867–1949, American Impressionist, The Westmoreland County Museum of Art, Greensburg, Pennsylvania, October 6–28, 1979; FAR Gallery, New York, New York, November 3– December 1, 1979; Southern Alleghenies Museum of Art, Loretto, Pennsylvania, May 17–June 22, 1980. $800-1,200


329

329 Illya Kagan (American, b. 1969) 4th of July, Nantucket Unsigned. Oil on canvas, 30 x 40 in. (76.0 x 101.5 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $1,000-1,500

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330

331

330 William Lamb Picknell (American, 18541897) Summer Field Signed “W.L. Picknell” l.r. Oil on canvas, 14 x 18 in. (35.0 x 46.0 cm), framed. Condition: Lined, retouch primarily to the sky. Provenance: A Virginia collection. $3,000-5,000

134

331 Percy Gray (American, 1869-1952) California Landscape Signed “Percy Gray” l.l., identified on a label from Trotter Galleries, Pacific Grove, California, affixed to the backing. Watercolor on paper, sight size 5 3/4 x 13 5/8 in. (14.5 x 34.5 cm), framed. Condition: Not examined out of frame. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $2,000-3,000

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332

332 Jamie Wyeth (American, b. 1946) Marathon Bale Signed “James Wyeth” l.r., titled and dated “...1975” on an appraisal (see below), with a label from James Graham & Sons, New York, affixed to the frame backing. Watercolor on paper, sight size 29 x 21 in. (73.5 x 53.2 cm), framed. Condition: Gentle rippling, not examined out of frame.

Provenance: A private Massachusetts collection. N.B. Photocopies of a handwritten note from the artist, dated August 13, 1998, confirming the work’s authenticity, and of an appraisal of the work performed by Nicholas Wyeth, dated August 17, 1998, accompany the lot. $25,000-35,000

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333

333 Frank Earle Schoonover (American, 18771972) Hudson’s Bay Post at Gull River Initialed “FES” at c.l. edge, identified in an inscription on the reverse and on a label from Schoonover Studios, Ltd., affixed to the back of the frame. Oil on canvas, 18 x 31 in. (45.7 x 78.7 cm), framed. Condition: Lined, retouch throughout sky in u.r., small paint loss to l.l. quadrant. Provenance: Dr. and Mrs. W.A. Morton Jr., West Chester, Pennsylvania; Douglas Allen, Neshanic Station, New Jersey; private Virginia collection.

136

N.B. This painting originally represented the left side of an illustration for Red Book Magazine to accompany the story “The Valley of Voices” by George T. Marsh published in May 1924. The artist cut the composition in half in 1965 and reworked the left side, which is the painting being offered here. The buildings are based upon a photograph Schoonover took of a Hudson Bay Company Post in Canada. John Schoonover, the artist’s grandson, reports that the artist often altered his illustrations, including reusing canvases and painting landscapes over published illustrations. In fact, the 1924 Red Book illustration was painted over an earlier vignette done for the Country Gentleman published in 1922.

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The work at hand is included in the Frank Schoonover Catalogue Raisonné as 1268 lalt (for left alternate). The original 1924 Red Book illustration is number 1268 in the catalogue raisonné. We would like to thank John Schoonover, Schoonover Studios, Ltd., for his assistance cataloging this lot. $6,000-8,000


334

334 Don Stone (American, 1929-2015) Eastern Point Light Signed “Don Stone� l.r., identified on a presentation plaque affixed to the frame and on a partial label affixed to the back of the frame. Oil on Masonite, 26 x 40 in. (65.3 x 101.6 cm), framed. Condition: Good. $10,000-15,000

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335

335 William Posey Silva (American, 1859-1948) Carmel Beach Incised “WILLIAM SILVA” l.r., titled and signed “...William P. Silva” on the reverse, titled on an artist label affixed to the reverse, identified on a label from Trotter Galleries, Pacific Grove, California, affixed to the reverse. Oil on board, 8 x 10 in. (20.1 x 25.3 cm), framed. Condition: Scattered retouch. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $3,000-5,000 336 William Henry Clapp (American, 1879-1954)

336

Landscape with Houses Signed “Clapp” l.l., inscribed “C-691138” on a “Guaranteed Authentic” label from Laky Gallery, Carmel, California, affixed to the reverse, identified and titled on a label from Trotter Galleries, Pacific Grove, California, affixed to the frame. Oil on Masonite, 7 1/2 x 9 in. (19.0 x 22.7 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $2,500-3,500

138

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337

337 William Henry Clapp (American, 1879-1954) Early Spring, California Ranch Unsigned, titled on a handwritten label affixed to the reverse, inscribed “C-691110” on a “Guaranteed Authentic” label from Laky Gallery, Carmel, California, affixed to the reverse. Oil on Masonite, 15 x 18 in. (38.0 x 45.5 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $7,000-9,000 338 William Posey Silva (American, 1859-1948) Pines on the Dunes, Monterey Coast Signed “WILLIAM P. SILVA” l.r., titled and signed “...William P. Silva” on a label affixed to the reverse, identified on labels from George Stern Fine Arts, Hollywood, California, and Trotter Galleries, Pacific Grove, California, both affixed to the reverse. Oil on canvasboard, 8 x 10 in. (20.2 x 25.3 cm), framed. Condition: Good.

338

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $3,000-5,000

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339

339 Marshall Johnson (American, 1850-1921) Rocky Coast Signed “MARSHALL JOHNSON-” l.l. Oil on canvas, 12 x 20 in. (30.5 x 50.8 cm), in a period frame. Condition: Surface grime. Provenance: A private Massachusetts collection. $1,500-2,500 340 Alethea Hill Platt (American, 1861-1932) 340

140

The Maine Coast Signed indistinctly “...H Platt” l.l., titled and dated “.../Painted circa 1918” on a label from Comenos Fine Arts, Boston, affixed to the frame backing. Oil on canvas, 14 x 18 in. (35.5 x 45.7 cm), framed. Condition: Lined, retouch, varnish inconsistencies, craquelure. $500-700

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341

341 Arthur Hill Gilbert (American, 1894-1970) Seascape with Rocks, California Coast Signed “Arthur Hill Gilbert� l.l. Oil on canvas, 20 x 24 in. (50.7 x 60.8 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $7,000-9,000 342 Aldro Thompson Hibbard (American, 18861972)

342

Rockport, Massachusetts/A Double-sided Painting Unsigned, identified and titled on a handwritten label affixed to the frame. Oil on academy board, 14 x 19 in. (35.5 x 48.2 cm), framed. Condition: Scattered abrasions with small paint losses, surface grime. Provenance: Acquired from the artist by Dorothy Savoy, a student at the School of the Museum of Fine Arts, Boston; by descent to the current private collection, Massachusetts. $2,500-3,500

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343

343 Emile Albert Gruppé (American, 1896-1978) Morning Waves Signed “Emile A. Gruppé” l.l. Oil on canvasboard, 10 x 14 in. (25.4 x 35.6 cm), framed. Condition: Minor surface grime. Provenance: The estate of Paul J. Tracey, New York State. $1,000-1,500 344 Emile Albert Gruppé (American, 1896-1978) 344

Rocky Shore Signed “Emile A. Gruppé” l.l. Oil on canvas, 20 1/4 x 24 1/4 in. (51.3 x 61.5 cm), framed. Condition: Minor surface grime. Provenance: The estate of Paul J. Tracey, New York State. $1,000-1,500

142

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345

345 Stanley Wingate Woodward (American, 1890-1970) Evening Sea Signed “Stanley Woodward” l.l., titled in an inscription on the reverse and on a label from Doll & Richards, Boston, affixed to the reverse. Oil on canvasboard, 12 x 16 in. (30.5 x 40.6 cm), framed (in a liner). Condition: Surface grime. $1,000-1,500 346 Stanley Wingate Woodward (American, 1890-1970)

346

Nocturne Signed “Stanley Woodward” l.l., titled and identified on a label from Grand Central Galleries, Inc., New York, pinned to the frame. Oil on board, 16 x 20 in. (40.5 x 50.7 cm), framed. Condition: Minor surface grime. Provenance: The estate of Paul J. Tracey, New York State. $600-800 347 Stanley Wingate Woodward (American, 1890-1970) Incoming Tide Signed “Stanley Woodward” l.l., titled and signed on the backing. Oil on canvas, 16 x 20 1/8 in. (40.5 x 51.0 cm), framed. Condition: Minor craquelure, surface grime. $1,000-1,500

347

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348

348 David Bareford (American, b. 1947) Shamrock and Endeavour Signed “David Bareford” l.r., identified on a label from The Main Street Gallery Nantucket, Inc., affixed to the frame backing cardboard. Oil on canvas, 30 x 50 in. (76.0 x 127.0 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $3,000-5,000

349

349 Anne Packard (American, b. 1933) Dunescape Signed “A. PACKARD” l.l. Oil on Masonite, 16 x 24 in. (40.6 x 61.0 cm), framed. Condition: Minor surface grime. $3,000-5,000

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350

350 Michael Keane (American, 1948-2015) Summer’s End Signed “KEANE” l.r., copyright stamps dated “1998” on the reverse, numbered, initialed, and titled “1998-06 MK...” on the reverse. Oil on panel, 11 7/8 x 24 in. (30.0 x 60.8 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $10,000-15,000

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351

351 Don Stone (American, 1929-2015) T Wharf, Circa 1900 Signed “Don Stone A.N.A.” l.r., titled in an inscription on the frame backing and on a label from the Colorado Historical Society, The Colorado History Museum, Denver, affixed to the frame backing. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed (in a liner). Condition: Minor surface grime. Provenance: A Massachusetts estate. $2,500-3,500 352 William Lester Stevens (American, 18881969) Gloucester Docks Signed “W LESTER STEVENS” l.r., titled on labels from Vose Galleries of Boston and Comenos Fine Arts, Boston, affixed to the frame backing, with a label from NewcombMacklin Picture Frame Makers, New York, affixed to the back of the frame. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Retouch, craquelure. $3,500-5,500

352

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353

353 Max Kuehne (American, 1880-1968) Gloucester Harbor Scene Signed “Kuehne” l.l., titled and dated “.../Painted circa 1935” on a label from Comenos Fine Arts, Boston, affixed to the frame backing. Watercolor on paper, sight size 15 1/4 x 19 1/4 in. (38.7 x 48.9 cm), framed. Condition: Pale toning, scattered fox marks, pinholes near corners, not examined out of frame. $600-800 354 Emile Albert Gruppé (American, 1896-1978) Drying Sails Signed “Emile A. Gruppé” l.r., dated and titled “1975...” on the stretcher. Oil on canvas, 24 x 20 in. (60.9 x 50.7 cm), framed. Condition: Minor surface grime. $4,000-6,000

354

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147


355 Leonard Ochtman (American, 1854-1934) Spring Meadow Signed “LEONARD OCHTMAN” l.r., inscribed “TO MY FRIEND/WHITTEMORE” l.l. Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), in a period frame. Condition: Craquelure, surface grime, minor retouch c.l. Provenance: A private Massachusetts collection. $700-900

355

356 Anna Richards Brewster (American, 18701952) House of General E. St. J. Chaffee, Matunuck, Rhode Island Stamped with the artist’s name and dates on the reverse, titled and dated “.../Probably about 1908-09” in ink beneath the stamp, identified on an unattributed label affixed to the reverse. Oil on canvasboard, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $800-1,200 357 Henry Rodman Kenyon (American, 18611926)

356

357

148

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Saltmarsh at the Tide’s Turn Signed faintly “H Kenyon” l.r., signed or inscribed “Henry R Kenyon” in pencil on the reverse. Oil on academy board, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Craquelure, surface grime. $500-700


358

358 Julian Alden Weir (American, 1852-1919) Old Sentinel on the Farm, Old Lyme Signed “J Alden Weir” in red l.r., identified on a label from the Memorial Exhibition of the Works of Julian Alden Weir (see below), and dated “1915” in the Weir Memorial Exhibition catalog entry. Oil on canvas, 38 x 29 in. (96.5 x 73.7 cm), framed. Condition: Lined, craquelure, minor surface grime.

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. Exhibitions: Memorial Exhibition of the Works of Julian Alden Weir, Metropolitan Museum of Art, New York, March 17–April 20, 1924, cat. no. 55, lent by John F. Braun. $30,000-50,000

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149


359 Arthur Clifton Goodwin (American, 18661929) The Red Gable, Milton Incised signature “A.C. Goodwin” l.l., identified and titled on a partial exhibition label affixed to the stretcher. Oil on canvas, 21 x 25 in. (53.3 x 63.5 cm), framed. Condition: Puncture with surrounding paint loss c.r., canvas irregularities, scattered small paint losses, surface grime. Provenance: Estate of the artist; to a private collection; to the current owner. $1,200-1,800

359

360 William Walcot (British, 1874-1943) Queen’s College, Oxford Signed “W. Walcot” l.r., identified on a label from Seville Art Studio Ltd., New York, affixed to the frame backing. Oil on paper mounted to canvas, 11 1/2 x 15 1/4 in. (29.2 x 38.7 cm), framed. Condition: Good. $700-900 361 Arthur Clifton Goodwin (American, 18661929) Back Bay in Winter Signed “A.C. Goodwin” l.l. Oil on canvas, 18 x 25 in. (45.7 x 63.5 cm), unframed. Condition: Puncture c.l., small paint loss u.r., canvas rippling along upper and lower edges, heavy surface grime.

360

361

150

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Provenance: Estate of the artist; to a private collection; to the current owner. $1,000-1,500


362

362 Robert Henri (American, 1865-1929) Old Square, Philadelphia Signed faintly “Robert ...” l.l., identified on exhibition labels from The New York Cultural Center and from Nassau County Museum of Fine Art (see below), both affixed to the back of the frame. Oil on canvas, 17 x 14 in. (43.0 x 35.5 cm), framed. Condition: Lined, retouch, craquelure, surface imperfections.

Exhibitions: The shock of modernism in America: The Eight and artists of the Armory Show, Nassau County Museum of Fine Art, Roslyn, New York, April 29–July 29, 1984; Robert Henri Exhibition, The New York Cultural Center in association with Fairleigh Dickinson University, New York, dates unspecified. $30,000-50,000

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution.

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363

363 Aaron Harry Gorson (American, 1872-1933) Steel Mills Along a River Signed “A.H. Gorson” l.r. Oil on panel, 9 3/4 x 14 in. (25.0 x 35.5 cm), framed. Condition: Minor surface grime. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $4,000-6,000 364 Walter Franklin Lansil (American, 18461933)

364

Return at Sunset, Venice Signed “Walter.F.Lansil” l.l., titled, signed, and dated “...1904” on the reverse of the original canvas. Oil on canvas, 28 1/2 x 40 3/8 in. (71.5 x 102.0 cm), in a period frame. Condition: Lined onto a rigid surface, retouch, surface imperfections. Provenance: A private Massachusetts collection. N.B. A Polaroid photograph showing the inscription on the reverse before lining accompanies the lot. $1,500-2,000

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365 Arthur Fillon (French, 1900-1974) Honfleur, le Port Signed “fillon” l.l., titled and dated “...août 1971” on a handwritten gummed label affixed to the stretcher. Oil on canvas, 23 3/4 x 28 3/4 in. (60.0 x 73.0 cm), framed. Condition: Minor surface grime. $2,000-3,000 366 John Lavery (Irish, 1856-1941)

365

Urban Waterfront Initialed “J.L.” l.l., identified on a typed label affixed to the back of the frame. Oil on academy board, 5 1/4 x 6 in. (13.3 x 15.2 cm), framed. Condition: Small paint loss to l.c., minor surface grime. $4,000-6,000

366

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367

367 Jean Vollet (French, b. 1935) Grand Canal et Pont du Rialto Signed “Jean Vollet� l.r., titled on the reverse. Oil on canvas, 9 5/8 x 19 1/2 in. (25.3 x 49.4 cm), framed. Condition: Good. Provenance: The estate of Paul J. Tracey, New York State. $600-800 368 American School, 19th/20th Century Sunlit Venice Doorway Signed indistinctly l.r., with a label from Brooks Reed Gallery, Boston, affixed to the reverse. Oil on canvasboard, 16 x 12 5/8 in. (40.5 x 32.0 cm), framed. Condition: Good. $1,000-1,500

368

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369

369 Gustave Loiseau (French, 1865-1935) L’Avant Port de Dieppe Signed “G Loiseau” l.r., identified on a presentation plaque affixed to the frame and on a label from David Findlay Gallery, New York, affixed to the frame backing board. Oil on canvas, 20 x 24 in. (50.0 x 61.0 cm), framed. Condition: Good.

Provenance: Purchased from David Findlay Galleries, New York, in 1981 by a private Greenwich, Connecticut, collector; by family descent to the current owners. N.B. Between 1901 and 1929, Loiseau made at least five visits to Dieppe where he painted numerous views of the town and its port. The artist had first ventured out of Paris in 1890, when he traveled to Pont Aven in the footsteps of Paul Gauguin. Following that sojourn, Loiseau spent summers painting the landscapes of Normandy, Brittany, and the Dordogne.

He developed a painting style that incorporated elements of both Impressionism and Post-Impressionism, characterized by short, interlocking brushstrokes that created an intricate, lattice-like structure. This painting is a fine example of that technique as well as of Loiseau’s attention to the effects of light on the landscape. This painting has been reviewed by Didier Imbert and will be included in his forthcoming catalogue raisonné of Loiseau’s work. A certificate from Mr. Imbert accompanies the lot. $50,000-70,000

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370 Frederick Dickinson Williams (American, 1829-1915) Paris Doorway Initialed, inscribed, and dated “F.D.W. -ParisJuly 10-’76-” l.c., identified on a modern label affixed to the back of the frame. Oil on canvas, 16 5/8 x 13 3/4 in. (42.5 x 35.0 cm), framed. Condition: Minor dots of retouch to u.l. and l.r. corners, minor craquelure. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. $2,000-3,000 371 Lucien Génin (French, 1894-1958) Place Blanche, Moulin Rouge Signed “luciengenin” l.l., titled in an inscription on the reverse. Gouache on paper, 17 1/2 x 21 1/2 in. (44.5 x 54.7 cm), framed. Condition: Toning, pinholes to corners. $1,000-1,500

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372

372 Lucien Génin (French, 1894-1958) Montmartre, rue Norvins Signed “luciengenin” l.r., titled in an inscription on the reverse. Gouache on paper, 17 1/2 x 21 1/2 in. (45.0 x 54.7 cm), framed (without glass). Condition: Scattered abrasions with small paint losses, pinholes to lower corners, staining to upper edge and lower corners on the reverse. $1,000-1,500 373 T.E. Penck (French, b. 1929)

373

Sidewalk Scene at Fouquet’s Paris Signed “T.E. PENCK” l.r. Oil on canvas, 20 x 24 in. (50.7 x 60.9 cm), framed. Condition: Minor surface grime, two spots of retouch l.r. with corresponding patch repair on the reverse. $1,000-1,500

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374 Ben Benn (American, 1884-1983) Lower Manhattan Signed and dated “Benn.41” l.l., titled in a photocopy of an inscription affixed to the frame backing. Watercolor and gouache on paper, sight size 20 3/4 x 15 in. (52.7 x 38.1 cm), framed. Condition: Toning, flaking with pigment losses predominantly to the sky, rippling, not examined out of frame. $800-1,200 375 Richard Earl Thompson (American, 19141991) La Ocisidao Cordoba Signed “r. thompson” l.r., titled on a presentation plaque affixed to the frame, inscribed “R.T.-715” on the reverse. Oil on canvas, 24 x 36 1/4 in. (61.0 x 92.1 cm), framed (in a liner). Condition: Surface grime. Provenance: A Massachusetts estate. $1,000-1,500

374

375

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376

376 Stanley Kubicki (American, 20th Century) Shore Leave in Boston Signed and dated “S. Kubicki 56” l.l. Oil on canvas, 27 x 32 in. (68.5 x 81.3 cm), framed (in a liner). Condition: Craquelure, flaking with small paint losses, surface grime. N.B. This painting depicts a busy street-level view of Boston’s Scollay Square, an area that was frequented by sailors and college students given its proximity to the water and thriving restaurant, bar, and theater scene. $800-1,200

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377 Robert Lawson (American, 1892-1957) Illustration for Chesterfield Cigarette Advertisement: “Just the Right Amount of Turkish” Identified and dated “.../1930” on the frame backing. Ink, watercolor, gouache, and pencil on paper, 5 3/8 x 5 5/8 in. (13.5 x 14.0 cm), framed. Condition: Affixed to window mat with brown tape to upper and lower edges, pale toning, mat burn, foxing, adhesive residue to the reverse. Provenance: Acquired from the artist by G. Everett Hoyt, an employee of Hoyt Advertising who handled the Chesterfield account; by descent to the current private collection, Massachusetts. $800-1,200 377

378 Charles Dana Gibson (American, 18671944) Mr. Pipp Considers the Lilies of the Beach Signed “C.D. Gibson” l.l., identified on a printed label affixed to the frame backing paper. Pen and ink on paper, sight size 13 7/8 x 21 in. (35.4 x 53.4 cm), framed. Condition: Foxing, staining, not examined out of frame. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. N.B. According to the label on the reverse, this drawing was published in LIFE magazine, July 12, 1929. The Mr. Pipp series of Gibson drawings had been introduced in September 1898 in LIFE and became extremely well received, and was further popularized as a book (1899), a play, and a movie. LIFE revived the series in 1929 in the face of flagging magazine sales. In the new series, Mr. Pipp has become a grandfather, and his granddaughters are no longer classic Gibson beauties, but modern flappers. $600-800

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379 Charles Dana Gibson (American, 18671944) The Pelican Cage, alternatively titled Birds of a Feather Signed “C.D. Gibson” in ink l.c., inscribed “Birds of a Feather” in pencil l.l., identified on a printed label affixed to the frame backing paper. Pen and ink on paper/board, sight size 14 x 13 1/4 in. (35.5 x 33.5 cm), framed. Condition: Tack holes to lower corners, minor toning and soiling, pale fox marks, not examined out of frame. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. 379

N.B. The label on the back of the frame dates this drawing to 1927 and indicates that it appeared in Cosmopolitan magazine in January of 1928. $600-800 380 Edward Henry Potthast (American, 18571927) Congressional Library Signed “E. Potthast” l.l., titled on a label from The Century art department affixed to the frame backing. Pencil, gouache, and watercolor en grisaille on paper/board, sight size 21 x 18 1/2 in. (53.3 x 47.0 cm), framed. Condition: Not examined out of frame. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. N.B. This work was reviewed via digital photographs by Mary L. Ran and will be included in her forthcoming catalogue raisonné of the work of Edward Potthast (1857-1927). $800-1,200

380

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381 Saul Steinberg (American, 1914-1999) Afrika BRRR Russia Signed “STEINBERG” l.r., titled within the composition. Ink on paper, 14 1/2 x 13 3/8 in. (36.8 x 34.0 cm), framed. Condition: Deckled upper and right edges, toning, soiling, pinholes to upper corners, dog-ear crease l.r., scattered handling creases, adhesive residue to the reverse, with additional pencil sketches on the reverse. $1,500-2,000 382 Ronald Searle (British, 1920-2011) Nanook Airways Bush Pilot Signed and inscribed “Ronald Searle/Hudson Bay” l.r., identified on labels from Bianchini Gallery, New York, on the reverse. Ink and wash on illustration board, sight size 18 3/4 x 14 in. (47.5 x 35.5 cm), framed. Condition: Not examined out of frame. Literature: Ronald Searle and Matt Jones, Ronald Searle’s America (Seattle: Fantagraphics Books, 2015), p. 199.

381

N.B. The lot is accompanied by a vintage copy of Holiday magazine, April 1964, an issue devoted to Canada, where the drawing is reproduced with several others by Searle in a humorous article entitled “Nice People to the North, A disrespectful look at life under the maple leaves.” The caption beside the drawing describes the Canadian climate as “trying” to bush pilots, who must rely on long underwear with little bits of fur strapped to the kneecaps. It is not known if Searle created this drawing specifically for Holiday or if it was commissioned by the Hudson’s Bay Company, for whom Searle did a great deal of work. It is known that the illustration was in the HBC collection by 1970, because the drawing is pictured in an archive photo of an exhibition of Searle’s originals at the time of the company’s 300th anniversary. A photocopy of that image accompanies the lot. $2,500-3,500 383 Edward Jeffrey Irving Ardizzone (British, 19001979) A Toast at the Bar Initialed “E.A.” l.r. Ink and wash on paper/board, sight size 9 1/2 x 9 in. (34.0 x 23.0 cm), framed. Condition: Toning, not examined out of frame. $1,000-1,500

382

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383

384

384 Charles Samuel Addams (American, 19121988) “To...hell...with...yogurt...”/Rough Illustration for the New Yorker Signed “Chas Addams” l.r., captioned l.c., identified on a label from the Tee & Charles Addams Foundation, Wainscott, New York, affixed to the backing. Wolff pencil on paper, sheet size 20 7/8 x 18 3/4 in. (52.9 x 47.5 cm), matted, unframed. Condition: Minor wear and soiling to sheet. N.B. This illustration was published in the March 5, 1979 issue. $2,000-3,000 385 Saul Steinberg (American, 1914-1999)

385

Hungry? Signed “STEINBERG” l.l., titled within the composition. Ink on paper, sight size 11 x 14 in. (28.0 x 35.5 cm), framed. Condition: Toning, foxing, soiling, adhesive residue l.l., tear u.l., scattered creases, not examined out of frame. $1,500-2,000

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387

386

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386 Robert Fawcett (American, 1903-1967) Illustration for Cadmus Henry and the Fleet Hand of God Inscribed and initialed “To Gordon con amore/ R.F.” l.r., identified on a label from the Saturday Evening Post affixed to the reverse. Gouache (en grisaille) on Whatman drawing board, 21 x 20 7/8 in. (53.5 x 53.0 cm), framed. Condition: Abrasion or possible smear of white pigment to u.r. quadrant, not examined out of frame.

387 William Harnden Foster (American, 18861941) Stolen Lunch/A Hunter and His Dog Signed and dated “William Harnden Foster/1930” l.r. Oil on canvas, 32 x 24 in. (81.0 x 60.8 cm), unframed. Condition: Two subtle punctures at center, abraded edges, minor surface grime. $1,500-2,500

N.B. The label on the reverse indicates that this drawing was published in the Saturday Evening Post. $700-900

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388 Robert Fawcett (American, 1903-1967) Three Illustrations Relating to the Battle of Gettysburg Inscribed, initialed, and dated “for Gordon/with warmest greetings of/.F. 1960” on the mat. Mixed media on paper/board, image sizes to 4 1/2 x 10 3/8 in. (11.5 x 26.3 cm), in a common frame. Condition: Not examined out of frame. N.B. The center image shows the fighting at Evergreen Cemetery. $600-800


389

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390 John Clymer (American, 1907-1989) American Locomotive Diesel-Electric Train/ Illustration for an Advertisement for The Saturday Evening Post Signed “J. Clymer” l.r. Oil on canvas, 30 x 31 in. (76.2 x 78.7 cm), framed. Condition: Abrasion l.l., abrasions and small losses to edges, surface grime. Provenance: Acquired by the consignor’s father during his employment with the Alco Corporation. N.B. This painting was an illustration for an advertisement of American Locomotive’s (Alco) Diesel-Electric trains that appeared in The Saturday Evening Post’s November 30, 1946, issue. The page on which the advertisement appears accompanies the lot. $6,000-8,000

391

389 American School, 20th Century Kayak Monogram signature l.r., titled on a label affixed l.r. Oil on canvas (unstretched), 24 1/2 x 21 in. (62.2 x 53.3 cm), framed. Condition: Hinged to window mat with white linen tape (partially detached) to edges, craquelure, flaking with paint losses, creases, varnish discoloration. $500-700

391 Anton Otto Fischer (American, 1882-1962) The Rescue Signed and dated “ANTON OTTO FISCHER ‘23” l.r., titled on a label from Quester Gallery, Stonington, Connecticut, affixed to the frame backing. Oil on canvas, 26 x 18 in. (66.0 x 45.7 cm), framed (in a liner). Condition: Lined onto a rigid support, retouch, craquelure, abrasions center and u.l., surface grime. $2,000-3,000

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393

392 Ludwig Bemelmans (American, 1898-1962) Shark Attack Stamped signature “L. Bemelmans” l.r. Watercolor and ink on paper, 13 1/8 x 16 1/2 in. (33.3 x 41.9 cm), framed. Condition: Possibly trimmed along right edge, hinged to window mat with brown tape along upper edge on the reverse (partially detached), toning, mat burn, adhesive residue along upper edge, soiling/staining l.l.

393 Edward Jeffrey Irving Ardizzone (British, 1900-1979) Mother and Son at the Shore Initialed “EA” l.r. Watercolor and ink on paper/board, sight size 5 x 10 1/4 in. (12.7 x 26.2 cm), framed. Condition: Not examined out of frame. $1,000-1,500

N.B. This work is possibly an illustration for Bemelmans’s book Marina, first published in 1962. $600-800

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394

394 Sarah Stilwell Weber (American, 18781939) Central Park Unsigned. Oil on board, sight size 10 x 10 1/2 in. (25.3 x 26.5 cm), framed (under glass). Condition: Not examined out of frame. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida. N.B. This painting is one of several made by Weber to illustrate the article “Famous Playgrounds” in the January 1913 issue of Scribner’s magazine (volume 53, p. 68). $1,200-1,800

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395

395 Kenneth Frazier (American, 1867-1949) Woman Seated in a Wicker Chair with a Dog Signed “Kenneth Frazier” l.l., identified on a label from The Westmoreland County Museum of Art, Greensburg, Pennsylvania (see below), and on an unattributed printed label, both affixed to the frame backing board. Oil on canvas, 25 x 30 in. (63.2 x 76.0 cm), framed. Condition: Minor retouch to l.l. corner, scattered minor surface abrasions.

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Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. Exhibitions: Kenneth Frazier, 1867–1949, American Impressionist, The Westmoreland County Museum of Art, Greensburg, Pennsylvania, October 6–28, 1979; FAR Gallery, New York, New York, November 3– December 1, 1979; Southern Alleghenies Museum of Art, Loretto, Pennsylvania, May 17–June 22, 1980. $3,500-5,500

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396 Stepan Fedorovic Kolesnikoff (Russian, 1879-1955) Chrysanthemums Signed “S. Kolesnikoff” l.r. Oil on canvas, 21 x 13 7/8 in. (53.3 x 35.3 cm), framed. Condition: Craquelure, varnish inconsistencies. $2,000-3,000 397 American School, 20th Century Interior with an Elegant Couple/An Illustration for Pure Silver Monogrammed indistinctly l.r., inscribed “Pure Silver/Page 4” on the reverse. Oil on academy board, 22 3/4 x 28 in. (57.7 x 70.7 cm), framed. Condition: Abrasion to l.r. corner, retouch, varnish inconsistencies, minor surface imperfections and grime. N.B. The monogram on this work resembles that of Walter Everett (American, 1880-1946), but the illustration could not be confirmed as by his hand. $600-800 396

397

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398

398 William Henry Clapp (American, 18791954) Neptune Beach, #2 Unsigned, titled on a typewritten label affixed to the backing, inscribed “C691147” on a “Guaranteed Authentic” label from Laky Gallery, Carmel, California, affixed to the backing, identified on a label from Don Hartman Framing, Carmel, affixed to the backing. Oil on board, 13 1/2 x 10 in. (34.1 x 25.3 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $6,000-8,000 399 Emile Albert Gruppé (American, 18961978)

399

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Palms and Pier Signed “Emile A. Gruppé” l.r., titled and dated “...1975” on the reverse. Oil on canvasboard, 20 x 16 in. (50.8 x 40.7 cm), framed. Condition: Good. $3,000-5,000


400

400 William Henry Clapp (American, 1879-1954) Neptune Beach, #6 Unsigned, titled on a typewritten label affixed to the backing, inscribed “C-691151” on a “Guaranteed Authentic” label from Laky Gallery, Carmel, California, affixed to the backing, identified on a label from Don Hartman Framing, Carmel, affixed to the backing. Oil on board, 10 1/4 x 13 1/2 in. (26.0 x 34.2 cm), framed. Condition: Good. Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $8,000-12,000

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401

401 Charles Courtney Curran (American, 18611942) Delphiniums Blue-No. 2 Signed “CHAS.C.CURRAN, N.A.” l.r., titled, signed, and inscribed “.../BY/ CHAS.C.CURRAN N.A./© copyright/DO NOT VARNISH” on the reverse. Oil on canvas, 24 x 20 in. (61.0 x 50.7 cm), framed. Condition: Pinpoint dots of retouch to the parasol.

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Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $50,000-70,000

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402

402 Theodore Earl Butler (American, 18611936) A La Porte du Jardin Signed and dated “T.E. Butler/1911� l.l., inscribed indistinctly on the reverse, identified on a labels from R.H. Love Galleries, Inc., Chicago, and Hirschl & Adler Galleries, Inc., New York, affixed to the frame backing board. Oil on canvas, 31 3/4 x 25 3/4 in. (80.5 x 65.0 cm), framed. Condition: Good.

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. $40,000-60,000

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403

403 George Loftus Noyes (American, 1864-1954) Waterlilies Signed “G.L. Noyes” l.r., titled on a label from Vose Galleries of Boston affixed to the frame backing. Watercolor, gouache, and pencil on paper, sight size 14 1/4 x 17 1/2 in. (36.2 x 44.4 cm), framed. Condition: Toning, stains u.l., u.r., and l.r., scattered minor creases, pinhole u.l., not examined out of frame. Provenance: A Massachusetts estate. $600-800 404 Antun Augustincic (Croatian, 1900-1979) Standing Nude Boy Signed “AUGUSTINCIC” in the bronze on the front of the base, stamped indistinctly “R...S” on the side of the base. Bronze with gold patina, height 37 1/8 in. (94.3 cm). Condition: Dust and dirt to interstices. N.B. The sculpture is not currently plumbed as a fountain, although there is an example as a fountain installed on King Petar Svacic Square in Zagreb. Photographs may be viewed at http:// www.zagrebacki.info/2012/04/djecak.html. $4,000-6,000

404

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405

405 Charles Courtney Curran (American, 18611942) Gathering Flowers, alternatively titled Girl in a Rose Garden Signed “CHAS·C·CURRAN·” l.r., titled and dated “...circa 1898” on a brochure from Apollo-Pierce Galleries, Palm Beach (see below), alternate title on an unattributed gummed label affixed to the stretcher. Oil on canvas, 18 x 22 in. (46.0 x 56.0 cm), framed. Condition: Lined, scattered retouch, fine craquelure, minor surface grime.

Provenance: The estate of Richard Mellon Scaife, Pennsylvania. The proceeds from the sale of this lot will benefit a Pennsylvania art institution. N.B. The lot is accompanied by a small, undated brochure, Fine American Paintings, from Apollo-Pierce Galleries, which illustrates this work. $40,000-60,000

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406 Henry Jones Thaddeus (Irish, 1860-1929) Freddy Thaddeus with Ra, the Family Dog Unsigned, dated c. 1905 by the Thaddeus family and the artist’s biographer (see below). Oil on canvas, 36 1/4 x 28 in. (89.7 x 69.5 cm), in a period frame (under glass). Condition: Not examined out of frame. Provenance: Presented by the artist to a neighboring family c. 1907; then by family descent; by purchase to Thaddeus descendants in 1998; through to the current owner. Literature: Brendan Rooney, The Life and Work of Harry Jones Thaddeus, 1859–1929 (Dublin, Ireland: Four Courts Press, 2003), Plate 37 (color ill.). N.B. Born in 1894, Freddy (Frederick Francis) Thaddeus was one of the artist’s two sons. A copy of the abovementioned biography accompanies the lot. $1,500-2,000 407 Marguerite Stuber Pearson (American, 1898-1978) The Duet Signed “MARGUERITE S. PEARSON” l.l. Oil on canvas, 30 x 36 in. (76.2 x 91.5 cm), framed (in a liner). Condition: Retouch l.r., fine craquelure, surface grime. $1,500-2,500 406

407

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408

409

408 Charles Courtney Curran (American, 18611942) Woman in a Veil Inscribed indistinctly, signed, and dated “.../CHAS C. CURRAN/1899” l.r. Oil on canvas, 21 x 13 1/2 in. (53.4 x 33.4 cm), framed. Condition: Retouch, minor surface grime. $3,000-5,000

409 Philip Shelton Sears (American, 1867-1953) Stepping Stones Incised signature and date “P.S. Sears Sc. 1923” on the base, stamped “GORHAM CO FOUNDERS/QFVS/#10” on the edge of the base, inscribed “3225” in ink on the edge of the base. Bronze with green patina, height 12 3/4 in. (32.4 cm). Condition: Base filled with plaster and felt adhered to the bottom of the base, extremely mild scattered areas of oxidation, gentle wear. Provenance: Ex-collection Worcester Art Museum, Worcester, Massachusetts. $1,500-2,500

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410

410 István Csók (Hungarian, 1865-1961) Country Revelers Signed “CSÓK i.” l.l. Oil on panel, 12 1/4 x 16 in. (31.0 x 40.5 cm), framed. Condition: Panel with thin strips added at top and bottom edges, subtle vertical lines of craquelure, surface abrasions and grime. Provenance: Property from the estate of Francis M. Bator, Massachusetts. $3,000-5,000 411 Dame Laura Knight (British, 1877-1970) On The Olympic Signed “Laura Knight” l.r., titled and dated “...1922” l.l., with labels from John Mitchell Fine Paintings, London, and Abbott and Holder Ltd., London, affixed to the frame backing. Charcoal on paper, sight size 12 x 9 1/2 in. (30.5 x 24.1 cm), framed. Condition: Tear c.l., scattered creases, not examined out of frame. Provenance: The collection of Frederic and Jean Sharf, Massachusetts and Florida.

411

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N.B. The Olympic was a White Star steamship that sailed from Southampton to New York. Laura Knight boarded the ship as a first-class passenger on March 22, 1922. $800-1,200


412 C. Pál Molnár (Hungarian, 1894-1981) Strolling Couple Initialed with the artist’s monogram l.l. Ink on paper mounted to cardboard, 15 1/2 x 12 1/4 in. (39.3 x 31.1 cm), framed. Condition: Creases c.r., minor abrasion c.l., fox marks u.l. and l.l. Provenance: Property from the estate of Francis M. Bator, Massachusetts. $1,200-1,800 413 József Egry (Hungarian, 1883-1951) Keszthely Signed “Egry József” l.r. and on the reverse, titled in an inscription on the reverse. Oil on pressed paperboard, 14 x 16 1/4 in. (35.5 x 41.2 cm), framed. Condition: Bowing to board, abrasions to edges, craquelure u.r., surface grime. $3,000-5,000

412

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414

414 Gaston Lachaise (French/American, 18821935) Dancing Nude, c. 1930-32 Signed “G. Lachaise” in pencil l.c., inscribed “No. 3” in pencil l.r. (beneath the mat). Graphite on paper, sheet size 24 1/8 x 19 in. (61.0 x 48.3 cm), framed. Condition: Cloth tape hinged to backing mat, old glue residue along top edge, mat burn, subtle toning.

180

N.B. Gaston Lachaise’s large drawing of a commanding, goddess-like nude reflects the powerful ideal of “Woman” achieved in his best-known statue, Standing Woman, a work inspired by his wife, Isabel Dutaud Nagle (1872-1957), and modeled in 1928-30 (copyrighted 1932, cast in bronze circa 1933; Museum of Modern Art, New York). We are grateful to Virginia Budny for her assistance in preparing the catalog entry for this work. $4,000-6,000

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415

415 Patrick Henry Bruce (American, 1881-1936) Woman in an Interior Signed “Bruce” l.l. Oil on canvas, 24 1/2 x 30 in. (62.0 x 76.0 cm), framed. Condition: Craquelure, surface grime. Provenance: The estate of Henri C. Veit, Hadlyme, Connecticut.

N.B. After studying art in New York with William Merritt Chase and Robert Henri, Bruce moved to Paris in 1903. By 1906 he had befriended art collectors Gertrude and Leo Stein through whom he met a circle of avant-garde artists and writers that included Henri Matisse. Matisse and Bruce developed a close friendship, and Bruce was an original member of the Académie Matisse, the private art school where the French master instructed young artists from 1907 to 1911. This work exhibits the influence Matisse’s strong colors and bold patterns had on Bruce. Bruce continued to be inspired by contemporary French art throughout his career, and his work gradually evolved into abstraction. $10,000-15,000

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416

417

418

416 Lawrence Nelson Wilbur (American, 18971988)

417 Jonathan Kenworthy (British/American, b. 1943)

418 Lawrence Nelson Wilbur (American, 18971988)

Homework Signed and dated “LAWRENCE NELSON WILBUR/1955” l.l. Oil on canvas, 36 x 30 1/8 in. (91.2 x 76.4 cm), framed. Condition: Minor surface grime. $1,000-1,500

Bust of a Man Incised signature, date, and number “© KENWORTHY 79/1/7” and foundry mark from Meridian Bronze, London, all near the base. Bronze with brown patina, height 11 in. (28.0 cm), on a faux-painted metal plinth. Condition: Dust and dirt to the interstices. $2,000-3,000

Self Portrait Signed, titled, and dated “LAWRENCE NELSON WILBUR/...1956” l.l., titled, signed, and inscribed “...Awarded Bronze Medal/ American Artist/Magazine/1958” on the reverse. Oil on canvas, 36 x 30 in. (91.3 x 76.0 cm), framed. Condition: Minor surface grime. $1,000-1,500

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419

419 Jerome Blum (American, 1884-1956) Self Portrait and Vase of Flowers/A Doublesided Work Unsigned, identified and dated “...c. 1918” in an exhibition brochure from Linda Hyman Fine Arts, New York (see below). Oil on board, 25 1/4 x 18 1/4 in. (64.1 x 47.6 cm), framed (Vase as recto). Condition: Minor retouch. Exhibitions: Jerome Blum: American Fauve, Works from 1908 to 1921, April 30–June 30, 1997, Linda Hyman Fine Arts, New York, cat. no. 10. N.B. A copy of the brochure from the above referenced exhibition accompanies the lot. $2,500-3,500 420 Sarah Marindah Baker (American, 18991983) Pink Poppies Identified, titled, and dated “.../circa 1920” on a label from Comenos Fine Arts, Boston, affixed to the frame backing. Oil on canvas, 30 x 20 in. (76.2 x 50.8 cm), framed. Condition: Minor surface grime. $400-600

420

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183


421 Alfred Milton Duca (American, 1920-1997) The Shepherd Signed “A. Duca” l.r., titled in an inscription on the reverse, identified and dated “.../1948” on a label from Carl Siembab Gallery, Boston, affixed to the reverse. Polymer on Masonite, 29 x 25 in. (73.7 x 63.5 cm), framed (in a liner). Condition: Surface grime. $800-1,200 422 Otto Walter Beck (American, 1864-1954) Floral Still Life Initialed and dated “WB 31” l.r. Tempera and starch on paper/board, sight size 23 1/2 x 18 1/2 in. (59.7 x 47.0 cm), framed. Condition: Toning, scattered fox marks, scattered minor abrasions, not examined out of frame. Provenance: The estate of the artist. $1,500-2,500 423 Louis Michel Eilshemius (American, 18641941) Three Nude Women in Water Signed “EilshemiuS” l.r., identified and numbered “P 344.74” on a label from the Personal Collection of Joseph H. Hirshhorn and with an unattributed label, with the Hirshhorn collection number, both affixed to the frame backing board. Oil on pressed paperboard mounted to Masonite, 18 x 30 3/8 in. (46.0 x 77.0 cm), framed. Condition: Loss to paperboard at upper corners, small paint loss to center, subtle horizontal surface imperfections with small line of paint loss u.c. and with an 1/8-in. diameter accretion or similar to c.r.

421

Provenance: Collection of Joseph H. Hirshhorn (American, 1899-1981), financier, philanthropist, and benefactor of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; by gift to Hirshhorn family members in 1980; then by descent within the family. N.B. Joseph Hirshhorn discovered Eilshemius’s work at the Kleener Gallery in New York around 1930. He got to know the artist personally and over time purchased nearly 400 of his works. In 1980 Olga Hirshhorn noted that the couple had sixty-five Eilshemius works hanging in their bedroom. Biographer Gene Hirshhorn LePere quoted Joseph Hirshhorn on Eilshemius, “My first big love was Elshemius [sic]. He intrigued me. I knew him. He was the most poetic, lyrical, beautiful painter in America.”1

422

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1. Gene Hirshhorn LePere, Little Man in a Big Hurry, The Life of Joseph H. Hirshhorn, Uranium King and Art Collector (New York: Vantage Press, Inc., 2009), pp. 68-69.

$2,000-2,500


423

424 Kimon Nicolaïdes (American, 1892-1938) Hand of Fate (Cruel Hand), Whitman Series Identified, titled, and dated “...1935-1936” on an unattributed typewritten label affixed to the stretcher and in an inscription on the stretcher. Oil on canvas, 44 x 54 in. (111.8 x 137.1 cm), framed. Condition: Craquelure, lifting and flaking near left and lower edges, accretions (possibly from frame) near right edge, surface grime. Provenance: Purchased from the artist by Mrs. Philip Roosevelt; by descent to the current private collection, Massachusetts. $2,500-3,500

424

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185


425

426

425 Edward Barnard Lintott (American, 1875-1951) Still Life with Lemons Signed “LiNTOTT” u.l. Oil on board, 20 x 24 in. (50.6 x 60.8 cm), framed. Condition: Minor losses l.l. and u.l. $1,000-1,500 426 Elie Nadelman (American, 1885-1946) Head of a Girl Unsigned. Carved and stained wood, height 11 1/4 in. (28.6 cm), on a polished stone plinth. Condition: Abrasions in the hair near the left cheek, naturally occurring surface cracks. Provenance: From the artist’s estate to Lincoln Kirstein; to Michael Hall; to the current owner in 2006.

427

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N.B. A copy of a 2006 letter from Michael Hall, New York, authenticating the provenance of this sculpture (as well as others purchased by the current owner at the same time) accompanies the lot. Mr. Hall declares that he bought the works between the 1970s and 1996 from Lincoln Kirstein, who was the executor of Elie Nadelman’s estate. Kirstein had acquired them directly from the artist’s widow, Viola Nadelman. $5,000-7,000


427 Karl Zerbe (American, 1903-1972) Girl and Parasol Unsigned, identified, titled, and dated “.../1944” on a label from Harmon-Meek Gallery, Naples, Florida, affixed to the frame backing. Encaustic on canvas mounted to foamcore, 14 x 15 3/4 in. (35.5 x 40.0 cm), framed. Condition: Craquelure, flaking with paint losses near edges. $1,000-1,500 428 Edward Barnard Lintott (American, 18751951) Mimosas in Victorian Vase Signed “Lintott” u.r., titled twice on the stretcher bar and on a handwritten label affixed to the stretcher bar, identified on a label from the Lawrence Rill Shumann Art Foundation, Boston, affixed to the frame. Oil on canvas, 24 1/4 x 20 1/4 in. (61.5 x 51.3 cm), framed. Condition: Minor surface grime. $700-900 429 Jack Levine (American, 1915-2010)

428

Adam and Eve/A Pair of Studies Adam signed “JLevine” l.l., Eve signed “JLevine” l.r., identified on a label from ACA Galleries, New York, affixed to the back of the frame (Adam). Oil and gouache on paper/board, sight sizes 18 3/4 x 24 7/9 in. (47.5 x 65.2 cm), framed (under glass). Condition: Not examined out of frames. $800-1,200

429

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430

430 Herbert Bayer (Austrian/American, 19001985) Spring in the Mountains Signed and dated “bayer 48 Jan 14” l.r., inscribed and titled “for betsy and mitch herbert...” l.l. Mixed media including pastel, charcoal, and gouache on paper, 19 3/4 x 25 1/2 in. (50.0 x 65.0 cm), framed. Condition: Affixed to backing with adhesive along left, upper, and right edges on the reverse, rippling, mat burn. Provenance: Gift from the artist; by descent to the current private Massachusetts collection. $1,000-1,500 431 Carlyle Brown (American, 1919-1963) Still Life with Grapes Signed and dated “CARLYLE BROWN ‘50” l.l., identified on a label from Catherine Viviano Gallery, New York, affixed to the stretcher. Oil on canvas, 10 1/4 x 14 3/4 in. (25.7 x 37.3 cm), framed. Condition: Minor surface grime, natural pigment fluorescence.

431

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

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432 Renato Guttuso (Italian, 1911-1987) Tree in Abstract Landscape Signed and dated “Guttuso ‘51” l.r. Mixed media on paper, sight size 28 1/4 x 19 3/8 in. (71.6 x 49.0 cm), framed. Condition: Rippling to sheet, not examined out of frame. $800-1,200 433 Carl Robert Holty (American, 1900-1973) Still Life with Houseplants Signed “Carl Holty” l.r. Oil on Masonite, 36 x 48 in. (91.5 x 122.0 cm), framed. Condition: Surface grime. Provenance: Property from the estate of Francis M. Bator, Massachusetts. $1,500-2,500

432

433

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189


434

435

434 Carlo Corsi (Italian, 1878-1966)

435 George Papashvily (American, 1898-1978)

Verde e Azzurro Signed “C. Corsi” l.c., identified and titled on a label from the XXVII Esposizione Biennale Internazionale d’Arte Venezia, 1954, affixed to the verso. Tempera on paper mounted to paperboard, 23 1/4 x 30 7/8 in. (59.0 x 78.5 cm), framed. Condition: Scattered areas of craquelure with lifting and flaking.

Rabbit Unsigned. Carved and partly polished green granite, 6 1/4 x 5 x 20 in. (15.9 x 12.7 x 22.8 cm). Condition: Minor dust and dirt. $1,200-1,800

Provenance: Property from the estate of Francis M. Bator, Massachusetts. $1,000-1,500

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436

436 Lester F. Johnson (American, 1919-2010) Family Portrait Signed “Lester” l.l. Oil on canvas, 49 3/4 x 43 3/4 in. (126.4 x 111.1 cm), framed. Condition: Craquelure, surface grime, loss u.l., surface bloom along left side. Provenance: The collection of Guy and MarieHélène Weill through Christie’s, Sale 13615, Lot 14, July 2016. $1,500-2,500

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437

437 Wayne Cunningham (American, 20th Century) Abstraction in Pink, Turquoise, and Yellow Initialed “WC” l.r. Gouache on paper, sheet size 26 1/8 x 20 1/8 in. (69.2 x 51.0 cm), framed. Condition: Minor paint losses at corners, floated in frame, not examined out of frame. $700-900 438 Benny Narkis (French, b. 1946) La Déesse Signed “B. NARKiS” l.r., inscribed and titled “B.N.P...” on the reverse. Oil on canvas, 30 x 40 in. (76.0 x 101.5 cm), framed. Condition: Minor surface grime. $1,000-1,500

438

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439

439 Benny Narkis (French, b. 1946) Flowers and... Signed “B. NARKiS” l.r., inscribed, titled, and signed “B.N.P...Benny Narkis” on the reverse. Oil on canvas, 29 x 24 3/4 in. (73.5 x 62.8 cm), framed. Condition: Minor surface grime. $1,000-1,500 440 Wayne Cunningham (American, 20th Century) Abstraction in Turquoise, Yellow, and Red Initialed “WC” l.c. Gouache on paper, sheet size 26 x 20 in. (66.0 x 50.6 cm), framed. Condition: Minor paint losses at corners, floated in frame, not examined out of frame. $700-900

440

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193


441

441 Alexander Calder (American, 1898-1976) View from Satellite Signed and dated “Calder 66” l.r. Ink and gouache on watermarked French paper, 30 3/8 x 22 3/4 in. (77.2 x 57.8 cm), framed. Condition: Toning, handling creases, incomplete pigment coverage which is presumed to be original to the work. Provenance: Purchased from the artist in 1966 by Joseph H. Hirshhorn (American, 1899-1981) financier, philanthropist, and benefactor of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; then by descent in the Hirshhorn family.

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N.B. This work is registered in the archives of the Calder Foundation, New York, under application number A28837. The lot is accompanied by a photocopy of a 1978 typed letter from Joseph Hirshhorn on his Park Avenue, New York, letterhead confirming his purchase of this gouache from Alexander Calder when Hirshhorn visited the artist in Saché, France. The Hirshhorn family descendants have described this work as View from Satellite, a title that the family believes may have been provided by the artist but is not documented elsewhere. $15,000-20,000

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441A

441A Alexander Calder (American, 1898-1976) Untitled Signed and dated “Calder 63� l.r. Ink and gouache on J. Whatman watermarked paper, 26 3/4 x 40 in. (68.0 x 101.5 cm), framed. Condition: Scattered subtle spotting, minor creases to lower corners with an area of partial surface loss to l.r. corner, ink smudges to the reverse.

Provenance: Purchased in 1983 from the Beige Gallery, New York, by the current owner. N.B. This work is registered in the archives of the Calder Foundation, New York, under application number A26226. $30,000-50,000

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195


442

442 Albert Eugene Gallatin (American, 18811952) Composition Signed and inscribed “A.E. Gallatin/November, 1939” on the reverse, titled on a label from Willard Gallery, New York, affixed to the reverse, inscribed “23” on the reverse. Oil on paperboard, 19 3/4 x 18 in. (50.5 x 45.7 cm), framed. Condition: Slight bowing to paperboard, surface grime.

196

Provenance: Gladys Pell Blankarn, cousin of the artist; by descent to her husband, Marshall P. Blankarn (1901-1987), Princeton, New Jersey, and New York City; to his nephew. $8,000-12,000

Additional information and photos at www.skinnerinc.com


443

443 Helen Lundeberg (American, 1908-1999) Looking Through Unsigned, identified, titled, and dated “.../1964” on a label from Ankrum Gallery, Los Angeles, affixed to the stretcher, with a label from deCordova Museum, Lincoln, Massachusetts, affixed to the stretcher. Oil on canvas, 16 x 12 in. (40.6 x 30.5 cm), unframed. Condition: Scattered abrasions. Provenance: Collection of the artist; The Stephen and Sybil Stone Foundation; deCordova Sculpture Park and Museum, Lincoln, Massachusetts. $2,000-3,000 444 Rudolph Weisenborn (American, 18811974) Structural Steel Signed and dated “Weisenborn-56” l.r., titled on labels from the artist, the collection of Mr. and Mrs. Stephen A. Stone, and deCordova Sculpture Park and Museum, all affixed to the frame backing. Casein on board, 30 x 22 in. (76.2 x 55.9 cm), framed. Condition: Fine craquelure, scattered areas of flaking with small pigment losses. Provenance: Property of deCordova Sculpture Park and Museum, Lincoln, Massachusetts. $1,000-1,500

444

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445

445 Walmar Wladimir Schwab (Swiss, 19022000) Abstract Composition Unsigned, titled on an invoice from Barry Friedman, Ltd., with a stamp from Kunsthaus Zurich applied to the reverse. Gouache on graph paper, 6 11/16 x 8 11/16 in. (17.0 x 22.0 cm), framed. Condition: Hinged to window mat with white tape near upper corners on the verso, toning, staining, foxing, losses to upper corners, scattered creases, abrasions, and small tears. Provenance: Barry Friedman, Ltd., to P. Robinson Silver, MD, 1988. $800-1,200 446 Hannes Beckmann (German/American, 1909-1977) Phosphorescence [sic] Incised initials and date “h.b./64” l.l., titled, dated, and signed “.../1964/Hannes Beckmann” on the reverse, with a label from Kanegis Gallery, Boston, affixed to the reverse. Oil on canvasboard, 28 x 21 3/4 in. (71.1 x 55.2 cm), framed. Condition: Scattered minor abrasions, surface grime. $3,000-5,000

446

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447

447 Rolph Scarlett (American, 1889-1984) Untitled Signed “SCARLETT� l.r. Oil on canvasboard, 12 x 15 7/8 in. (30.2 x 40.3 cm), framed. Condition: Varnish discoloration, minor surface grime. Provenance: The estate of a conservator, upstate New York. N.B. We would like to thank Tom Fletcher for his kind assistance with cataloging this work. $4,000-6,000

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448

448 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way ‘63” l.l., with a label from Joan Peterson Gallery, Boston, affixed to the frame backing. Oil on paper, 14 3/8 x 23 in. (36.5 x 58.5 cm), framed. Condition: Hinged with clear tape in three places along the upper edge on the reverse, lower edge unevenly trimmed and with small tears, gentle rippling, toning, surface grime, small loss to l.r. corner, staining and adhesive residue to the reverse, tape remnants in two places at lower edge on the reverse. $800-1,200 449 John Way [Wei Letang] (Chinese/American, 1921-2012)

449

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Untitled Signed and dated “John Way ‘69” l.l. Oil on paper, 19 x 24 in. (48.2 x 61.0 cm), unmatted, unframed. Condition: Staining to the reverse, horizontal crease along right side, small tear l.r., dog-ear creases to corners, gentle rippling, possible toning. $1,500-2,500


450

450 Tom Lieber (American, b. 1949) Dip Titled, dated, and signed “.../1998/tom lieber” on the reverse. Oil on canvas, 58 x 72 in. (147.3 x 182.9 cm), unframed. Condition: Scattered areas of minor craquelure, minor surface grime. $600-800 451 John Way [Wei Letang] (Chinese/American, 1921-2012)

451

Untitled Signed and dated “John Way ‘68” l.r., inscribed “68/1680” on a label affixed to the verso. Oil on paper, 19 x 24 in. (48.2 x 61.0 cm), unmatted, unframed. Condition: Tape remnants to edges and staining on the reverse, possible toning, gentle rippling. $1,500-2,500

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452

452 Emmi Whitehorse (American, b. 1957) Rushing Water Series Signed with the artist’s mark l.r., inscribed, titled, dated, and signed indistinctly “#1254.../ July 2000/Emmi...” on the reverse. Mixed media including oil pastel and charcoal on paper mounted to canvas, 39 1/2 x 51 in. (100.3 x 129.5 cm), unframed. Condition: Pinholes to upper corners of paper, paper with deckled upper and lower edges, small abrasions to center, surface grime. $800-1,200 453 Bruno Romeda (Italian, 1933-2017) Untitled (Square, Circle, Triangle) Signed, inscribed, and dated “ROMEDA/ P./A/1985” on the underside. Bronze with dark brown patina, 6 x 11 x 9 in. (15.0 x 25.3 x 22.7 cm). Condition: Dust and dirt to the interstices, geometric elements detachable.

453

Provenance: A Connecticut estate. $3,000-5,000

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454

454 Robert Irwin (American, b. 1928) Daisetz Signed and dated “Irwin 59” l.r., titled on an exhibition label from The Pasadena Museum affixed to the stretcher. Oil on canvas, 66 x 66 in. (167.6 x 167.6 cm), framed. Condition: Craquelure, drying cracks, lifting, flaking, scattered paint losses, surface grime. Provenance: Purchased from the artist by Mitchell A. Wilder, then Director of the Chouinard Art Institute, Los Angeles; by descent to the current private collection.

Exhibitions: Recent Paintings by Robert Irwin, Ferus Gallery, Los Angeles, March 23–April 18, 1959; Fifty Paintings by ThirtySeven Painters of the Los Angeles Area, Art Galleries, University of California, Los Angeles, March 20–April 10, 1960; Robert Irwin, The Pasadena Art Museum, July 31–August 31, 1960. N.B. We would like to thank Marianne Stockebrand, editor, Robert Irwin Catalogue Raisonné, for her kind assistance with cataloging this work. $20,000-30,000

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456

455

457

455 Angel Botello (Spanish/Puerto Rican, 19131986) Crucifixion Signed “A. Botello Barros” l.r. Oil on panel, 11 3/8 x 9 3/8 in. (28.9 x 24.0 cm), framed. Condition: Surface grime. N.B. We would like to thank Juan Botello for his kind assistance with cataloging this work, and for providing the date of circa 1940-45 for the painting. $6,000-8,000

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456 Howard Finster (American, 1916-2001)

457 Robert Courtright (American, 1926-2012)

Howard’s Paint Can Inscribed, signed, and dated “20.000.878 WORKS SINCE 1976/BY Howard Finster/ AUG.28.1991/JESUS SAVES” on the underside, titled within the composition. Acrylic and ink on a metal paint can, height 8 in. (20.3 cm). Condition: Small paint losses to edges, rust to underside. $1,000-1,500

Untitled (Mask with Horizontal Yellow and Red Stripes) Signed and dated “Courtright ‘84” l.r. Papier-mâché with pigment, 8 x 7 1/2 in. (20.1 x 19.8 cm), presented in a double-sided frame box. Condition: Two small pieces of foam tape affixed to the reverse, mask is loose in its box.

Additional information and photos at www.skinnerinc.com

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


459

458

460

458 Purvis Young (American, 1943-2010)

459 Robert Courtright (American, 1926-2012)

Figure with Halo Signed “young” u.r. Oil on wood panel, 80 1/4 x 42 in. (203.8 x 106.7 cm), framed. Condition: Scattered abrasions, craquelure, surface grime. $2,000-3,000

Untitled (Armored Mask) Signed and numbered “Courtright 4/5” on the reverse. Bronze with black patina, 6 x 6 x 1 in. (15.0 x 15.0 x 2.4 cm), with a Plexiglas stand. Condition: Scattered subtle spots of oxidation. Provenance: A Connecticut estate. $2,000-3,000

460 David Davidovich Burliuk (Ukrainian/ American, 1882-1967) Itinerant Artist in a Castle Landscape Signed “BURLIUK” l.l. Ink and watercolor on paper, 11 3/8 x 16 in. (29.0 x 40.5 cm), framed. Condition: Soiling to the edges of the sheet, minor rippling, hinged to window mat with brown paper tape along the center top edge of the reverse, remnants of former hinges at intervals along the edges of the reverse. $2,000-3,000

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461

461 Mimmo Paladino (Italian, b. 1948) Assediato/A Surrounded Figure Incised signature and date “Mimmo Paladino/1983” on the back of the base, foundry mark “FONDERIA D’ARTE/NIKI TOMMASI/PIETRASANTO” and numbered “1/4” both on the rear edge of the base. Bronze with varying patina and paint, 56 x 46 1/2 x 49 1/2 in. (143.5 x 118.0 x 125.5 cm). Condition: Scattered areas of oxidation, old repair to left antler has become detached, scattered accretions, dust and dirt.

N.B. A painter, sculptor, and printmaker, Paladino was part of the Italian Transavanguardia movement, a subset of an international revival of expressionist painting in the late 1970s and 1980s. Paladino’s interest in expressionistic color plays a central role in Assediato, a sculpture that he produced in an edition of four, each of which features differently colored patinas. $40,000-60,000

Provenance: Sperone Westwater, New York, to the current private collection, June 1984.

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462

462 Henry Moore (British, 1898-1986) Reclining Figures Unsigned, inscribed “Lithograph Reclining Lead figures” u.c., titled in the online Henry Moore Catalogue Raisonné: 1940-1949, dated “1948/50” in a letter from the artist to the consignor. Pencil, wax crayon, and watercolor wash on paper mounted to pressed paperboard, 11 5/8 x 9 1/2 in. (29.5 x 24 cm), framed. Condition: Toning, mat burn, small nicks to left edge, creases l.r., scattered stains and fox marks. Provenance: Purchased from the artist in 1953; private collection, Massachusetts.

Literature: Robert Melville, Henry Moore: Sculpture and Drawings 1921–1969 (London: Thames and Hudson, 1970); John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore (London: Collins and Brown, 1998); Ann Garrould, editor, Henry Moore: Complete Drawings, 1940–49, volume 3 (London and Much Hadham: The Henry Moore Foundation with Lund Humphries, 2001). N.B. In 1973, the owner of this work wrote the following to Henry Moore: “My husband and I have always considered this painting our most precious possession and have prided ouselves on having a genuine Henry Moore, probably the only one of its kind in Lebanon or the Middle East. For some time now, we have been having an argument with our friends about it, and after much hesitation, I thought of writing directly to you for your verdict.

Do the words ‘Lithograph, reclining head figures’ at the top mean that it is a lithograph?” Moore responded, confirming that the work is indeed a drawing, and not a lithograph. He wrote, “At the time I did the drawing I thought I could do a lithograph at some time based on this drawing. In fact, I did make a lithograph using the lower part of your drawing in 1950.” This correspondence between the consignor and the artist accompanies the lot. This work is listed in the online Henry Moore Catalogue Raisonné: 1940-1949 as catalogue number HMF 2427 (see http://catalogue. henry-moore.org:8080/objects/9980/recliningfigures). $50,000-70,000

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463

464

463 Dimitri Hadzi (American, 1921-2006)

464 Melville Price (American, 1920-1970)

Arcturus, 1971 Incised signature and number “D. HADZI IX/ XII” near the base. Bronze with reddish brown patina, height 12 1/4 in. (31.0 cm) on a marble plinth. Condition: Minor dust and dirt to the interstices. $2,000-3,000

Untitled Abstraction from the Maze Series Signed and dated “Melville Price/50” l.r. Oil on Masonite, 16 x 11 1/2 in. (40.6 x 29.2 cm), framed. Condition: Surface grime. $1,500-2,500

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465

466

465 Seong Moy (Chinese/American, 1921-2013)

466 Bruno Romeda (Italian, 1933-2017)

The Serenade Signed “SMoy” l.r., titled on an unattributed label attached to the original stretcher. Oil on canvas, 30 x 18 in. (76.2 x 45.7 cm), unframed. Condition: Lined, stretcher replaced (original stretcher accompanies the lot), retouch, craquelure. $1,200-1,800

Untitled (Square) Signed, dated, and numbered “ROMEDA 91 A.P.” on the underside of the base. Bronze with black patina, height 12 1/4 in. (31.0 cm). Condition: Subtle dirt and dust to interstices. Provenance: A Connecticut estate. $2,000-3,000

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467

467 David Salle (American, b. 1952) Untitled Signed and dated “David Salle 1986” l.r., with a label from Mary Boone Gallery, New York, and an unattributed exhibition label affixed to the frame backing. Watercolor on paper, 29 x 35 in. (29.7 x 89.0 cm), framed. Condition: Sheet with three deckled edges, pinholes to corners, not examined out of frame.

Exhibitions: David Salle: Works on Paper, 1974–1986, Museum am Ostwall Dortmund, June 29–August 10, 1986, Aarhus Kunstmuseum, September 5–October 12, 1986, Institute of Contemporary Art, Boston, December 9, 1986–February 8, 1987, cat. no. 83, illustrated in the catalog, p. 72. $8,000-12,000

Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts.

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468 Leonard Baskin (American, 1922-2000) The Arrival Incised date and signature “19 BASKIN 80” on the base. White metal or similar with dark brown patina, 25 x 15 x 13 3/4 in. (63.5 x 38.1 x 34.9 cm). Condition: Dust and dirt. N.B. We would like to thank the Estate of Leonard Baskin and Galerie St. Etienne for their kind assistance with cataloging this work. $2,000-3,000 469 Norman Laliberté (Canadian/American, b. 1925) Equatorial Conversation Signed and dated “LALiberté 98” l.c., signed l.r., inscribed, titled, signed, and dated “#1861/.../LALiberté/IX - 1998” on the reverse. Mixed media including acrylic and metallic leaf on canvas, 36 x 60 in. (91.5 x 152.3 cm), unframed. Condition: Scattered minor abrasions, craquelure and flaking to metallic leaf. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,000-1,500

468

469

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211


470 Robert Courtright (American, 1926-2012) Untitled (Mask with Red Swirls) Signed and numbered “Courtright 2/3” on the reverse. Bronze with patina and paint, 9 5/8 x 9 3/4 in. (24.3 x 24.6 cm), with a Plexiglas stand. Condition: Minor abrasions to paint surface, with some pitting throughout that is likely characteristic of the medium. Provenance: A Connecticut estate. $2,000-3,000 471 Harold Tovish (American, 1921-2008) Acoustical Tiles #1 Signed and dated “H. TOVISH ‘92” on the reverse, titled on a label from Howard Yezerski Gallery, Boston, affixed to the reverse. Hydrocal mounted to wood board, 34 1/2 x 42 1/2 in. (87.6 x 108.0 cm), unframed. Condition: Minor abrasions and losses to corners. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,500-2,500 472 David Salle (American, b. 1952) 470

Seven Stage Designs for the Armitage Ballet production The Elizabethan Phrasing of the Late Albert Ayler: Prelude/Color Chips, Scene 1 Act 1/Light Fixtures, Scene 2 Act 1/Dragon, Act 1 Scene 2/Gum Machine, Curtain and Act I Close/ Large Eye, Act 2 Scene 1/Arms and Circles, Act 2 Scene 2/Light Bulbs Each signed and inscribed “David Salle Study for EPCA” l.r., titled l.c., dated “1986” l.l., with both unidentified labels and labels from Mary Boone Gallery, New York, affixed to the frame backings. Mixed media including gouache and paper on paper/ board, sizes to 12 1/2 x 19 in. (31.7 x 48.5 cm), framed. Condition: Craquelure, adhesive residue, scattered creases, scattered abrasions, scattered minor stains, some sheets and collage elements have partially detached from their supports, Act 2 Scene 2 with flaking, floated in frames, not examined out of frames. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts.

471

212

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N.B. David Salle has collaborated on many theater and dance productions, beginning in 1981 when he was asked to design the set and costumes for Birth of the Poet, an opera by Kathy Acker under the direction of Richard Foreman. He has since designed sets and costumes for more than fifteen productions by avant-garde choreographer Karole Armitage. Their ballet and opera collaborations have been staged in theaters around the world, including the Metropolitan Opera House, The Kennedy Center for the Performing Arts in Washington, DC, and the Paris Opera. The same year Salle designed the sets and costumes for the presentation of the ballet The Elizabethan Phrasing of the Late Albert Ayler, in Eindhoven, Netherlands, he was awarded a Guggenheim fellowship for his work in the theater. $10,000-15,000


472

Online bidding at www.skinnerinc.com

213


473

473 Lennart Anderson (American, 1928-2015) Houses at South Harpswell Signed with the artist’s monogram and dated “...84” l.r., identified and titled on labels from Davis & Langdale Company, New York, and Robert Schoelkopf Gallery, New York, affixed to the stretcher. Oil on canvas, 16 x 21 in. (40.6 x 53.3 cm), framed. Condition: Minor surface grime. Exhibitions: Nine Realist Painters Revisited: 1963–1984, Robert Schoelkopf Gallery, New York, December 8, 1984–January 2, 1985; Lennart Anderson: Paintings, Davis & Langdale Company, New York, February 16– March 16, 1985, checklist no. 17. $2,500-3,500 474 Richard Sheehan (American, 1953-2006)

474

214

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Black Paint as Bridge - Route 146, North Smithfield, Rhode Island Incised title, signature, and date “...Sheehan 1991” l.r. Oil on canvas, 58 1/4 x 58 1/2 in. (147.8 x 148.5 cm), unframed. Condition: Craquelure, flaking and paint losses l.l. and u.l., surface grime, vertical stretcher bar has detached from the top bar. $2,500-3,500


475

475 Wolf Kahn (German/American, b. 1927) Milking Parlor Signed “W Kahn” l.r., titled and dated “...1982” on the stretcher bar, identified on a label from Meredith Long & Company, Houston, affixed to the stretcher. Oil on canvas, 28 x 40 in. (71.0 x 101.5 cm), framed. Condition: Minor surface grime.

Provenance: Purchased from Meredith Long & Company, Houston, 2004; to the current private collection. Exhibitions: Wolf Kahn/Landscapes, San Diego Museum of Art, December 3, 1983– January 15, 1984. N.B. A photocopy of the 2004 invoice accompanies the lot. $12,000-18,000

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215


476 Gillian Brown (American, 20th/21st Century) Untitled (Classroom) Signed “Gillian Brown” l.r. on the frame of an installation photograph that accompanies the lot. Mixed media installation, 96 x 77 x 79 in. (243.8 x 195.6 x 200.7 cm). Condition: Minor losses to edges of floor panels, walls slightly warped, minor surface grime, scattered minor abrasions. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. Exhibitions: The Constructed Photograph, Addison Gallery of American Art, Andover, Massachusetts, January 17–March 23, 1997. N.B. This work is part of a series of three-dimensional installations in which part of a scene is painted to mimic a (usually black-and-white) photograph. The artist describes: “From only one angle do the painted parts coalesce to form a coherent rectangle... However, from all other angles, the view of a coherent image falls apart into discontinuous or overlapping, often trapezoidal sections. The image disintegrates spatially similar to the way a (photographed) event dissolves in time. As the painted figures form and dissolve, they suggest memories emerging and fading. The different viewpoints also suggest opposing perceptions of reality. There is the viewpoint that reflects a contained and intelligible universe, while the other viewpoints reflect discontinuous, fluctuating and ambiguous states” (http:// gillianbrown.com/portfolio/staircase/).

476

Handwritten installation instructions and other notes signed by the artist accompany the lot. $1,200-1,800

216

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477

477 Sam Cady (American, b. 1943) Country Church, New England Signed and dated “S.L. CADY ‘97-’98” on the reverse, titled and dated on the stretcher bar, identified on a label from the Caldbeck Gallery, Rockland, Maine, affixed to the stretcher. Oil on shaped canvas with detachable spires, 38 x 55 in. (96.5 x 139.5 cm), unframed. Condition: Good. $1,200-1,800 478 Keith McDaniel (American, 1948-1986) Upper Main Street Signed “Keith McDaniel” l.l., signed, dated, inscribed, and titled “Keith McDaniel 1974 Plainfield, N.J./...MSG 1992” on the stretcher. Acrylic on linen, 22 x 22 in. (55.9 x 55.9 cm), framed (in a liner). Condition: Canvas bulges c.l. and c.r., surface grime. $1,000-1,500

478

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217


479 Chris Burden (American, 1946-2015) Chris Burden Deluxe Photo Book: 1971-73, published in 1974, edition of 50 plus 10 proofs. Numbered, signed, and dated “42/50 Chris Burden 1974” on the colophon, each image signed “Chris Burden” on the reverse. Loose-leaf binder with hand-painted cover containing fifty-three photographs (nine in color) and typewritten text documenting twenty-three performances, binder measures 11 1/2 x 11 1/4 x 3 3/4 in. (29.2 x 28.6 x 9.5 cm). Condition: Subtle toning to some text and images. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $20,000-30,000

479

218

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480 John Baldessari (American, b. 1931)

480

Man with Light No visible signature, identified, titled, and dated “.../1990” in the catalogue raisonné (see below). Black and white photograph, oil tint, and vinyl paint on paper mounted to paperboard, 40 x 32 in. (101.5 x 81.3 cm), framed. Condition: Craquelure to blue paint, not examined out of frame. Provenance: The artist; Institute of Contemporary Art, Boston, Benefit Auction; collection of Maria Lopez and Stephen Mindich, Massachusetts. Literature: Patrick Pardo and Robert Dean, John Baldessari Catalogue Raisonné, Volume Three: 1987–1993 (New Haven and London: Marian Goodman Gallery/Yale University Press, 2015), cat. no. 1990.42, illustrated p. 227. Exhibitions: Collector’s Showcase, Fine Arts Work Center, Provincetown, Massachusetts, June 9–July 5, 2011. $40,000-60,000

End of Sale 3203B

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219


Artist Index Aachen, Hans von (School of).................. 203 Abbott, Berenice...................................... 120 Adams, Ansel....................................111–119 Addams, Charles Samuel......................... 384 Allan, Robert Weir.................................... 225 American School, 19th Century.. 98, 253, 261 American School, 19th/20th Century........ 368 American School, 20th Century........ 389, 397 Anderson, Lennart.................................... 473 Appel, Karel................................................ 46 Arbus, Amy.............................................. 150 Arbus, Diane............................................ 130 Ardizzone, Edward Jeffrey Irving....... 383, 393 Armfield, Edward George......................... 212 Arms, John Taylor...................................... 22 Augustincic, Antun................................... 404 Avedon, Richard....................................... 136

De Franceschi, Mariano............................ 219 de Kooning, Willem.................................... 58 Delpy, Hippolyte Camille........................... 211 Dine, Jim.............................................. 59, 60 Du Camp, Maxime..................................... 99 Duca, Alfred Milton................................... 421 Dunlay, Thomas Russell........................... 322 Dunton, William Herbert............................ 257 Dye, Clarkson........................................... 320 Dürer, Albrecht..........................................1–3

Baker, Elisha Taylor.................................. 231 Baker, Sarah Marindah............................. 420 Baldessari, John....................................... 480 Bareford, David........................................ 348 Barnet, Will............................................23–29 Bartlett, Jennifer......................................... 47 Baskin, Leonard....................................... 468 Battaglia, Clelia Bompiani......................... 220 Bayer, Herbert.......................................... 430 Beck, Otto Walter..................................... 422 Beckmann, Hannes.................................. 446 Bellows, George......................................... 30 Bemelmans, Ludwig................................. 392 Benn, Ben................................................ 374 Benson, Frank Weston..........................31–37 Bernhard, Ruth................................. 122, 129 Bierstadt, Albert (Attributed to)................. 206 Bissell, Edgar Julien.................................. 223 Blake, William....................................... 13, 14 Blum, Jerome........................................... 419 Boehm, Sir Joseph Edgar........................ 276 Bonheur, Isidore Jules.............................. 277 Borein, Edward.......................................... 38 Botello, Angel........................................... 455 Braque, Georges........................................ 48 Brassaï..................................................... 123 Brewster, Anna Richards.......................... 356 Brown, Carlyle.......................................... 431 Brown, Gillian........................................... 476 Bruce, Patrick Henry................................ 415 Brunkal, Erich........................................... 263 Bukovac, Vlaho........................................ 222 Burden, Chris........................................... 479 Burliuk, David Davidovich......................... 460 Burrill, Edward.......................................... 308 Butler, Theodore Earl................................ 402

Faurer, Louis............................................ 121 Fawcett, Robert................................ 386, 388 Felix, Kanute Edwin.................................. 234 Fenn, Otto.............................................. 130A Fillon, Arthur............................................. 365 Finster, Howard........................................ 456 Fischer, Anton Otto.................................. 391 Flemish School, 17th/18th Century.......... 204 Fontaine, E. Joseph.................................. 327 Foster, William Harnden........................... 387 Frank, Robert....................................124–128 Frazier, Kenneth............................... 328, 395 French School, 18th Century.................... 207 French School, 19th Century.................... 209 Frerichs, William Charles Anthony............. 248 Frith, Francis............................................. 100

Cabot, Channing...................................... 307 Cady, Sam............................................... 477 Calder, Alexander...............50, 52, 441, 441A Calder, Alexander (After)............................. 51 Caliga, Isaac Henry.................................. 224 Callahan, Harry................................. 132, 133 Cappiello, Leonetto.................................... 53 Carlson, John Fabian....................... 311, 317 Casdin-Silver, Harriet................................ 147 Chagall, Marc........................................54–56 Chagall, Marc (After)................................... 57 Champney, Benjamin....................... 259, 262 Chapman, John Linton............................. 226 Chase, William Merritt............................... 256 Clapp, William Henry........ 336, 337, 398, 400 Close, Chuck............................................ 144 Clymer, John............................................ 390 Continental School, 18th Century............. 201 Continental School, 19th Century............. 213 Corot, Jean-Baptiste-Camille...................... 15 Corsi, Carlo.............................................. 434 Courtright, Robert.................... 457, 459, 470 Crossland, James Henry.......................... 216 Csók, István............................................. 410 Cunningham, Wayne........................ 437, 440 Curran, Charles Courtney......... 401, 405, 408 Curtis, Edward Sheriff............................... 101

Egry, József............................................. 413 Eilshemius, Louis Michel................... 235, 423 Enneking, John Joseph............................ 246 Enneking, Joseph Eliot..................... 258, 297 Ernst, Max.................................................. 61 Escher, M.C..........................................62–64

Gallatin, Albert Eugene............................. 442 Gasser, Henry Martin................................ 309 Gibson, Charles Dana...................... 378, 379 Gilbert, Arthur Hill..................... 304, 326, 341 School of Giorgione (Attributed to)............ 208 Goldin, Nan.............................................. 146 Goodwin, Arthur Clifton.... 298, 305, 359, 361 Gorson, Aaron Harry................................ 363 Goubie, Jean Richard............................... 271 Goya y Lucientes, Francisco José.............4–6 Gray, Percy.............................................. 331 Gruppé, Emile Albert...................................... ........................301, 302, 343, 344, 354, 399 Guttuso, Renato....................................... 432 Génin, Lucien................................... 371, 372 Hadzi, Dimitri............................................ 463 Halász, Gyula........................................... 123 Hennings, Ernest Martin........................... 288 Henri, Robert............................................ 362 Hibbard, Aldro Thompson........................ 342 Holty, Carl Robert..................................... 433 Hou Chun-Ming.......................................... 65 Huffington, John Clifford........................... 255 Hunt, Charles Day.................................... 236 Irwin, Robert............................................. 454 Jackson, Harry................. 278–282, 285, 294 Jacque, Charles Émile.............................. 214 John, Augustus Edwin................................ 16 Johnson, Lester F. .................................. 436 Johnson, Marshall.................................... 339 Kagan, Illya............................................... 329 Kahn, Wolf............................................... 475 Katz, Alex................................................... 66 Keane, Michael......................................... 350 Kent, Rockwell........................................... 39 Kenworthy, Jonathan............................... 417 Kenyon, Henry Rodman........................... 357 King, Albert Francis.................................. 265 Knight, Dame Laura................................. 411 Kolesnikoff, Stepan Fedorovic.................. 396 Kollwitz, Käthe............................................ 67 Kubicki, Stanley........................................ 376 Kuehne, Max............................................ 353

Kuniyoshi, Yasuo........................................ 40 Käsebier, Gertrude................................... 102 La Farge, John................................. 273, 274 La Farge, John (School of)....................... 268 Lachaise, Gaston..................................... 414 Laliberté, Norman..................................... 469 Lansil, Walter Franklin............................... 364 Lavery, John............................................. 366 Lawson, Ernest........................................ 310 Lawson, Robert........................................ 377 Lemieux, Annette..................................... 143 Leslie, Charles Robert.............................. 221 Levine, Jack............................................. 429 van Leyden, Lucas................................... 7, 8 Lichtenstein, Roy........................................ 68 Lieber, Tom.............................................. 450 Lindneux, Robert Ottokar......................... 284 Lintott, Edward Barnard................... 425, 428 Loiseau, Gustave...................................... 369 Lundeberg, Helen..................................... 443 Lynes, George Platt...........................107–109 Lynes, George Platt (Attributed to)............ 110 MacDonald, John Blake........................... 215 Major, Ernest Lee..................................... 270 Manocchia, Adriano................................. 290 Martensen, Mark...................................... 283 Matisse, Henri............................................ 69 McAuliffe, John......................................... 269 McCurry, Steve........................................ 139 McDaniel, Keith........................................ 478 McEntee, Jervis........................................ 240 Mellor, William.......................................... 217 Melrose, Andrew...................................... 238 Metcalf, Willard Leroy....................... 229, 254 Miró, Joan.............................................70–72 Mitchell, Jack........................................... 137 Molnár, C. Pál.......................................... 412 Moore, Henry........................................... 462 Moore, Nelson Augustus.................. 242, 243 Moras, Walter........................................... 210 Morrisroe, Mark........................................ 138 Morviller, Joseph...................................... 250 Motherwell, Robert................................73–77 Moy, Seong.............................................. 465 Mulhaupt, Frederick John......................... 300 Myer, Richard A............................... 286, 287 Nadelman, Elie................................... 78, 426 Narkis, Benny................................... 438, 439 Newton, Helmut....................................... 148 Nicholas, T.M........................................... 315 Nicolaïdes, Kimon..................................... 424 Nieto, John............................................... 292 Noyes, George Loftus.............................. 403 Ochtman, Leonard........................... 249, 355 Owen, Robert Emmett.............................. 303 Packard, Anne.......................................... 349 Painter, Thomas Stanley........................... 319 Paladino, Mimmo..................................... 461 Palmer, Walter Launt................................ 314 Papashvily, George.................................. 435 Partington, Richard Langtry...................... 260 Pearson, Marguerite Stuber...................... 407 Pedersen, Carl-Henning............................. 79 Penck, T.E................................................ 373 Perry Jr., Enoch Wood..................... 266, 267 Phelps, William Preston............................ 232 Picasso, Pablo......................... 80, 81, 83–85 Picknell, William Lamb.............................. 330 Platt, Alethea Hill...................................... 340 Poliakoff, Serge.....................................86–89 Pope, Alexander............................... 275, 289 Porter, Bonnie.......................................... 149 Potthast, Edward Henry........................... 380 Poulson, Ernest (Attributed to).................. 230 Price, Melville............................................ 464

Redon, Odilon............................................ 17 Rehn, Frank Knox Morton........................ 237 van Rijn, Rembrandt................................9–12 Robinson, Thomas Harris......................... 272 Rodin, Auguste..................................... 18, 19 Romeda, Bruno........................................ 453 Rosa, Salvator (School of)........................ 205 Roualt, Georges......................................... 90 Ruff, Thomas............................................ 142 Ruscha, Ed................................................ 91 Salinas, Porfirio....................................... 255A Salle, David...................................... 467, 472 Scarlett, Rolph.......................................... 447 Schenck, Billy..................................... 92, 295 Schoonover, Frank Earle.......................... 333 Schwab, Walmar Wladimir........................ 445 Searle, Ronald.......................................... 382 Sears, Philip Shelton................................ 409 Shapiro, Joel.............................................. 93 Shapleigh, Frank Henry.................... 245, 252 Sheehan, Richard..................................... 474 Sheppard, Warren.................................... 228 Silva, William Posey.......................... 335, 338 Siskind, Aaron.................................. 134, 135 Smith, Francis Hopkinson......................... 325 Smith, Russell.................................. 241, 244 Starn, Doug and Mike...................... 140, 141 Steffen, Bernard Joseph............................. 41 Steinberg, Saul........................... 94, 381, 385 Stevens, William Lester..................... 296, 352 Stieglitz, Alfred.......................................... 103 Stone, Don....................................... 334, 351 Strand, Paul............................................. 104 Sutherland, Graham................................... 20 Sword, James Brade................................ 251 Terelak, John Charles............................... 312 Thaddeus, Henry Jones........................... 406 Thompson, Richard Earl........................... 375 Tooker, George.................................... 42, 43 Tovish, Harold.......................................... 471 Trousset, Léon......................................... 291 Valenkamph, Theodore Victor Carl........... 233 Van Dyke, Willard............................. 105, 106 Vasarely, Victor........................................... 95 Villon, Jacques........................................... 21 Vincent, George....................................... 218 Vollet, Jean............................................... 367 Voorhees, Clark Greenwood............ 306, 313 Walcot, William......................................... 360 Warhol, Andy.............................................. 96 Way, John................................ 448, 449, 451 Weber, Carl Philipp................................... 227 Weber, Sarah Stilwell................................ 394 Wegman, William...................................... 145 Wei Letang............................... 448, 449, 451 Weir, Julian Alden..................................... 358 Weisenborn, Rudolph............................... 444 Wendel, Theodore.................................... 324 Wesselmann, Tom...................................... 97 Whistler, James Abbott McNeill............ 44, 45 Whitehorse, Emmi.................................... 452 Whittredge, Worthington.......................... 247 Whorf, John............................................. 316 Wiggins, Kim Douglas.............................. 293 Wilbur, Lawrence Nelson.................. 416, 418 Williams, Frederick Dickinson................... 370 Winner, William......................................... 264 Winogrand, Garry..................................... 131 Wood, Robert William............................... 299 Woodward, Stanley Wingate.... 321, 345–347 Wores, Theodore (Attributed to)............... 323 Wyant, Alexander Helwig.......................... 239 Wyeth, Jamie........................................... 332 Young, Purvis........................................... 458 Zerbe, Karl............................................... 427

Randolph, Lee.......................................... 318


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. 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(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. 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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

221


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Stephen L. Fletcher Bear Albright

508.970.3202

John Deighton Karen M. Keane

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Kathleen M. Leland paintings@skinnerinc.com

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508.970.3215

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Eric Jones Gloria Lieberman Jane D. Prentiss Robin S.R. Starr

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Oriental Rugs & Carpets Lawrence Kearney rugs@skinnerinc.com 508.970.3247

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coins@skinnerinc.com 508.970.3191

222


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Marlborough: 508.970.3211 Discovery: 508.970.3208

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223


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YES

Bid Price

NO

FOR OFFICE USE Marlborough

Boston

Phone

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

Fax

Mail

Person

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

Employee:

www.skinnerinc.com


Looking at Sculpture: A Hands-on Evening with Conservator Rika Smith January 24, 2019 | 63 Park Plaza, Boston, MA Reception 5:30PM | Gallery Walk 6PM

reservations are requested

Rika Smith, art conservation expert in cast bronze sculpture, will join us for an evening of conversation about all things bronze. Using artworks presented for the Fine Arts & Painting auction on January 25, 2019 by Isidore Bonheur, Harry Jackson, and Mimmo Paladino, we will examine the sculptures to identify casting methods, finishing techniques, and types of patination. We will also search for signatures and foundry marks. Specific questions regarding each artwork will be answered, and questions about sculpture conservation in general will also be discussed. Smith is the principal of Rika Smith McNally & Associates/SculptureCare, serving clients in the Boston area and throughout the US. She is a graduate of the Rhode Island School of Design and has a master’s degree in conservation from the Winterthur/University of Delaware Art Conservation Program. Smith also has a certificate in conservation from the Harvard University Art Museums and is a fellow of the American Institute for Conservation of Historic and Artistic Works. Her career specialty has been bronze sculpture. Her most recent major treatment was a monumental Japanese Meiji era cast bronze eagle, currently on exhibition at the McMullen Museum at Boston College.

please rsvp to events@skinnerinc.com held in conjunction with a preview of Skinner’s January 25th auction of American & European Works of Art


American & European Works of Art | Skinner Auction 3203B  
American & European Works of Art | Skinner Auction 3203B