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American & European Works of Art Sale 3293B | September 26 & 27, 2019 | Boston


American & European Works of Art


Specialists

Robin S.R. Starr

Elizabeth C. Haff

Kathleen M. Leland

Brianna Lovensheimer

Department Director 508.970.3259

508.970.3258

508.970.3297

508.970.3264

Department Inquiries: 508.970.3206

Auction Information Auction 3293B

Preview

Absentee Bidding

Fine Prints, Multiples & Photographs

Wednesday, September 25 12 to 5PM

T: 617.874.4318 F: 617.350.5429

Thursday, September 26 6PM

Fine Paintings & Sculpture Friday, September 27 12PM 63 Park Plaza Boston, MA

Thursday, September 26 12 to 8PM

General Inquiries 617.350.5400

SKINNERLIVE! skinnerinc.com

cover : 508 ; interior front cover : 241

View all lots online at www.skinnerinc.com

interior back cover : 123 ; back cover : 76A


| SKINNERLIVE ! SKINNERLIVE !

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Lot 483: Arthur Emptage (American, 1903-1982), Abstract, oil on canvas, 30 x 22 1/8 in.

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Table of Contents 1

Auction & Specialist Information

2

Online Bidding

4

Provenance & Event Announcements

5

Thursday: Prints, Multiples & Photographs: Lots 1–144

77

Friday: Paintings & Sculpture: Lots 201–529

234

Artist Index

236

Glossary of Terms

237

Conditions of Sale

238

Company Directors & Specialty Departments

239

Administrative Staff & Client Services

240

Absentee Bid Form

Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 237 of this catalog for the full terms and conditions governing your purchase.

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


Join us! Thursday, September 26th | 5PM Enjoy wine and hors d’oeuvres as you preview the auction Friday, September 27th | 10:30AM The festivities continue with a petite brunch of pastries and mimosas The public is welcome to attend. RSVP events@skinnerinc.com or 617.350.5400

Provenance Collection of Joseph Thomas Alvarez III, California

Estate of A. Margaret Bok, Rockport, Maine

Collection of Virginia Farnsworth, Essex, Massachusetts

Estate of Henry D. Childs, Massachusetts and Florida

Collection of Louis Jung, Prague and New York City

Estate of Justin L. Cobb III, Massachusetts

Collection of Maria Lopez and Stephen Mindich, Massachusetts

Estate of Arthur Clifton Goodwin Estate of Brigitte Graneau, Concord, Massachusetts

Family of Frank Weston Benson Estate of Richard Mills, Exeter, New Hampshire Family of Gertrude Fiske Estate of Russell Veit, Connecticut Family of John Way By descent in the family of Dr. Richard Young, Massachusetts Private Collection, Connecticut and Florida

Private Collections in Massachusetts, Pennsylvania, and Westchester County, New York Estate of Robert Wynne, Massachusetts.


Fine Prints, Multiples & Photographs Lots 1–144 to be sold Thursday, September 26, 6PM


1 Hendrik Goltzius (Dutch, 1558-1617) Pietà , 1596. Monogrammed and dated within the plate, pencil annotations and collector’s stamp (see below) to verso. Engraving on laid paper, image size 6 7/8 x 4 7/8 in. (17.5 x 12.4 cm), framed. Condition: Trimmed just outside of the border (missing the blank space beneath the image), tear to left edge, fox mark u.c. Provenance: Ex-collection of Arkady Nicolayevitch Alferoff (Russian/German, 1811-1872) per collector’s stamp (Lugt, 1727); through to a Massachusetts collecting institution; to Skinner, Inc., Sale 2581B, Lot 53, February 3, 2012; through to the estate of Robert Wynne, Massachusetts. $600-800 2 Andrea Mantegna (Italian, 1431-1506) Bacchanal with a Wine Vat, early 1470, a lifetime or near lifetime impression (Bartsch, 19; Hind, 3; NGA 1973, 73). Monogrammed and dated within the plate. Engraving on laid paper, sheet/image size 11 x 16 3/16 in. (27.8 x 41.0 cm), framed. Condition: Trimmed into image, laid down, extensive repaired/reassembled tears and replacement of losses (some with retouch), abrasions, toning, staining. 1

Provenance: Swann Galleries, Sale 2347, Lot 4, April 29, 2014; through to the estate of Robert Wynne, Massachusetts. $500-700

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3 Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

4 Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

5 Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Beggars Receiving Alms at the Door of a House, 1648, an 18th century impression (Bartsch/Hollstein, 176ii/iii). Signed and dated within the plate. Etching on laid paper, image size 6 1/2 x 5 1/16 in. (16.5 x 12.6 cm), framed. Condition: Trimmed just within the platemark, several fox marks, pale and uneven toning, floated within the mat, not examined out of frame. $700-900

Self Portrait Drawing at a Window, 1648, a late 18th or early 19th century impression (Hind, 229; Bartsch/Hollstein, 22 v/v). Signed and dated in the plate, unidentified collector’s stamp (a crown over the initials M.H. in purple ink) on verso. Etching on laid paper, plate size 6 1/4 x 5 1/8 in. (16.0 x 13.0 cm), unmatted, unframed. Condition: Hinged to heavy paper, margins 1/4 inch or more, old glue/hinge residue to verso, thinned spot to one corner on verso. $500-700

Peter and John Healing the Cripple at the Gate of the Temple, 1659, a late 18th or early 19th century impression (Bartsch/Hollstein, 94iv/iv). Signed and dated in the plate. Etching on laid paper, plate size 7 1/8 x 8 1/2 in. (18.0 x 21.5 cm), unmatted, unframed. Condition: Margins 1/8 inch or more with ink (especially to right margin), a minute nick to both the left and lower margin, old glue/ hinge residue, stains, and pencil annotations to verso. $500-700

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6 partial

6 Gerald Leslie Brockhurst (British, 18901978) Six Portrait Etchings: The Dancer (The Artist’s Wife), 1925 (Brumbaugh et al., 34; Wright, 52); La Tresse, 1926 (B., 38; W., 56); The Amberley Boy (The Second Plate), 1928 (B., 43-5; W., 62); Viba (Mrs. Bobby Hazelton Ross), 1929 (B., 48; W., 63); Una, 1929, sixth state of ten (B., 51; W., 65); and Young Womanhood, 1931, fourth state of seven (B., 62; W., 70). Each signed “G.L. Brockhurst.” in pencil l.r. and signed and dated within the plate. Etching with drypoint on various papers, plate sizes to 10 x 6 7/8 in. (25.4 x 17.4 cm), all but Una and Boy matted, all unframed. Condition: All with mild toning, most with broken hinges or old hinges/residue to versos, most with pencil annotations to lower margin or verso, Tresse with mat burn and lightstaining, Boy with more prevalent toning and foxing and with edges of upper and lower margins folded under, Una with edges of upper and lower margins folded under. $600-800

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7 Edgar Degas (French, 1834-1917) Edgar Degas, par lui-même, 1855-57, final state of four after cancellation (Delteil, 1; Adhémar, 13). Unsigned. Etching on paper, plate size 9 1/8 x 5 3/4 in. (23.2 x 14.5 cm), framed. Condition: Unobtrusive toning, mat burn, gentle rippling, not examined out of frame. $100-150

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8 Luigi Kasimir (Austrian, 1881-1962) Three Views: Old Hamburg, 1927; Wien - Blick vom Hochhaus (Vienna - General View) (Kasimir, 8); and Hamburg, Zollkanal (Zoll Canal) (K., 229). Each signed “Luigi Kasimir” in pencil beneath the image. Color etchings with aquatint on paper, plate sizes to 13 3/4 x 26 5/8 in. (34.8 x 67.5 cm), framed. Condition: Not examined out of frames. $1,000-1,500 8A Max Liebermann (German, 1847-1935) Polo, 1912 (Schiefler, 143II). Signed or inscribed “MLiebermann” in pencil l.l. Lithograph on paper, image size 9 x 12 1/8 in. (22.9 x 30.3 cm), framed. Condition: Rippling, light toned, handling creases and similar near upper corners, possible area of erasure l.r., brown paper tape to upper corners on verso. Provenance: Collection of Louis Jung, Prague and New York City. $700-900

8 partial

8A

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10 partial

9 Charles Meryon (French, 1821-1868)

9 partial

Two Prints: La Tour de L’Horloge, 1852, probably from the seventh state of ten (Schneiderman, 23vii; Delteil, 28) on chine collé; and Saint-Étienne-du-Mont, 1852, final state of eight, edition of 30, printed in 1861 (S., 25; D., 30) on laid Hudelist paper with watermark. Both identified within the plate. Etchings, plate sizes to 10 3/8 x 7 1/4 in. (26.2 x 18.3 cm), matted, unframed. Condition: Both with pencil annotations to lower margin and/or verso, Tour with even toning to supporting sheet, Saint-Étienne with wide margins, pale mat burn, and gentle light-staining. $300-500 10 Charles Meryon (French, 1821-1868) Two Impressions of Le Pont Neuf, 1853, probably the 7th state and the final state (printed in 1861) of eleven (Schneiderman, 30). Both identified within the plate. Etching on paper, plate sizes 7 1/4 x 7 1/4 in. (18.3 x 18.3 cm), unmatted, unframed. Condition: Both with gentle toning, the later state with erased pencil annotations to lower margin and minor soiling, and with an unidentified collector’s mark (an orange image of Sagittarius). $300-500 11 Théophile Alexandre Steinlen (French/Swiss, 1859-1923) Blanchisseuses reportant l’ouvrage, 1898, possibly a proof of one of the three plates from the first state (Crauzat, 22). Unsigned. Etchings with aquatint and drypoint on heavy laid paper, plate size 14 1/8 x 10 5/8 in. (36.1 x 27.2 cm), framed. Condition: Margins 1 1/2 inches or more with a deckled right edge, mat burn and staining to margins, pale foxing and subtle staining to upper third of image, masking tape and white cloth tape to top edge on verso.

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N.B. The Museum of Fine Arts, Houston, has a nearly identical impression, accession number 75.548. $200-300

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12 Henri de Toulouse-Lautrec (French, 18641901) Le marchand de marrons (The RoastedChestnut Vendor), 1897, probably from the posthumous edition of 625 published in 1925 (Adriani, 211). Monogrammed within the matrix, a label from the Vincent Price Collection affixed to the backing. Lithograph on paper, image size 10 1/4 x 7 in. (26.0 x 17.5 cm), framed. Condition: Not examined out of frame. $500-700 13 Edouard Vuillard (French, 1868-1940) IntĂŠrieur au canapĂŠ, alternatively titled Soir, c. 1930, final state of three (RogerMarx, 62). Initialed within the plate. Etching on paper, plate size 4 x 5 3/4 in. (10.0 x 14.5 cm), framed. Condition: Margins 1 inch or more, not examined out of frame. $100-150

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14 Anders Zorn (Swedish, 1860-1920) Pilot, 1919, only state (Asplund, 285). Signed “Zorn” in pencil l.r., signed within the plate. Etching on laid paper, plate size 7 x 4 5/8 in. (17.7 x 11.6 cm), matted, unframed. Condition: Margins over 2 inches, extremely subtly light-toned. $1,000-1,500 15 Anders Zorn (Swedish, 1860-1920) Balance, 1919, only state (Asplund, 287). Signed “Zorn” in pencil l.r., signed and dated within the plate. Etching on laid paper, plate size 6 1/2 x 4 1/2 in. (16.4 x 11.4 cm), matted, unframed. Condition: Margins 3 inches or more with a deckled lower edge, two minute nicks to left edge near lower corner, pencil annotations to lower margin, gently light-toned. $1,000-1,500 16 Romain De Tirtoff, called Erté (Russian, 1892-1990) 14

Zsa Zsa, 1975, edition of 260. Signed “Erté” in pencil l.r., numbered “54/260” in pencil l.l. Color screenprint on paper, image size 27 x 13 5/8 in. (68.5 x 34.5 cm), framed. Condition: Unobtrusive toning, not examined out of frame. $300-500 17 Romain De Tirtoff, called Erté (Russian, 1892-1990) Two Costume Designs: Gaby Desley and King’s Favorite, 1979-80, edition of 300, published by Circle Fine Art Corp., Chicago. Both signed “Erté” in pencil l.r., numbered “.../300” in pencil l.l., and with publisher’s label affixed to the backing. Color screenprints on paper, sheet sizes 25 1/8 x 20 1/8 in. (63.5 x 51.0 cm), framed. Condition: Not examined out of frames. $1,000-1,500 18 Romain De Tirtoff, called Erté (Russian, 1892-1990)

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Manhattan Mary I, 1979, edition of 300, published by Circle Fine Art Corp., Chicago. Signed “Erté” in pencil l.r., numbered “232/300” in pencil l.l., publisher’s dry stamp l.l., publisher’s label affixed to the backing. Color lithograph on paper, image size 15 1/4 x 11 3/8 in. (38.5 x 28.7 cm), framed. Condition: Pale mat burn, not examined out of frame. $300-500


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19 Léonard Tsuguhara Foujita (Japanese/ French, 1886-1968) Nu assis, from the album Femmes, 1930, edition of 100, published by Éditions Artistiques Apollo, Paris (Buisson, I.30.35). Signed “Foujita” in pencil l.r., numbered “40/100” (possibly over a previous number) in pencil l.l. Etching with aquatint and handcoloring on chine collé, image size 22 x 14 1/2 in. (55.8 x 36.8 cm), framed. Condition: Unobtrusive toning (more apparent to supporting sheet), not examined out of frame. $1,500-2,000

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20 Elie Nadelman (American, 1885-1946) Head Study. Unsigned. Etching on cream paper, plate size 5 7/8 x 4 7/8 in. (15.0 x 12.3 cm), framed. Condition: Not examined out of frame. Provenance: From the artist’s estate to the current owner. $400-600 21 Claughton Pellew (British, 1890-1966) The Return, 1925, edition of 25 (Ashmolean Museum, 17). Signed and dated “Claughton Pellew. 1925.” in pencil l.r., titled in pencil l.c., numbered “Imp. 23/25.” in pencil l.l., monogrammed within the block. Woodcut on paper, image size 10 1/2 x 10 in. (26.5 x 25.5 cm), framed. Condition: Foxing, not examined out of frame. N.B. According to the Ashmolean Museum the view is probably the Cornish fishing village of Mousehole. $200-300

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22 Frank Weston Benson (American, 18621951) Lighting In, 1925, trial proof A-7 (Paff, 244). Signed, titled, and numbered “Frank W Benson...” in pencil l.l. Etching on laid paper, plate size 7 7/8 x 10 7/8 in. (20.0 x 27.6 cm), unmatted and unframed. Condition: Deckled edges to all sides, small accretion of ink to u.r. corner and artist’s fingerprints to l.r. corner, few creases to paper inside plate created during printing, very subtle handling creases. Provenance: Descended within the family of the artist. $500-700 23 Frank Weston Benson (American, 18621951) On Swift Wings, 1927, proof B-1 (Paff, 264). Signed, titled, and numbered “FrankWBenson...” in pencil l.l. Etching on laid paper with “ENGLAND” watermark, plate size 11 3/4 x 9 3/4 in. (29.8 x 24.8 cm), unmatted and unframed. Condition: Deckled edges to all sides, artist’s ink fingerprints to l.l. corner, creasing to u.r. edge in margin, extremely subtle handling creases. Provenance: Descended within the family of the artist. $500-700

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24 Frank Weston Benson (American, 1862-1951) Evening Flight, 1927, proof A-7 (Paff, 270). Signed, titled, and numbered “FrankWBenson...” in pencil l.l. Etching on laid paper, plate size 5 15/16 x 7 7/8 in. (15.0 x 19.8 cm), unmatted, unframed. Condition: Deckled upper edge, ink and fingerprints to u.r. corners. Provenance: Descended within the family of the artist. N.B. There were also “B” and “C” trials made of this image prior to the published state. $500-700 25 Frank Weston Benson (American, 1862-1951) 24

Casting for Salmon, 1929, published state, edition of 150 (Paff, 288). Signed, titled, and numbered “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 and unframed. Condition: Full margins with deckled left and lower edges, gentle rippling to edges. Provenance: Descended within the family of the artist. $600-800 26 Frank Weston Benson (American, 1862-1951) Over Cape Cod, 1932, proof A (Paff, 326). Signed, titled, and numbered “Frank W Benson...” in pencil l.l. Etching on laid paper with “ENGLAND” watermark, plate size 8 x 15 in. (20.3 x 38.1 cm), unmatted and unframed. Condition: Deckled edges to all sides, scattered ink and fingerprints to margins from artist, minor accretions to right margin, scattered creasing. Provenance: Descended within the family of the artist. $500-700

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27 Thomas Hart Benton (American, 18891975) The Woodpile, 1939, edition of 250, published by Associated American Artists, New York (Fath, 31). Signed “Benton” in pencil l.r. and within the matrix, label from AAA affixed to the backing paper. Lithograph on wove paper, image size 8 3/4 x 11 in. (22.1 x 27.8 cm), framed. Condition: Margins just over 1 inch, mat burn, affixed to facing mat with brown paper tape to all edges on verso, corrugation staining to verso. $1,500-2,000 28 Thomas Hart Benton (American, 18891975) 28

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The Farmer’s Daughter, 1944, edition of 250, published by Associated American Artists, New York (Fath, 62). Signed “Benton” in pencil l.r. Lithograph on Strathmore rag paper with watermark, image size 9 3/4 x 13 1/4 in. (24.6 x 33.5 cm), framed. Condition: Margins approximately 7/8 inches, unobtrusive toning/light staining to recto, gentle rippling. $1,200-1,800

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29 Thomas Hart Benton (American, 18891975) The Corral, 1948, edition of 250, published by Associated American Artists, New York (Fath, 71). Signed “Benton� in pencil l.r. and within the matrix. Lithograph on wove paper, image size 9 11/16 x 13 3/4 in. (24.5 x 34.8 cm), framed. Condition: Margins just over 1 inch, unobtrusive toning, pinpoint foxing, gentle rippling. $1,500-2,000

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30 Mary Cassatt (American, 1844-1926)

31 Ernest Fiene (American, 1894-1965)

32 Mark Freeman (American, 1908-2003)

Looking into the Hand Mirror No. 2, c. 1905 (Breeskin, 202). Unsigned. Drypoint on paper, plate size 8 1/4 x 5 3/4 in. (20.8 x 14.4 cm), framed. Condition: Unobtrusive toning and foxing to margins, not examined out of frame. $250-350

Waterfront (Manhattan), 1931, edition of 100 (Coven, 64). Signed and dated “Ernest Fiene 31” in pencil l.r., numbered “94/100” in pencil l.l., titled in pencil l.c. Lithograph on BFK Rives paper with watermarks, image size 11 1/8 x 17 3/4 in. (28.2 x 45.0 cm), matted, unframed. Condition: Full sheet with deckled edges, pencil annotations to lower margin. $600-800

Concrete Cliffs, alternatively titled Manhattan Cliffs, 1936, edition probably of 30 plus proofs. Signed and dated “Mark Freeman 1936” in pencil l.r., titled in pencil l.l., inscribed “a/p” in pencil l.c. Lithograph in yellow and black on paper, image size 20 1/2 x 15 1/2 in. (52.0 x 39.4 cm), matted, unframed. Condition: Margins over 1 1/2 inches. $800-1,200

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33 Mark Freeman (American, 1908-2003) Manhattan Cliffs, 1952, edition of 50 plus proofs. Signed “Mark Freeman” in pencil l.r., titled in pencil l.l., inscribed “a/p” in pencil l.c. Lithograph on paper, image size 19 3/4 x 15 1/4 in. (50.1 x 38.7 cm), matted, unframed. Condition: Pale staining along upper edge. $700-900 34 John Melville Kelly (American, 1879-1962) Kauai Hala/A Hawaiian Coastal View. Signed “John Kelly” in pencil l.r., titled in pencil l.l. Etching on paper, plate size 7 7/8 x 9 7/8 in. (19.8 x 25.0 cm), framed. Condition: Gentle rippling, not examined out of frame. $200-300

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35 Rockwell Kent (American, 1882-1971) Farewell, 1931, edition of 400 (Jones, 61). Signed “Rockwell Kent” in pencil l.r. Lithograph on wove paper, image size 5 3/4 x 3 15/16 in. (14.5 x 10.0 cm), unmatted, unframed. Condition: Full sheet with deckled edges, pencil and ink annotations to lower margin and verso. Provenance: Ex-collection of Dr. E.A. Scollin, Springfield, Illinois (according to collector’s stamp on verso). $300-500 36 Rockwell Kent (American, 1882-1971) Sophia, 1933, edition of 100 (Jones, 97). Signed “Rockwell Kent” in pencil l.r. Lithograph on wove paper, image size 4 1/2 x 3 3/4 in. (11.4 x 9.4 cm), unmatted, unframed. Condition: Full sheet with deckled edges, pencil and ink annotations to lower margin and verso, two small stains to upper margin, subtle wear and toning to some deckles. Provenance: Ex-collection of Dr. E.A. Scollin, Springfield, Illinois (according to collector’s stamp on verso). $300-500 37 Rockwell Kent (American, 1882-1971) Starry Night, 1933, edition of 1,750 (Jones, 103). Signed “Rockwell Kent” in pencil l.r. Wood engraving on Japan paper, image size 7 x 4 15/16 in. (17.7 x 12.4 cm), unmatted, unframed. Condition: Margins over 1 1/4 inches with deckled right and lower edges, very pale foxing and light-staining, old hinges and staining to upper corners. $300-500

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37A Yasuo Kuniyoshi (Japanese/American, 1893-1953) The Shower, 1932, edition of 30 (Davis, L55). Signed and dated “Yasuo Kuniyoshi. 32.” in pencil l.r., titled in pencil l.c., inscribed “30 prints” in pencil l.l. Lithograph on paper, image size 10 1/8 x 13 3/4 in. (25.5 x 34.8 cm), matted, unframed. Condition: Thinning to corners, upper corners with repairs, even toning, pencil annotations l.r., mitigated staining to verso. $300-500 38 Louis Lozowick (Russian/American, 18921973) 57th Street, alternatively titled Rubber Center, 1929, edition of 40, printed by George Miller, New York (Flint, 26). Signed and dated “LOUIS LOZOWICK ‘29” in pencil l.r., monogrammed within the matrix. Lithograph on wove paper, image size 14 7/8 x 7 1/2 in. (37.6 x 19.0 cm), matted, unframed. Condition: Full sheet with deckled edges, 1 1/2 inch tear parallel to edge of image u.l., unobtrusive toning, pale foxing, pinholes to margin at upper corners. $2,000-3,000

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39 Reginald Marsh (American, 1898-1954)

40 Reginald Marsh (American, 1898-1954)

10th Ave. at 27th St., 1931, from the 1969 edition of 100, published by the Whitney Museum, New York (Sasowsky, 128). Unsigned, numbered “89/100” in pencil l.l., Whitney Museum dry stamp l.r. Engraving on paper, plate size 7 3/4 x 10 7/8 in. (19.5 x 27.5 cm), framed. Condition: Pale mat burn, not examined out of frame. $300-500

Drum Majorette, 1940, published state, edition of 300, 1947 (Sasowsky, 204). Initialed and dated within the plate. Etching and engraving on paper, plate size 11 3/4 x 5 7/8 in. (29.8 x 14.8 cm), framed. Condition: Not examined out of frame. $300-500

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41 Thomas Moran (American, 1837-1926) After Charles François Daubigny (French, 1817-1878) Landscape, alternatively titled Landscape after Daubigny and The End of the Month of May, 1886 (Morand & Friese, 54). Signed “T.Moran.” in pencil l.l., signed, monogrammed, and inscribed “Daubigny 1970” within the plate. Etching on chine collé, plate size 7 x 10 in. (17.8 x 25.4 cm), unmatted, unframed. Condition: Minor cockling, pale fox marks. $300-500


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42 John French Sloan (American, 1871-1951) Three Works: Treasure Trove, 1907, edition of 100 (Morse, 141); Woman with Etching Tray, 1912, edition of 150 plus 25 proofs (M., 154); and Prone Nude, 1913, published state, edition of 100 (M., 162). Each signed “John Sloan” in pencil l.r. and signed within the plate, two with pencil annotations to lower margin. Etchings on paper, plate sizes to 3 1/8 x 6 3/8 in. (7.9 x 16.0 cm), framed. Condition: Each with gentle rippling and mat burn, Nude very toned, not examined out of frames. $200-300

43 James Abbott McNeill Whistler (American, 1834-1903)

44 James Abbott McNeill Whistler (American, 1834-1903)

Street at Saverne, 1858, final state (Glasgow, 14iv/iv; Kennedy, 19v/v). Signed within the plate. Etching on laid paper with partial “1822” watermark, plate size 8 1/8 x 6 1/4 in. (25.5 x 15.7 cm), unmatted, unframed. Condition: Margins about 1/2 inch, gently light-stained, pencil annotations to verso. $500-700

The Unsafe Tenement, 1858, probably printed in or after 1871, final state of four (Glasgow, 18iv/iv; Kennedy, 17iv/iv). Signed in the plate. Etching on fine laid paper, plate size 6 1/4 x 9 in. (15.8 x 21.8 cm), matted, unframed. Condition: Margins 3/4 inches or more, subtle toning, minor soiling to margins, pencil annotations to upper margin and verso, minute loss to corner of sheet u.r. $600-800

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45 James Abbott McNeill Whistler (American, 18341903) 45

La marchande de moutarde, 1858, final state of five (Glasgow, 20v/v; Kennedy, 22v/v). Signed within the plate. Etching on laid paper with “1814/2� watermark, plate size 6 1/4 x 3 1/2 in. (15.5 x 8.8 cm), matted, unframed. Condition: Margins approximately 3/4 inches, gentle mat burn and light-staining, pencil annotations to lower margin. $600-800 46 James Abbott McNeill Whistler (American, 18341903) La vieille aux loques, 1858, final state (Glasgow, 27iv/ iv; Kennedy, 21iii/iii). Signed and dated in the plate. Etching on laid paper, plate size 8 1/8 x 5 7/8 in. (20.5 x 14.8 cm), framed. Condition: Unobtrusive toning, gentle rippling, not examined out of frame. $500-700 47 James Abbott McNeill Whistler (American, 18341903) Annie Seated, 1858-59, final state (Glasgow, 32iii/ iii; Kennedy, 30ii/ii). Signed and titled within the plate. Etching on laid paper, plate size 5 1/8 x 3 5/8 in. (13.1 x 9.3 cm), unmatted, unframed. Condition: Margins 1 inch or more, unobtrusive toning, pencil annotations and old hinges to verso. $600-800

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48 James Abbott McNeill Whistler (American, 1834-1903) Limehouse, 1859, final state printed in 1871 or later (Glasgow, 48vi/vi; Kennedy, 40iii/iii). Signed and dated within the plate. Etching on fine laid paper, plate size 5 x 8 in. (12.6 x 20.3 cm), framed. Condition: Margins over 1 1/2 inches, thinned spot to right margin, toning to margins at upper and lower edges, pencil annotations to lower edge. $700-900 49 James Abbott McNeill Whistler (American, 1834-1903) 49

Longshoremen, 1859, final state (Glasgow, 52iv/iv; Kennedy, 45). Signed in the plate. Etching with plate tone on fine laid paper, plate size 6 x 8 7/8 in. (15.2 x 22.4 cm), unmatted, unframed. Condition: Margins over 1 1/4 inches or more, unobtrusively light-struck, pencil annotations to verso. $700-900 50 James Abbott McNeill Whistler (American, 1834-1903) Black Lion Wharf, 1859, final state (Glasgow, 54iv/iv; Kennedy, 42iii/iii). Signed and dated within the plate. Etching on paper, plate size 6 7/8 x 10 in. (17.3 x 25.3 cm), framed. Condition: Unobtrusive toning, not examined out of frame. $800-1,200

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51

52

51 James Abbott McNeill Whistler (American, 1834-1903)

52 James Abbott McNeill Whistler (American, 1834-1903)

The Forge, 1861, final state (Glasgow, 86vi/ vi; Kennedy, 68iv/iv). Signed and dated within the plate. Etching on chine volant, plate size 7 5/8 x 12 1/2 in. (19.4 x 31.6 cm), matted, unframed. Condition: Rich burr, pale soiling/staining and fox marks to margins, three pinpoint holes to image l.c., pencil annotations to lower margin. $600-800

Chelsea, 1878-79, final state (Glasgow, 181v/v; Kennedy, 182ii/ii). Monogrammed within the plate. Etching on vellum paper, plate size 5 5/16 x 8 1/8 in. (13.4 x 20.5 cm), matted, unframed. Condition: Margins 1 inch or more, with lower (widest) margin unevenly trimmed, pencil annotations to lower margin and verso, pale mat burn. N.B. Kennedy and other early catalogers have titled this print Fulham. According to Glasgow the view depicts Chelsea Church and old Battersea Bridge, an area adjacent to, but distinct from Fulham. $400-600

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53

55

54

53 Will Barnet (American, 1911-2012)

54 Will Barnet (American, 1911-2012)

55 Will Barnet (American, 1911-2012)

August, 1940, edition of 100, published by The Art Students League, New York (Szoke, 84). Signed “Will Barnet” in pencil l.r., titled in pencil l.l. Etching with soft-ground on paper, plate size 9 7/8 x 8 in. (25.0 x 20.3 cm), framed. Condition: Several fox marks, not examined out of frame. $100-150

Madame Butterfly, 1980, edition of 300 plus proofs. Signed and dated “© Will Barnet 1980” in pencil l.r., titled in pencil l.l., numbered “252/300” in pencil l.c. Color lithograph on paper, image size 17 3/4 x 33 1/2 in. (45.0 x 85.0 cm), framed. Condition: Toning, mat burn, not examined out of frame. $200-300

The Bannister, 1981, edition of 300 plus proofs, 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., inscribed “A.P.” in pencil l.c., publisher’s and printer’s dry stamps, identified on publisher’s label affixed to backing board. Color lithograph on Arches paper with watermark, image size 32 5/8 x 25 3/8 in. (82.8 x 64.3 cm), framed. Condition: Right edge deckled, pale toning/ staining (more visible to verso). $200-300

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56

58

56 Armin Landeck (American, 1905-1984) Chartres Cathedral, 1955, edition of 50 (Kraeft, 112). Signed and dated “Landeck 1955” in pencil l.r., inscribed “Ed 100” in pencil l.l. Engraving on wove paper, plate size 19 1/2 x 12 in. (49.4 x 30.4 cm), matted, unframed. Condition: Unobtrusive staining to lower margin and verso, old hinges to upper corners on verso. $500-700 57 Armin Landeck (American, 1905-1984) Colosseum (First State), 1955, edition of 20 (Kraeft, 113). Signed “Landeck” in pencil l.r., dedicated “For Albert” in pencil l.l. Engraving on heavy wove paper, plate size 18 3/4 x 13 5/8 in. (47.5 x 34.5 cm), matted, unframed. Condition: Subtle soiling to margins and verso, pencil annotations to lower margin. $600-800 58 Peter Milton (American, b. 1930) October Piece, 1969, edition of 125 plus proofs (Johnson & Milton, 60). Signed and dated “PWMilton 69” l.r., titled l.c., numbered “50/125” in pencil l.l. Liftand hard-ground etching with engraving on paper, plate size 17 3/4 x 23 7/8 in. (45.0 x 60.5 cm), framed. Condition: Gentle rippling, not examined out of frame. $300-500

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61 partial

59 John Wilson (American, 1922-2015) Young Woman. Signed “John Wilson” in pencil l.r., inscribed “Guide Proof” in pencil l.l. Etching and aquatint on paper, plate size 18 x 12 1/2 in. (45.7 x 31.5 cm), framed. Condition: Soiling to margin l.r., not examined out of frame. $700-900 60 Marguerite Thompson Zorach (American, 1887-1968) Merry Xmas from the Zorachs. Unsigned, titled within the matrix. Linocut on paper, image size 9 1/4 x 6 1/2 in. (23.4 x 16.4 cm), framed. Condition: Possible subtle toning, not examined out of frame. $300-500 61 Yaacov Agam (Israeli, b. 1928)

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Two Works: Intérieur Espace Noir, from the suite Intérieur Espace Noir, 1987, edition of 54 plus proofs; and Eternal Daylight (Ner Tamid Variant). Both signed “Agam” in colored ink l.r. and identified in information affixed to the backing papers, Espace Noir numbered “3/54” in pencil l.l. Color screenprints on black and cream papers, respectively, image sizes approximately 25 x 32 1/8 in. (63.4 x 81.6 cm), framed. Condition: Not examined out of frames. $500-700

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62

62 Josef Albers (German/American, 1888-1976) The Portfolio Homage to the Square, 1962, edition of 250, published by Ives-Sillman, New Haven (Danilowitz, 156). Identified and numbered “23� in ink on the colophon, each print with embossed plate number l.r. Ten color screenprints on paper, sheet sizes 16 7/8 x 16 7/8 in. (42.8 x 42.8 cm), each print with original folder and all presented in original portfolio and slipcase. Condition: Very subtle toning to edges of sheets, minor handling crease to several of the folders. N.B. The original box used to ship the portfolio from the publisher accompanies the lot. $15,000-25,000

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63

63 Josef Albers (German/American, 1888-1976) The Double Portfolio Formulation: Articulation, 1972, edition of 1,000, containing sixty-six folders holding 127 prints, published by Harry N. Abrams, New York, and Ives-Sillman, Inc., New Haven. Identified on the colophon and in text, numbered “679” in ink on the colophon, each folder numbered in ink and with artist’s dry stamp. Color screenprints on paper, folder sizes 15 x 20 in. (38.2 x 50.7 cm), presented in the original folio boxes with slipcases, (minor scuffs and soiling). Condition: Several folders with extremely minor wear to very tips of some corners. $5,000-7,000

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64 Hans (Jean) Arp (French, 1887-1966) The Portfolio Soleil Recerclé/A Suite of Nineteen Images, 1966, published by Louis Broder Éditeur, Paris, edition of 150 plus various proofs. Identified and signed “Arp” in pencil l.l. on the colophon page and on one of the prints, numbered “83” on the colophon and “83/150” in pencil on one of the prints. Color woodcuts on paper, sheet sizes 19 x 15 in. (48.2 x 38.1 cm), presented in the original cloth-covered folio with slip-case (minor wear). Condition: Very minor wear to edges of some sheets. $3,000-5,000

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65 Luis Ramiro Barragán (Mexican, 19021988) Torre Altus, c. 1985. Unsigned. Color screenprint on paper, image/sheet size 31 7/8 x 26 1/2 in. (80.8 x 67.2 cm), unmatted, pressed between sheets of Plexiglas. Condition: Wear to edges, gentle rubs and soiling to image, soiling and toning to verso. N.B. The image may be based on the collaborative design for a tower in El Palomar, a suburb of Guadalajara, between Luis Barragán and Raul Ferrara. $600-800 66 Georges Braque (French, 1882-1963)

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Profil, page 10 from Lettera Amorosa, 195863, from the edition of 75, aside from the book edition (Vallier, 187). Signed “G Braque” in pencil l.r., numbered “63/75” in pencil l.l., a label from the Vincent Price Collection affixed to the backing. Color lithograph on paper, image size 11 1/2 x 8 1/2 in. (29.2 x 21.4 cm), framed. Condition: Mat burn, not examined out of frame. $1,200-1,800


66

67

67 Bernard Buffet (French, 1928-1999) Clown blanc, from Mon Cirque, 1968, edition of 120, published by Fernand Mourlot, Paris (Sorlier, 175). Signed “Bernard Buffet” in brown ink l.c., numbered “106/120” in pencil l.l. Color lithograph on paper, image size 27 x 18 5/8 in. (68.5 x 47.2 cm), framed. Condition: Light-stained, not examined out of frame. $500-700 68 Alexander Calder (American, 1898-1976)

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Untitled. Signed “Calder” in pencil l.r., inscribed “E.A” in pencil l.l. Color lithograph on paper, image/sheet size 26 1/4 x 38 1/2 in. (66.5 x 97.5 cm), framed. Condition: Full sheet with deckled edges, unobtrusive even toning, floated in the frame (hinges loose/broken), not examined out of frame. $600-800

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69

69 Marc Chagall (Russian/French, 1887-1985) The Burning Bush, plate 27 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 “77/100” in pencil l.l., signed within the plate. Etching with hand-coloring on paper, plate size 11 1/2 x 9 1/4 in. (29.2 x 23.4 cm), framed. Condition: Gentle toning, possible mat burn, not examined out of frame. Provenance: A private Massachusetts collection. $1,000-1,500 70 Marc Chagall (Russian/French, 1887-1985) David and the Lion, plate 62 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 “85/100” in pencil l.l., signed within the plate. Etching with hand-coloring on paper, plate size 12 5/8 x 9 7/8 in. (32.0 x 25.0 cm), framed. Condition: Gentle toning, possible mat burn, not examined out of frame. Provenance: A private Massachusetts collection. $1,000-1,500

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72

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

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

Dans le ciel de l’Opéra, 1980, edition of 50 plus proofs, published by Editions Maeght, Paris (Mourlot, 973). Signed “Marc Chagall” in pencil l.r., numbered “30/50” in pencil l.l. Color lithograph on paper, image size 37 7/8 x 24 1/4 in. (96.3 x 61.5 cm), framed. Condition: Possible subtle toning, not examined out of frame.

Le bouquet rose, 1980, edition of 50 plus proofs, published by Maeght Éditeur, Paris (Mourlot, 979). Signed “Marc Chagall” in pencil l.r., numbered “32/50” in pencil l.l. Color lithograph on paper, image size 37 3/8 x 23 5/8 in. (94.8 x 59.8 cm), framed. Condition: Not examined out of frame.

Provenance: A private Massachusetts collection. $5,000-7,000

Provenance: A private Massachusetts collection. $4,000-6,000

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73 Marc Chagall (Russian/French, 1887-1985) Maternité rouge, 1980, edition of 50 plus proofs, published by Editions Maeght, Paris (Mourlot, 984). Signed “Marc Chagall” in pencil l.r., numbered “50/50” in pencil l.l. Color lithograph on paper, image size 37 x 23 5/8 in. (93.8 x 59.8 cm), framed. Condition: Not examined out of frame. Provenance: A private Massachusetts collection. $5,000-7,000 74 Eduardo Chillida (Spanish, 1924-2002) Itsasoratu II, 1998, edition of 50 plus proofs (van der Koelen, 98017). Signed “Chillida...” in pencil l.l., numbered “19/50” in pencil l.r. Etching on heavy cream paper, plate size 3 7/8 x 8 in. (9.8 x 20.3 cm), framed. Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame. $800-1,200

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74

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75 Benjamin Frazier Cunningham (American, 1904-1975) Scarlet Tesseract Corner/A Diptych, 1969, edition of 125, printed by Edition Domberger, Filderstadt, Germany. Unsigned, identified and numbered “23/125” on a label affixed to the verso. Color screenprints on shaped polystyrol (or similar) panels, each image/panel size 30 x 30 in. (76.2 x 76.2 cm), unmatted, unframed. Condition: Very minor soiling. $700-900 76 Salvador Dalí (Spanish, 1904-1989) Lyle Stuart Tarot Prints/A Suite of Six Prints, 1978, from the edition of 250 (Field, 78-1). Each signed “Dalí” in pencil l.r. and numbered “203/250” in pencil l.l. Color photo-offset lithographs on paper, image sizes 24 x 12 3/4 in. (60.9 x 32.3 cm), framed. Condition: Not examined out of frames. N.B. According to Field, the prints are based on gouaches that Dali created for a James Bond film. $3,000-5,000

76 partial

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76A

76A Helen Frankenthaler (American, 1928-2011) Tales of Genji III, 1998, total edition of 60, published and printed by Tyler Graphics Ltd., Mount Kisco, New York. Numbered and signed “35/36 Frankenthaler” in pencil l.r., printer/publisher’s dry stamp l.r. Color woodcut with pochoir on gray TGL handmade paper, sheet/image size 47 x 41 1/2 in. (119.4 x 106.7 cm), framed. Condition: Deckled edges, subtle cockling, floated within the frame, not examined out of frame. N.B. Helen Frankenthaler was part of the second generation of Abstract Expressionists, and a leader in the Color Field movement. To push herself to grow as an artist she turned to printmaking, beginning with lithography in 1961. The process of drawing with crayon on stone was not a huge leap for her gestural mark making, although other technical issues allowed her to experiment and grow.

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The shift to the making of woodcuts, beginning with Essence Mulberry of 1977, however, challenged her more. The process of carving and cutting blocks of wood is slow and controlled, making spontaneity and gesture much more difficult. This is to say nothing of the laborious challenge of inking and printing the blocks. From the beginning, her process for making woodcuts was a collaboration, especially with master printer Kenneth Tyler and his workshop. Jaklyn Babington’s essay for the exhibition Against the Grain: The Woodcuts of Helen Frankenthaler describes the process of creation and collaboration for the Tales of Genji series of 1995: to create “…a woodcut with painterly resonance…Tyler suggested to Frankenthaler that she could communicate to the workshop of printers and more importantly, remain true to her unique style by painting her ideas for the printed works onto pieces of wood.

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Supplied with wood, paint and brushes, Frankenthaler worked alone in the artist’s studio at Tyler Graphics painting the maquettes for the Tales of Genji. From the painted studies, tracings were made and woodblocks were carved by the ukiyo-e trained Japanese carver…In order to create the lush transparent washes of colour, the printers had to work quickly with wet sheets of paper that, under the pressure of the printing press, would force the inks to bleed and blend into one another. Through trial and error and laborious proofing sessions, the workshop gradually overcame these technical difficulties. With the Tales of Genji series Frankenthaler had placed not only herself but the entire workshop outside of their comfort zone.”1 1. https://nga.gov.au/exhibition/frankenthaler/default. cfm?MnuID=4

$50,000-75,000


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77 Helen Frankenthaler (American, 1928-2011) Grey Fireworks, 2000, edition of 108 plus proofs, published by the Lincoln Center/ List Poster and Print Program, New York. Stamped signature within the image l.r., numbered and signed “86/108/Frankenthaler” in pencil within the image l.l. Color screenprint on paper, image/sheet size 28 x 46 1/8 in. (71.0 x 117.0 cm), framed. Condition: Full sheet with deckled edges, gentle rippling, floated within the frame (hinges weak), not examined out of frame. $4,000-6,000 78 Alberto Giacometti (Swiss, 1901-1966) Frontispiece to Dans la chaleur vacante, 1961, edition of 70 (Lust, 107). Signed “Alberto Giacometti” in pencil l.r. Etching on laid paper with “...Richard de Bas” watermarks, plate size 6 1/2 x 4 5/8 in. (16.4 x 11.5 cm), framed. Condition: Deckled edges, unobtrusive toning and rippling, corrugation staining and pencil annotations to verso, Scotch (or similar) tape to all edges on verso. $1,200-1,800

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79 Jasper Johns (American, b. 1930) Pyre 2, 2004, edition of 250 plus proofs, published by Gemini G.E.L., Los Angeles (NGA/Gemini, 26.108). Signed and dated “J Johns ‘04” in pencil l.r., numbered “53/250” in pencil l.l., publisher’s and copyright dry stamps l.l., publisher’s stamp and annotations “JJ04-1510” in pencil to verso, identified in information from the publisher affixed to the backing board. Color lithograph on wove paper, image size 8 7/8 x 7 3/8 in. (22.5 x 18.5 cm), framed. Condition: Full sheet with deckled edges, white tape to upper edge on verso, possible thinned spot to edge on verso. N.B. This work was published to benefit America Coming Together (ACT), an organization helping Democratic candidates at all levels during the 2004 campaigns. $4,000-6,000 80 Ellsworth Kelly (American, 1923-2015) Green/White, 1971-72, edition of 60 plus proofs, published by Gemini G.E.L., Los Angeles (NGA/Gemini, 28.20; Axsom, 81). Signed “Kelly” in pencil l.r., numbered “48/60” in pencil l.l., copyright and publisher’s dry stamps l.r. Color embossed lithograph on paper, sheet size 27 1/2 x 44 1/2 in. (69.8 x 112.8 cm), framed. Condition: Several areas of minute wear to edges, floated within the frame, not examined out of frame. $4,000-6,000 79

80

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81

81 After Fernand Léger (French, 1881-1955) Contrastes, an album of thirteen reproductions of Léger drawings, published by Édition au Vent d’Arles, Paris, 1959, total edition of 320. Identified and numbered “189” on colophon. Thirteen color pochoir prints on Moulin Richard de Bas paper with watermark, sheet sizes 19 7/8 x 15 1/2 in. (50.3 x 39.3 cm), presented in the original portfolio with pochoir cover (wear). Condition: Subtle toning, minor nicks and/or wear to some deckles. $3,000-5,000

82

82 After Fernand Léger (French, 1881-1955) Moulin Rouge, from La ville, 1954-55, edition of 180, published by Tériade Éditeur, Paris, in 1959 (see Saphire, pp. 238-239). Stamped signature l.r., numbered “40/180” in pencil l.l. Color lithograph on paper, image size 12 1/8 x 19 3/4 in. (30.6 x 50.0 cm), framed. Condition: Gentle rippling, not examined out of frame. $300-500 83 Norman Wilfred Lewis (American, 19091979) The Red Umbrella, 1973, edition of 25. Signed and dated “NORMAN LEWIS - 73” in pencil l.l., numbered and titled “18/25...” in pencil l.l. Etching in gray and red/orange on paper, plate size 11 3/4 x 15 7/8 in. (29.6 x 40.2 cm), framed. Condition: Pale fox mark to upper edge, not examined out of frame. $1,000-1,500

83

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84

84 Sol LeWitt (American, 1928-2007) Plates 2 and 5, from the suite Line Etching, 2000, edition of 25 plus proofs, published by Pace Editions, Inc., New York (Krakow, 2000.01). Both signed and numbered “Lewitt 13/25” in pencil l.r., a label from Pace Editions Inc., New York, accompanies the lot. Aquatints with hard-ground on paper, plate sizes 12 1/2 x 12 1/2 in. (31.6 x 31.6 cm), unmatted, unframed. Condition: Both with margins of approximately 1 3/4 inches and with three old hinges to upper edge on verso. N.B. The accompanying label identifies the plates as III and IV, but the catalogue raisonné identifies them as 2 and 5. $3,000-5,000

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85 After Henri Matisse (French, 1869-1954) Nice Travail et Joie, 1948, from the edition of 300, published by the Syndicat d’Initiative de Nice et l’Union Méditerranéenne pour l’Art Moderne, printed by Mourlot, Paris. Signed “Henri Matisse” in ink c.r., signed and identified within the matrix. Color lithographic poster on paper, sight size 39 1/8 x 23 7/8 in. (99.2 x 60.5 cm), framed. Condition: Possible subtle toning, not examined out of frame. $1,500-2,000 86 Joan Miró (Spanish, 1893-1983) La main, 1953, edition of 75 plus proofs, published by Maeght Éditeur, Paris (Dupin, 100). Signed and dated “Miró. 1953” in pencil l.r., numbered “42/75” in pencil l.l. Color soft-ground etching with aquatint on BFK Rives paper with watermark, plate size 14 x 19 1/8 in. (35.5 x 48.6 cm), framed. Condition: Deckled upper and lower edges, mat burn, gentle rippling, pencil annotations to lower margin and verso, masking tape to corners of recto. Provenance: A private Massachusetts collection. $2,000-3,000

85

86

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87 Joan Miró (Spanish, 1893-1983) Image from the Suite La bague d’aurore, 1957, from the hand-colored edition of 12 (Dupin, 132). Signed “Miró.” in pencil l.r., numbered “III/XII” in pencil l.r., a label from the Far Gallery, New York, on the reverse. Aquatint in black with crayon drawing by the artist on Rives paper with watermark, plate size 4 1/2 x 5 1/2 in. (11.4 x 14.0 cm), framed. Condition: Mat burn, staining from backing and transfer, deckled left and lower edges, lower margin folded over 4 3/4 inches beneath the plate mark.

87

Provenance: Estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex, Connecticut; to Skinner, Inc., Sale 2470, September 11, 2009, Lot 131; to the current private collection. $2,500-3,500 88 Joan Miró (Spanish, 1893-1983) Petite fille au bois, 1958, edition of 100 plus proofs, printed by Mourlot, Paris, published by Maeght Éditeur, Paris (Mourlot, 183). Signed “Miró.” in pencil l.r., numbered “53/100” in pencil l.l. Lithograph on paper, image size 18 1/4 x 21 3/4 in. (46.3 x 55.2 cm), framed. Condition: Toning, not examined out of frame. $1,500-2,000 88A Joan Miró (Spanish, 1893-1983)

88

88A

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Naissance d’Ubu, from Ubu Roi, 1966, from the edition of 75, published by Tériade Éditeur, Paris, printed by Atelier Mourlot, Paris (Mourlot, 392). Initialed “M.” in pencil l.r., numbered “46/75” in pencil l.r. Lithograph on paper, image size 16 1/4 x 24 3/4 in. (41.2 x 62.9 cm), framed. Condition: Margins 3 inches or more, subtle rippling, several pale fox marks, not examined out of frame. $1,500-2,000


88B

88B Joan Miró (Spanish, 1893-1983) L’astre du marécage, 1967, outside of the edition of 75, published by Maeght, Paris (Dupin, 426). Signed “Miró.” in pencil l.r., inscribed “H.C.” in pencil l.l. Color aquatint with carborundum on paper, sheet/ plate size 41 x 28 1/2 in. (104.1 x 72.4 cm), framed. Condition: Deckled right edge, gentle rippling, subtle toning to edges, floated within the mat, not examined out of frame. $10,000-15,000 88C Joan Miró (Spanish, 1893-1983) Monument to Christopher Columbus and to Marcel Duchamp, 1968-71, edition of 125 plus proofs (Dupin, 478). Signed “Miró.” in pencil l.r., inscribed “H.C.” in pencil l.l. Color aquatint on paper, sheet size 14 7/8 x 11 in. (37.8 x 27.9 cm), framed. Condition: Gentle cockling, deckled right edge, floated within the frame, not examined out of frame. $2,000-3,000

88C

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89

89 Joan Miró (Spanish, 1893-1983) Charivari, 1976, edition of 50 plus proofs, published by Maeght Éditeur, Paris, printed by Morsang, Paris (Dupin, 927). Signed “Miró” in white pencil l.r., numbered “49/50” in white pencil l.l. Color aquatint on cream paper, plate/sheet size 47 3/4 x 63 1/4 in. (121.3 x 160.7 cm), framed. Condition: Deckled edges (minor creases to some deckles), gentle rippling and toning to sheet, floated within the frame, not examined out of frame. Provenance: A private Massachusetts collection. $12,000-18,000

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90 Joan Miró (Spanish, 1893-1983) Danseuse Créole, 1978, edition of 50 plus proofs, published by Maeght Éditeur, Paris, printed by Morsang, Paris (Dupin, 1003). Signed “Miró” in pencil l.r., numbered “43/50” in pencil l.l. Color etching and aquatint on paper, plate size 45 x 29 in. (114.2 x 73.4 cm), framed. Condition: Pale staining to image l.l., minor handling creases (most prominent to edge of image l.l.), not examined out of frame. Provenance: A private Massachusetts collection. $5,000-7,000 91 Joan Miró (Spanish, 1893-1983) Les Troglodytes I, 1978, edition of 50 plus proofs, published by Maeght Éditeur, Paris (Dupin, 1009). Signed “Miró.” in pencil l.r., numbered “48/50” in pencil l.l. Color etching with aquatint on paper, plate size 8 5/8 x 45 5/8 in. (21.8 x 115.7 cm), framed. Condition: Mat burn, gentle rippling, not examined out of frame. Provenance: A private Massachusetts collection. $1,200-1,800

90

91

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92

93

92 Joan Miró (Spanish, 1893-1983)

93 Joan Miró (Spanish, 1893-1983)

La Commedia dell’Arte III, 1979, edition of 30 plus proofs, published by Maeght Éditeur, Paris & Barcelona (Dupin, 1108). Signed “Miró” in pencil within the image l.c., numbered “16/30” in pencil within the image l.l. Color etching and aquatint on paper, plate/sheet size 22 3/8 x 30 1/4 in. (56.7 x 76.5 cm), framed. Condition: Deckled edges to all but the left edge, floated within the frame, gentle rippling, not examined out of frame.

La Commedia dell’Arte V, 1979, edition of 30 plus proofs, published by Maeght Éditeur, Paris & Barcelona (Dupin, 1110). Signed “Miró” in pencil within the image l.r., numbered “16/30” in pencil within the image l.l. Color etching and aquatint on paper, plate/sheet size 22 3/8 x 30 1/4 in. (56.7 x 76.5 cm), framed. Condition: Deckled upper and lower edges, floated within the frame, not examined out of frame.

Provenance: A private Massachusetts collection. $1,500-2,000

Provenance: A private Massachusetts collection. $1,500-2,000

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94

94 Joan Miró (Spanish, 1893-1983) The Suite Chanteur des Rues, 1981, five plates, edition of 80 plus proofs, published by Daniel Lelong, Paris, printed by Morsang, Paris (Dupin, 1136-1140). Each signed “Miró.” in pencil l.r. and numbered “23/80” in pencil l.l. Color etchings with aquatint on cream paper, plate sizes 14 1/2 x 11 in. (36.7 x 27.8 cm), framed. Condition: Mat burn, not examined out of frames. Provenance: A private Massachusetts collection. $5,000-7,000

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94A

94A Henry Moore (British, 1898-1986) Stone Reclining Figure II, 1978, edition of 50 plus 15 proofs, printed by Curwen Prints, Ltd., London, published in 1980 by Raymond Spencer Company, Ltd., for The Henry Moore Foundation, Much Hadham (Cramer et al., 496). Signed “Moore” in pencil l.r., numbered “20/50” in pencil l.l., publisher’s dry stamp l.r. Color lithograph on BFK Rives paper with watermark, sheet size 23 3/4 x 34 3/4 in. (62.9 x 88.2 cm), framed. Condition: Subtle cockling, deckled upper edge, floated within the mat, not examined out of frame. $3,000-4,000

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95

97 96

95 Henry Moore (British, 1898-1986)

96 Henry Moore (British, 1898-1986)

97 Henry Moore (British, 1898-1986)

Reclining Figure Piranesi Background I, 1979, edition of 50 plus 10 proofs, printed by Lacourière et Frelaut, Paris, published in 1980 by Raymond Spencer Company, Ltd., for The Henry Moore Foundation, Much Hadham (Cramer et al., 510). Signed “Moore” in pencil l.r., numbered “48/50” in pencil l.l. Etching and drypoint on paper, plate size 6 1/4 x 11 1/8 in. (16.0 x 28.2 cm), framed. Condition: Gentle rippling, not examined out of frame. $500-700

Head of a Woman, 1981, edition of 50 plus 10 proofs, printed by Michael Rand, London, published in 1986 by Raymond Spencer Company, Ltd., for The Henry Moore Foundation, Much Hadham (Cramer et al., 603). Signed “Moore” in pencil l.r., numbered “24/50” in pencil l.l. Soft-ground etching printed in gray on paper, plate size 13 1/4 x 11 1/4 in. (33.5 x 28.5 cm), framed. Condition: Not examined out of frame. $600-800

Reclining Woman with Yellow Background, 1982, edition of 50 plus proofs, printed by Curwen Prints, Ltd., London, published in 1984 by Raymond Spencer Company, Ltd., for The Henry Moore Foundation, Much Hadham (Cramer et al., 656). Signed “Moore” in pencil l.r., numbered “23/50” in pencil l.l. Color lithograph on paper, image size 14 3/4 x 18 5/8 in. (37.4 x 47.2 cm), framed. Condition: Gentle rippling, not examined out of frame. $800-1,200

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97A Elizabeth Murray (American, 1940-2007) Wiggle Manhattan, 1992, edition of 47, printed and published by Universal Limited Art Editions, West Islip, New York. Purportedly signed, dated, titled, and numbered “...31/47” on the reverse, publisher’s dry stamp l.r. Color lithograph on handmade shaped paper, approximately 58 3/4 x 29 in. (49.2 x 73.6 cm), framed. Condition: Deckled edges, floated within the frame, not examined out of frame. $1,500-2,500 98 Beverly Pepper (American, b. 1922) Black Virgo, 1968, edition of 60, published by Marlborough Graphics, New York. Signed and dated “Beverly Pepper ‘68” in pencil l.r., numbered “37/60” in pencil l.l., dry stamp l.l. Collage and embossing on Mylar or similar, sight size 18 1/8 x 27 in. (46.0 x 68.5 cm), framed. Condition: Not examined out of frame. $200-300

97A

98

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99

99 Pablo Picasso (Spanish, 1881-1973) Minotaure attaquant une Amazone, 1933, plate 87 from La Suite Vollard, edition of 250, published 1939 by Vollard, Paris, printed by Lacourière, Paris (Bloch, 195; Baer et al., 356IVc). Signed “Picasso” in pencil l.r., annotated “357” in pencil l.l. Etching and engraving on laid paper with “Picasso” and figural watermarks, plate size 7 1/2 x 10 1/2 in. (18.9 x 26.5 cm), framed. Condition: Deckled edges, mat burn, pale toning to image, corrugation staining to verso. Provenance: A private Massachusetts collection. $5,000-7,000 99A Pablo Picasso (Spanish, 1881-1973) Portrait de Marie-Thérèse de face, 1934, from the edition published by Galerie Louise Leiris, Paris, in 1981 (Bloch 276; Baer 417/ IICb2). Unsigned, stamped “Succ. Pablo PICASSO Coll. Marina PICASSO” and with the inventory number (recorded in the Picasso Archives in Paris) “19046” on the reverse. Aquatint with etching and drypoint on laid paper with “RICHARD de BAS” watermark, plate size 12 7/16 x 9 in. (31.4 x 22.8 cm), framed. Condition: Deckled edges with cockling, margins over 3 inches, small stain to corner u.l. $6,000-8,000

99A

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100

101

100 Pablo Picasso (Spanish, 1881-1973)

101 Pablo Picasso (Spanish, 1881-1973)

Banderilles, 1959, second state, outside of the edition of 50, published by Galerie Louise Leiris, Paris, in 1960, printed by Arnéra, Vallauris (Bloch, 943; Baer, 1222IIBb). Signed “Picasso” in pencil l.r. Linocut in black, brown, and tan on wove paper, image size 6 9/16 x 8 7/8 in. (16.5 x 22.4 cm), framed. Condition: Margins over 2 1/2 inches, foxing. $3,500-5,500

Les Banderilles, from A los toros avec Picasso, 1961, from the edition of 50, published by André Sauret, Monte Carlo, printed by Mourlot Frères, Paris (Bloch, 1014; Cramer Books, 113). Signed “Picasso” in pencil l.r., dated within the matrix, numbered “32/50” in pencil l.l. Lithograph on wove paper, image size 7 5/16 x 9 1/4 in. (18.4 x 23.3 cm), unmatted, unframed. Condition: Subtle toning to edges. $3,000-5,000

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102

103

102 Pablo Picasso (Spanish, 1881-1973)

103 Pablo Picasso (Spanish, 1881-1973)

Jeu de la cape, from A los toros avec Picasso, 1961, from the edition of 50, published by André Sauret, Monte Carlo, printed by Mourlot Frères, Paris (Bloch, 1015; Cramer Books, 113). Signed “Picasso” in pencil l.r., dated within the matrix, numbered “32/50” in pencil l.l. Lithograph on wove paper, image size 8 1/8 x 9 3/4 in. (20.4 x 24.6 cm), unmatted, unframed. Condition: Subtle toning to edges. $3,000-5,000

Danse du ventre dans le désert, avec spectateur bedonnant, 1968, from Séries 347, published by Galerie Louise Leiris, Paris, 1969, edition of 50 (Bloch, 1717; Baer et al., 1734Bb1). Signed “Picasso” in pencil l.r., numbered “43/50” in pencil l.l., dated “3.8.68 II” (reversed) in the plate. Etching with plate tone on wove paper, plate size 6 3/4 x 10 1/4 in. (17.0 x 25.9 cm), framed. Condition: Not examined out of frame. Provenance: A private Massachusetts collection. $3,000-5,000

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104

104 Pablo Picasso (Spanish, 1881-1973) Prow Figure, 1952, edition of 300 (Ramié, 136). Inscribed “EDITION PICASSO 209/300 MADOURA” within the glaze on the 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. $7,000-9,000 105 After Pablo Picasso (Spanish, 1881-1973) Harlequin, 1907, 1966, from the Barcelona Suite, a proof before letters outside of the edition of 60, printed by Foto-Repro S.A., Barcelona, published by Museo Picasso, Barcelona (Czwiklitzer, 230). Signed “Picasso” in pencil below the plate l.r., publisher’s dry stamp within image l.l. Offset color lithograph on smooth paper, image size 22 7/8 x 17 1/4 in. (58.0 x 43.5 cm), unmatted, unframed. Condition: Margins over 2 inches, possible subtle toning, very minor staining/soiling to margins. $1,000-1,500 105

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106 After Pablo Picasso (Spanish, 1881-1973) Un éventail (1905-1914), an album of eleven reproductions of Picasso drawings, published by Léda Éditions d’Art, Paris, 1962, total edition of 260. Identified and numbered “51” on the colophon. Ten color collotypes and one color lithograph on cream wove paper, sheet sizes 19 x 14 1/4 in. (48.2 x 36.0 cm), presented in the original portfolio. Condition: Subtle toning, minor wear to some edges and/or corners. $1,000-1,500 107 After Pablo Picasso (Spanish, 1881-1973) Buste de femme au chapeau bleu (Dora Maar), 1955, edition of 100, printed by Mourlot, Paris (Czwiklitzer, 92). Signed “Picasso” in pencil l.r., numbered “69/100” in pencil l.l. Color lithograph on paper, image size 36 1/4 x 23 3/4 in. (92.0 x 60.2 cm), framed. Condition: Toning, mat burn, gentle rippling, not examined out of frame. $12,000-18,000

106

107

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108 partial

109

110

108 Sarah Plimpton (American, b. 1936)

109 Mel Ramos (American, 1935-2018)

110 Mel Ramos (American, 1935-2018)

Two Prints: What Can I Do Now? and I Never Knew, 2009, edition of 10. Both signed “S. Plimpton” in pencil l.r. and numbered “EV.../10” in pencil l.l. Color aquatints on wove paper, plate sizes approximately 8 3/4 x 11 3/4 in. (22.2 x 29.8 cm), matted, unframed. Condition: Full sheets with deckled edges. $300-500

Virna Burger (Hamburger Girl), 1965, edition of 500. Signed and dated “MelRamos 65” in pencil l.r., numbered “125/500” in pencil l.l. Color photo-offset on paper, image size 19 1/4 x 15 in. (48.8 x 38.0 cm), framed. Condition: Toning to sheet, fading to colors, not examined out of frame. $500-700

Ocelot, 1969, edition of 98 plus proofs, published by Reese Palley Gallery, New York (Ramos et al., 58). Signed and dated “MelRamos 69” in pencil within the image l.r., numbered “71/98” in pencil within the image l.l. Color offset lithograph on paper, image/sheet size 24 x 32 in. (61.0 x 81.3 cm), framed. Condition: Minute wear to corners, floated within the mat, not examined out of frame. $1,000-1,500

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111

111 Ad Reinhardt (American, 1913-1967) Plates 2, 3, and 4, from the Ten Screenprints Suite, 1966, edition of 250 plus proofs, published by Wadsworth Atheneum, Hartford, Connecticut, printed by Ives-Sillman, Inc., New Haven. Unsigned (as issued), two with printer’s dry stamp l.r. and plate number on verso. Color screenprints on paper, image sizes 21 x 5 7/8 in. (53.3 x 14.8 cm), presented in a common frame. Condition: Each gently light-stained, with pencil annotations (probably from framer) l.l., and with brown paper tape along upper edge and at upper corners on verso, Plate 3 with side margins trimmed. $6,000-8,000 111A Georges Rouault (French, 1871-1958) Juge, 1939, total edition of 110 (Chapon/ Rouault, 289c). Signed and dated “G Rouault 1939” within the plate l.l. Color aquatint and etching on Arches paper, sight size 12 1/4 x 8 3/4 in. (31.1 x 22.2 cm), framed. Condition: Not examined out of frame. $1,200-1,800

111A

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112

113

112 Joan Snyder (American, b. 1940)

113 Frank Stella (American, b. 1936)

Can We Turn Our Rage to Poetry, 1985, proof outside of the edition of 50. Signed and dated “JSnyder ‘85” in pencil within the image l.r., numbered “AP 3/6” in pencil within the image l.l., titled within the matrix. Color lithograph on paper, image/sheet size 30 3/8 x 43 1/4 in. (77.0 x 109.5 cm), framed. Condition: Full sheet with deckled edges, floated within the frame, not examined out of frame. $600-800

Noguchi’s Okinawa Woodpecker, from the Exotic Bird Series, 1977, edition of 50 plus proofs, published by Tyler Graphics, Bedford Village, New York (Axsom, 109). Numbered, signed, and dated “8/50 F. Stella ‘77” in pencil within the image l.r., publisher’s dry stamp l.r. Color offset lithograph and screenprint on paper, image size 33 x 45 in. (83.7 x 114.4 cm), framed. Condition: Floated within the frame, not examined out of frame. $3,500-5,500

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114 Various Artists:

114 partial

The Portfolio X + X (Ten Works by Ten Painters), 1964, edition of 500, published by the Wadsworth Atheneum, Hartford, printed by Ives-Sillman, New Haven. Numbered “116” in ink on the colophon page, each print with printer’s dry stamp l.r. Color screenprints (some in multiple colors, with collage and/or cutout elements) on paper (except Lichtenstein on Mylar or similar), sheet sizes 24 x 20 in. (60.9 x 50.8 cm), unmatted, unframed, presented in their original paper folders within the original clamshell box (unobtrusive foxing/ soiling). Condition: Very minor soiling to several folders, soft crease to title page/folder along right edge. N.B. The artists included in the portfolio are Stuart Davis, Robert Indiana, Ellsworth Kelly, Roy Lichtenstein, Robert Motherwell, Larry Poons, George Ortman, Ad Reinhardt, Frank Stella, and Andy Warhol. $12,000-15,000 115 Victor Vasarely (Hungarian/French, 1906-1997) Our-MC-2, from the album Clarities, 1970, edition of 250 plus proofs (Benavides & Vasarely, 152). Signed “Vasarely-” in pencil l.r., numbered “202/250” in pencil l.l. Color screenprint on paper, image size 16 x 16 in. (40.5 x 40.5 cm), framed. Condition: Pale mat burn, not examined out of frame. $300-500

115

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116

116 Andy Warhol (American, 1928-1987) Flowers, 1970, edition of 250 plus proofs, printed by Aetna Silkscreen Productions, Inc., New York, published by Factory Additions, New York (Feldman & Schellmann, II.71). Signed “Andy Warhol” in ink on the reverse and numbered with stamp “34/250” on the reverse. Color screenprint on paper, image/ sheet size 36 x 36 in. (91.4 x 91.4 cm), framed. Condition: Extremely subtle surface rubs to both reddish flowers, minor wear at corners and/or edges, minor staining from staples in frame backing plus additional minor soiling to verso, toning to two edges on verso, fine area of water or similar staining to upper edge verso, several very subtle handling creases visible to verso. N.B. Warhol “creatively acquired” the image for his Flowers paintings and prints from the magazine Modern Photography. It had been shot by Patricia Caulfield, the magazine’s executive editor, and published in the June 1964 issue.

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Caulfield had used the image in a fold-out spread, where multiple versions of the image demonstrated how a new Kodak home color processing system could be used to manipulate color photographs.1 This presentation would have instantly appealed to Warhol who ultimately reused the image with countless color configurations, just as Caulfield had done in the magazine. The original image was rectangular and depicted seven hibiscus blossoms. Warhol cropped and manipulated it into a square composition of four blooms, even cutting, pasting, and rotating one of the blooms to a new position closer to three of its companions. The shift to a square composition allowed him to play with the composition’s orientation. Warhol also varied the sizes and media of the composition, but always incorporated his screenprinting technique. An important aspect of Warhol’s manipulation of Caulfield’s image was to dramatically increase the contrast of the image.

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The result removed all shadows and highlights from the blossoms and turned the leaves and grasses beneath them into a flat pattern. Warhol’s first show at the prestigious Leo Castelli Gallery opened in late November of 1964, and focused on the first Flowers paintings. David Bourdon, an art critic for the The Village Voice, described Warhol’s Flowers saying, “The flowers appear to float against a murky background of waving green grass. They are like cut-out gouaches by Matisse set adrift on Monet’s lily pond.”2 1. Warhol used Caulfield’s image without permission, and in 1966 Caulfield sued. The two settled out of court, and this changed one of the essentials of Warhol’s process. Going forward his work was based on images he composed and shot himself. In his defense, Warhol didn’t merely steal Caulfield’s image. He radically manipulated it to create his own image. 2. http://www.interviewmagazine.com/art/andy-warholsflower-power/

$20,000-30,000


117

118

117 Andy Warhol (American, 1928-1987)

118 Zao Wou-Ki (Chinese/French, 1920-2013)

Golda Meir, 1973, published in an edition of 550 for the American Friends of the Israel Museum, New York (Feldman & Schellmann, II.153A). Signed “AndyWarhol” in marker c.r., identified and numbered “447/550” on label affixed to the reverse. Screenprint in red and blue on felt, sight size 6 1/2 x 6 1/2 in. (16.5 x 16.5 cm), framed. Condition: Possible gentle toning, not examined out of frame. $2,500-3,500

La pêche, 1951, edition of 30 (Ågerup, 57). Signed in Chinese characters in pencil l.r., numbered “21/30” in pencil l.l. Drypoint on paper, plate size 5 7/8 x 9 3/4 in. (14.8 x 24.6 cm), framed. Condition: Not examined out of frame. $3,500-5,500

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Fine Photographs 119 Ansel Adams (American, 1902-1984) Oak Tree, Snowstorm, Yosemite National Park, California, 1948, printed later. Signed “Ansel Adams” in ink on the mount l.r., “Special Edition Photographs of Yosemite” hand stamp with hand-numbered “84” of S.E.Y. “11” in ink on the mount verso. Gelatin silver print mounted to board, 9 3/8 x 7 3/8 in. (23.8 x 18.7 cm), framed. Condition: Good.

119

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. $1,000-1,500 120 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), framed. 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. $4,000-6,000

120

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121 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 within the frame, not examined out of frame.

121

Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $800-1,200 122 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. $1,200-1,800

122

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123

123 Ruth Bernhard (American, 1905-2006) Angelwing, 1943, possibly a later printing. Signed “Ruth Bernhard” in pencil l.r., titled, dated, signed, artist’s copyright stamp on the reverse. Gelatin silver print, possibly seleniumtoned, 28 x 22 in. (71.1 x 55.9 cm), mounted, unframed. Condition: Good. $3,500-5,500 124 Ruth Bernhard (American, 1905-2006) Rockport Nude, 1947, a later printing, 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. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,500-2,000

124

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125 Henri Cartier-Bresson (French, 1908-2004) Behind the Gare St. Lazare, 1932, a later printing. Signed “Henri Cartier-Bresson” in ink or marker l.r., artist’s dry stamp l.l., with a label from Irving Galleries, Palm Beach, on the backing paper. Gelatin silver print, sight size 15 1/2 x 10 3/4 in. (39.4 x 27.3 cm), framed. Condition: Subtle yellowing to l.l. edge in image. $7,000-9,000 126 Henri Cartier-Bresson (French, 1908-2004) Matisse Sketching, 1944, a later printing. Signed “Henri Cartier-Bresson” in ink or marker l.r., artist’s dry stamp l.l., with a label from Irving Galleries, Palm Beach, on the backing paper. Warm toned gelatin silver print, sight size 10 3/4 x 15 in. (27.3 x 38.1 cm), framed. Condition: Not examined out of frame. N.B. Matisse is pictured in his home, Villa le Rêve, Vence, Alpes-Maritimes, France, in February 1944. $4,000-6,000 125

126

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127

128

129

130

127 Chuck Close (American, b. 1940)

128 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 to l.l. corner, not examined out of frame.

Untitled Diptych from the Portfolio Doctors of the World, 2001, edition of 100. Signed, dated, and numbered “...31/100” in pencil below the images along the lower margin. Digital pigment prints from daguerreotypes, image sizes 14 3/4 x 10 7/8 in. (37.5 x 27.7 cm), matted, unframed. Condition: Good. $500-700

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

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129 Edward Sheriff Curtis (American, 18681952) The Old Well of Acoma, 1904, a later printing, probably from 1922-23. Signed “Curtis/LA ©” in ink in the image l.r., copyright credit in the negative l.l., Edward Curtis Studios Inc. label affixed to the paper portfolio. Toned double-border gelatin silver print, image size 5 3/4 x 7 1/2 in. (14.6 x 19.1 cm), unframed. Condition: Partially mounted to paper portfolio, toning, foxing and accretions primarily to margins outside of image. $1,500-2,000


130 Judy Dater (American, b. 1941) Twinka, 1970. Signed “Judy Dater” in pencil below the image l.r., titled and dated in pencil on the reverse of the mount l.r. Gelatin silver print, image/sheet size 11 7/8 x 9 1/4 in. (30.0 x 23.5 cm), framed. Condition: Mounted. N.B. Model and writer Twinka is the daughter of the American painter Wayne Thiebaud and his wife Patricia. $400-600 131 Gisèle Freund (French, 1912-2000)

131

Virginia Woolf, 1939, a later printing probably from the 1970s or 1980s. Signed “Gisèle Freund” in marker l.r., artist’s dry stamp in image l.r., artist’s copyright stamp on the verso, inscribed “#10750/28” in pencil on the verso, a label from Harcus Krakow Gallery, Boston, on the reverse of the frame. Gelatin silver print on Kodak paper, sheet size 12 1/2 x 8 1/2 in. (31.8 x 21.6 cm), framed. Condition: Fading. $400-600 132 Milton H. Greene (American, 1922-1985) Marilyn Monroe, from the Black Sitting, 1956, possibly a later printing. Signed “Milton H Greene” in ink l.r., numbered “A/P1” in ink l.l. Gelatin silver print, sheet size 35 7/8 x 27 in. (83.8 x 65.4 cm), framed. Condition: Deckled edges, minor rippling to the left edge, some cockling to u.c., scattered areas of creasing, small areas of silver mirroring, affixed to the backing 2 1/2 inches down along top edge. Provenance: Gift of the artist from his personal collection to the current owner. Exhibitions: Milton Greene, Brenner Fine Arts, Inc., New York, April 4, 1978–May 1, 1978.

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N.B. The work previously hung in the house of Milton Greene and was gifted in exchange for a solo show at Brenner Fine Arts, Inc. The exhibition was the artist’s first photography show in New York City. The lot is accompanied by a catalog from the exhibition and a photocopy of a photograph of Milton Greene in front of the Marilyn photo at the exhibition. $2,500-3,500

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133

134

133 Ernst Haas (Austrian/American, 1921-1986)

134 Will McBride (American, 1931-2015)

Western Skies Motel, New Mexico, 1978, printed 2018. Titled, dated, numbered “...17/30,” and signed by Alexander Haas in ink on a Haas Studio label. Chromogenic print, image size 17 7/8 x 26 in. (45.5 x 66.0 cm), unmatted, unframed. Condition: Subtle handling crimp l.c. $2,500-3,500

John F. Kennedy before the Brandenburg Gate, Berlin, 1963, probably a later printing. Signed “McBride” and titled in pencil on the reverse. Gelatin silver print, 16 x 20 in. (40.6 x 50.8 cm), unmatted, unframed. Condition: Good. $1,200-1,800

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135

135 Will McBride (American, 1931-2015) John F. Kennedy, Willy Brandt, Konrad Adenauer after visiting the Wall at the Brandenburg Gate, Berlin 1963, probably a later printing. Signed “McBride” and titled in pencil on the reverse. Gelatin silver print, 16 x 20 in. (40.6 x 50.8 cm), unmatted, unframed. Condition: Handling creases, creasing to l.l. corner, very small loss to image at l.l. corner. $1,200-1,800 136 Félix Méheux (French, 1838-1908) Portrait of a Surgical Patient, Hôpital St. Louis, c. 1900. Identified as “F. MÉHEUX” in print annotation on the paperboard support l.r., print annotation “Hôpital St. Louis-Dr. MORESTIN” l.l. Albumen print, print size 11 1/2 x 8 1/2 in. (29.2 x 21.6 cm), unframed. Condition: Mounted to paperboard support, extremely minor cracking l.l. and l.r., scattered minor rubs/ scrapes largely visible in raking light, extremely minute loss to l.l. corner; toning, scattered tack holes, and minor losses to edges of paperboard. Provenance: Bonhams, SoMa estate auction, March 16, 2008, Lot 2317.

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N.B. This portrait is of a patient who underwent facial reconstructive surgery around 1900. Méheux was a photographer and colorist at the Hôpital Saint-Louis in Paris from 1884 to 1904, documenting physical symptoms of various diseases and dermatological/ reconstructive procedures of Dr. Hippolyte Morestin and others. His photographs were reproduced in medical journals to educate and enhance clinical research. $600-800

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137 Bonnie Porter (American, b. 1959) Nerve I and Nerve II, c. 1997. Both 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. $400-600 138 Ben Magid Rabinovitch (American, 1884–1964) Katherine Cornell, 1924. Signed and dated “Rabinovitch/NY 24” in pencil l.r., “RAVGRAVURE ©” printed l.l. Ravgravure on Etruria paper, sheet size 18 x 14 in. (45.7 x 35.6 cm), unmatted, unframed. Condition: Deckled edges to three sides, gently toned, two small tears to u.r. and c.r. edges, pinprick accretion to center, creasing to u.r. corner. $300-500

137

139 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. 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, as is apparent in this monumental image. $2,000-3,000 138

140 No lot.

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139

141

141 Jock Sturges (American, b. 1947) Lidwine, Orléans, France, 1987. Signed and dated “Sturges ‘87” in pencil l.r., titled l.l. Gelatin silver print, sight size 19 1/4 x 15 1/2 in. (48.9 x 39.4 cm), matted, unframed. Condition: Good. $400-600 142 Jock Sturges (American, b. 1947) Alice, Mylene et Coralie; Tuscany, Italy, 1998. Signed and dated “Sturges ‘98” in pencil l.r., titled l.l. Gelatin silver print, sight size 19 1/4 x 15 1/2 in. (48.9 x 39.4 cm), matted, unframed. Condition: Minor handling creases. $500-700

142

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143 Todd Webb (American, 1905-2000) Cow Skull and Bones on Portal at Georgia O’Keeffe’s Ghost Ranch House, New Mexico, 1960. Signed, titled, and inscribed “Todd Webb...S 10 NM 60 - #1” in ink on the reverse, annotated “TW0027” in pencil on the reverse. Gelatin silver print, 20 x 16 in. (50.8 x 40.6 cm), matted, unframed. Condition: Cockling, minor handling creases, water staining or similar to horizontal patch near center affecting the sheen of the emulsion. $500-700 144 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/.../5-26-94” 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.

143

144

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Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $300-500


Fine Paintings & Sculpture Lots 201–529 to be sold Friday, September 27, 12PM


201

202

202A

201 Italian School, 18th Century

202 Continental School, 18th Century

202A French or Italian School, 17th/18th Century

Design for a Ceiling Decoration with Diana as the Moon Goddess and Other Celestial Figures Unsigned, inscribed “18th-Century Venetian” in pencil on the frame backing. Ink and wash on cream laid paper, squared in black chalk for transfer, mounted to secondary supporting sheet, with applied pencil grid, 9 x 8 5/8 in. (22.8 x 21.8 cm), framed. Condition: Soiling, scattered ink spots that are likely original, old crease or tear to c.l. edge stabilized with tape on the reverse.

Allegory: Mars (War) Disarmed in the Presence of Peace Unsigned. Oil on canvas, 42 x 34 in. (106.7 x 86.4 cm), framed. Condition: Lined, retouch, small puncture c.l., craquelure, surface grime.

The Rape of the Sabine Women Unsigned, inscribed “P&D Colnaghi London 1956 CHQ” in pencil on the reverse of the mount. Ink, wash, and charcoal, heightened with white on laid paper, 17 1/4 x 25 1/4 in. (43.8 x 64.2 cm), framed. Condition: Sheet lined with secondary paper and laid down on pressed paperboard support, stabilized tears to u.r. and l.r. corners, soiling, oxidation to some of the white heightening.

Provenance: The estate of Robert Wynne, Massachusetts. $1,000-1,500

Provenance: Swann Auction Galleries, Old Master Drawings, January 23, 2003, Sale 1957, Lot 144, as Neapolitan School, Early 18th Century; through to the estate of Robert Wynne, Massachusetts. $400-600

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Provenance: The estate of Robert Wynne, Massachusetts. $500-700


203 Francesco Albani (Italian, 1578-1660) Ecce Homo Unsigned, with a collector’s stamp “P.L” (Lugt, 2092) l.r. (see below). Red chalk on paper, sight size 11 x 7 1/2 in. (28.0 x 18.8 cm), framed. Condition: Laid down on paperboard support, surface losses and holes. Provenance: Ex-collection: Peter Lely (British, 1618-1680), court painter of Charles II. Sir Peter Lely (L., 2092), Anonymous sale; Phillips, London, July 5, 1995 (as by Bartolomeo Schedoni); Private Collection, New York; Christie’s New York, Old Master and 19th Century Drawings, January 29, 2009, Sale 2134, Lot 20; through to the estate of Robert Wynne, Massachusetts. Literature: Catherine R. Puglisi, Francesco Albani (New Haven and London: Yale University Press, 1999), pp. 166-67, under no. 77, fig. 175. N.B. The drawing at hand relates to Francesco Albani’s painting of the same subject in the Colonna Gallery, Rome. Dr. Puglisi noted the association with the Colonna painting, and commented that, like other Albani drawings, it shares the soft, blurred definition of the facial features and uneven contour lines. In the painting, Christ’s head is shown tilted to His right, but the modeling of the torso and the depiction of the fingers are almost identical. (Puglisi, op.cit., p. 167).

203

The lot is accompanied by a copy of the Christie’s invoice from January 2009. $1,000-1,500 204 Sébastien Bourdon (French 1616-1671) Holy Family with Saint Elizabeth Unsigned. Oil on canvas, 25 1/2 x 21 3/4 in. (64.2 x 55.2 cm), framed. Condition: Lined, retouch, craquelure, surface grime. Provenance: Christie’s New York, Old Master & 19th Century Paintings, Drawings, & Watercolors, January 27, 2010, Sale 2282, Lot 290; through to the estate of Robert Wynne, Massachusetts. $3,000-5,000

204

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206

205

207 Italian School (Mantuan), 16th Century

207

205 Attributed to Prospero Fontana (Italian, 1512-1597) Two Music-making Angels Unsigned, with an unattributed collector’s stamp (Lugt, 2908) l.r.; attributed to Prospero Fontana on modern auction labels affixed to the backing (see below), inscribed “G. Reni” in pencil in a later hand on the back of the mount, inscribed “Fontana” in pencil in a later hand on the inside of the window mat. Ink and wash over black chalk on laid paper, 4 3/8 x 3 1/2 in. (11.2 x 8.9 cm), framed. Condition: Creasing to u.l. corner, staining, laid down on cardstock which is mounted to mat board.

206 Italian School, 17th Century Vanitas (Time and Vanity)/A Study for a Spandrel or Pendentive Unsigned. Ink, wash, and white heightening on laid paper trimmed in a triangular shape, 13 5/8 x 11 in. (34.5 x 27.8 cm), framed. Condition: Loss to u.r. edge measuring 1 1/4 x 5 1/2 inches at its maximum, staining, soiling, sheet laid down on supporting rectangular sheet. Provenance: The estate of Robert Wynne, Massachusetts. $250-350

Provenance: Sotheby’s New York, Old Master Drawings, January 25, 2012, Lot 96, as Attributed to Prospero Fontana; through to the estate of Robert Wynne, Massachusetts. $600-800

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Putti Gathering Grapes Unsigned, with collector’s marks from Sir Thomas Lawrence (Lugt, 2445) at bottom edge, left of center, and from Francis Egerton, Earl of Ellesmere (L., 2710b) l.r., identified on a gummed label affixed to the frame backing. Pen, brown ink, and brown wash with traces of black chalk on watermarked paper, 7 1/2 x 16 in. (19.0 x 40.3 cm), framed. Condition: Mounted to a secondary paper support, affixed to the window mat around the perimeter of the reverse. Provenance: Sir Thomas Lawrence (L., 2445), Lord Francis Egerton, 1st Earl of Ellesmere (L., 2710b), and by descent; Sotheby’s, London, December 5, 1972, Lot 81 (as Mantuan School, c. 1550); Christie’s London, July 8, 1975, Lot 15 (as Mantuan School, c. 1550); Christie’s New York, Old Master & Early British Drawings & Watercolors Including an Important Canadian Collection and a Distinguished Private Collection, January 31, 2013, Lot 34 (as Mantuan School, 16th Century); through to the estate of Robert Wynne, Massachusetts. Literature: Catalogue of the Ellesmere Collection of Drawings at Bridgewater House (London, 1898 no. 186 [as Giulio Romano]), as reported in the above-referenced Christie’s catalog entry. $400-600


208 After Bartholomeus van der Helst (Dutch, 1613-1670) Allegory of Vanity Unsigned, ascribed to Paulus Moreelse (Dutch, 1571-1638) on two unattributed typed labels affixed to the stretcher. Oil on canvas, 37 1/4 x 27 7/8 in. (94.5 x 70.7 cm), framed. Condition: Lined, old retouch, varnish discoloration, scattered small abrasions, surface accretions, fine craquelure, surface grime. Provenance: Bonhams, New York, European Paintings, Drawings & Sculpture, November 1, 2012, Lot 7, as Attributed to Bartholomeus van der Helst. N.B. This painting was reviewed from digital images by Ellis Dullaart, Curator Dutch and Flemish Old Master Painting at the RKD, who noted that it is a copy after a signed and dated (1658) painting by Bartholomeus van der Helst now in the Louvre. $1,500-2,500 209 Southern Netherlands School, 17th/18th Century 208

Ornate Floral Still Life in an Urn Unsigned. Oil on canvas, 29 x 22 in. (73.5 x 56.0 cm), framed. Condition: Lined, extensive retouch to the background, craquelure, stretcher bar marks, surface imperfections, probable skinning. $1,500-2,500

209

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210 School of Sir Joshua Reynolds (British, 1723-1792) Portrait of a Gentleman, Described as “Mr. Wilkinson” Unsigned. Oil on canvas, 30 x 25 in. (76.0 x 63.0 cm), framed. Condition: Lined, retouch, craquelure. Provenance: Sir Douglas Archibald SetonSteuart, 5th Baronet (1857-1930), New Stirling, Scotland; through to Spink & Son, Ltd., London; to Chester Noyes Greenough, Belmont, Massachusetts; through to the current owner.

210

N.B. The lot is accompanied by a letter from Spink & Son, Ltd., London, from 1937, to the American buyer, C.N. Greenough, Esq. of Belmont, Massachusetts, which provides the name of the sitter and some provenance. The letter suggests that the portrait is “quite possibly by Reynolds.” The American buyer, Chester Noyes Greenough (1874-1938), was a Professor of English and Dean at Harvard University. Also accompanying the lot is a printed photograph of the library at Greenough’s home in Belmont showing the portrait hanging above the fireplace. The sitter here is different from the portrait of Mr. Wilkinson (cat. no. 1881, done in 1771) included in the Reynolds catalogue raisonné by David Mannings. The work is closer in feeling to portraits done a decade later. $1,000-1,500 211 Ubaldo Gandolfi (Italian, 1728-1781) Standing Male Nude Seen from Behind, His Right Arm Outstretched Unsigned, with an unidentified red wax collector’s mark with a heraldic motif affixed to the lower edge of the reverse. Red chalk on laid paper, 16 7/8 x 11 in. (42.8 x 28.0 cm), framed. Condition: Restored along the right edge, distortion to paper surface on recto from the wax seal on the reverse, creasing to l.l. corner, hinged to the backing mat on three sides. Provenance: Christie’s New York, Old Master & Early British Drawings & Watercolors Including an Important Canadian Collection and A Distinguished Private Collection, January 31, 2013, Lot 113; through to the estate of Robert Wynne, Massachusetts. $400-600

211

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212 Bolognese School, Late 17th Century Kneeling Male Nude Harvesting Grapes Unsigned. Red and black chalk on paper, 16 1/2 x 11 3/8 in. (42.0 x 29.0 cm), stamped with collector’s mark “SCIPIO” within an oval (Lugt, 2274a) and inscribed “Illustrated in Ginsburg Coll” in pencil, both on the reverse of the mount. Condition: Staining, abrasions, surface losses, creasing, possible fading, laid down on a secondary sheet edged with gold foil. Provenance: The estate of Robert Wynne, Massachusetts.

212

N.B. The collector’s mark “SCIPIO” refers to H.S. (Henry Scipio) Reitlinger (British, 18821950). The inscription regarding the Ginsburg Collection may refer to Dr. C.D. (Christian David) Ginsburg (British, 1831-1914), whose collection was sold by Sotheby’s London in 1915. (The collection of engravings, etchings & drawings by the old masters, the property of the late Dr. C.D. Ginsburg, LL.D. of Oakthorpe, Palmer’s Green N. [sold by order of the executors], Sotheby’s London, sale catalog, July 20-23, 1915.) Other Old Master and modern drawings from the Ginsburg Collection were also sold as part of a larger auction by Sotheby’s London, July 29, 1924. (Lots 1-41). The seller of this group of forty works had received them from Dr. Ginsburg by bequest. $500-700 213 Johan Herman Faber (Flemish, 1734-1800), After Joseph Wright of Derby (British 17341797) Copy After An Iron Forge Signed and dated “JHFaber 1773” l.r., a label from Geo. Wilkinson & Son, Sheffield, affixed to the stretcher. Oil on canvas, 24 x 32 in. (61.0 x 81.3 cm), framed. Condition: Old repair to u.l. quadrant, craquelure, scattered areas of lifting, scattered small losses to paint as a result from flaking. Provenance: The estate of Henry D. Childs, Massachusetts and Florida. N.B. This work is a copy of Joseph Wright of Derby’s An Iron Forge (47.8 x 52.0 inches) in the collection of the Tate, London. $3,000-5,000

213

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214 partial

215

216

214 Peter B. West (British/American, 18371913)

215 School of Etienne Jeaurat (French, 16991789)

Pair of Paintings of Dogs with Carts: One Standing, One Laying Both signed and dated “P.B. West 1883.” l.l. and identified on unknown labels with a short artist bio affixed to the reverse of frames. Both oil on canvas, 14 x 18 in. (35.6 x 45.7 cm), framed. Condition: Minor surface grime to both. $800-1,200

Portrait of a Smiling Young Man Unsigned. Oil on canvas, 25 1/4 x 18 3/4 in. (64.2 x 47.7 cm), framed. Condition: Lined, scattered retouch, scattered minor losses, fine stable craquelure.

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Provenance: By family descent over three generations. $1,500-2,500

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216 Dutch School, 17th/18th Century Women Gathered at a Table Signed or inscribed “VYK/...” on the stool l.c., inscribed “Van Ostade” on a paper label affixed to the reverse. Oil on panel, 12 3/16 x 10 1/2 in. (31.0 x 26.7 cm), framed. Condition: Minor recent retouch, fine craquelure, varnish inconsistencies. $1,000-1,500


217

218

219

217 French School, 19th Century

218 Elihu Vedder (American, 1836-1923)

219 Continental School, 19th Century

Two Portraits of Gentlemen Dated “19 Janvier 1827” and “16 Janvier 1827” l.r., both with gallery/framing label “Konrad Zimmermann, Rahmenwerkstätten/ Kunsthandlung/Berlin W - Schillstr. 18” on the reverse. Oil on canvas, 10 x 8 in. (25.4 x 20.3 cm), framed. Condition: Varnish discoloration, small scattered accretions; portrait of man with downcast eyes with varnish inconsistencies. $400-600

Italian Peasant Monogrammed and dated “18V65” l.l., inscribed “It. Peasant/by/Elihu Vedder/Rome” on the reverse, numbered “C-81” in two places on the reverse. Oil on panel, 8 3/8 x 5 1/8 in. (21.5 x 13.0 cm), framed. Condition: Retouch to background at upper corners, fine craquelure. $1,000-1,500

Equestrian Soldiers at Rest Unsigned. Oil on canvas, 17 1/8 x 22 in. (43.5 x 55.9 cm), unframed. Condition: Lined, craquelure, some varnish discoloration, scattered areas of retouch, possible repair to canvas at center. $1,500-2,500

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220

220 Jean-Baptiste Greuze (French, 1725-1805) Portrait of a Young Man Unsigned, identified on a label affixed to the stretcher, inscribed “Property of/Stanley N. Barbee/Los Angeles” on the reverse. Oil on canvas, 18 3/16 x 15 in. (46.3 x 38.0 cm), in a period frame. Condition: Lined, scattered retouch, craquelure. Provenance: Ex-collection Stanley Newbold Barbee, Los Angeles, purchased from Felix Goulêd, New York, November 11, 1937; then by family descent; Skinner, Inc., February 3, 2012, Sale 2581B, Lot 314; through to the estate of Robert Wynne, Massachusetts. N.B. The painting at hand was examined in person by Dr. Edgar Munhall in the autumn of 2011. In his opinion, Dr. Munhall stated that the Portrait of a Young Man was painted by Jean-Baptiste Greuze sometime around 1800. A copy of Dr. Munhall’s written report, including comparable images, is available for inspection and will accompany the lot. Born in Tournus, Greuze moved to Paris in 1750, where he studied at the School of the Royal Academy and achieved success with genre painting. He was named an Associate member of the Academy in the category of genre painting in 1755.

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He received commissions from Mme. de Pompadour and was praised by Diderot for works that endowed art with morality. Like so many artists of the era, Greuze aspired to paint historical subjects, but did not find the reception for these that he had hoped. The refusal of the Academy to accept him as a history painter led him to withdraw from the Salon for thirty years. He continued successfully to paint portraits and figural works with great sensitivity and finesse. In his report, Dr. Munhall wrote, “During and after the French Revolution, there was little demand for the serious genre pictures that had been Greuze’s forte throughout most of his career. He therefore turned to portraits, a genre at which he had excelled from his earliest days. Revolutionary figures, lawyers, nouveaux-riches figures of society, even the young Napoleon Buonaparte sat to him, and though by now in his mid-seventies, the artist was showing no signs of diminishing talents.” Commenting on the attire of the sitter, Dr. Munhall continued, “Such a British-inspired ensemble appeared in a number of Greuze’s male portraits around 1800...” The painting is mounted in an 18th-century frame which is listed in the original 1937 receipt from Felix Goulêd. The frame shows signs of having been re-fashioned along the top and bottom edges at some point to accommodate the portrait. $15,000-25,000


221

221 Jean-Baptiste Greuze (French, 1725-1805) Un Petit Garçon Unsigned, identified on labels from the Kimbell Art Museum, Fort Worth, Texas, Raydon Gallery and Hammer Galleries, both New York (see below), affixed to the frame backing. Oil on canvas, 16 x 12 3/4 in. (40.5 x 33.0 cm), framed. Condition: Lined, retouch, craquelure.

Provenance (as indicated on the Raydon Gallery label): M XXX Paris, 1866; to Sir Charles Robinson, London, 1896; Sedelmeyer Gallery, Paris; Henry Rosenheim, Paris, 1897; Private French Collection, 1900; Newhouse Gallery, New York; Mr. and Mrs. Kimbell, Fort Worth, Texas, c. 1950s; Kimbell Art Museum, Fort Worth, Texas, c. 1972; through to the current owner. Exhibitions: Hammer Galleries, New York, Seen and not Heard, Children in Nineteenth Century European and American Paintings, April 11–29, 1978, color illustration, Figure 3. N.B. In a handwritten addendum to the label from Raydon Gallery, the identity of the sitter is indicated to be Sebastian or Henryk Lubomirski, and the first owners are listed as Prince Stanislaw Lubomirski of Warsaw and Prince Jozef Lubomirski, however this information in unconfirmed. $20,000-30,000

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222

222 Gustave Henri Colin (French, 1828-1910) On to the Basque Celebration Signed “Gustave Colin” l.r. Oil on canvas, 25 5/8 x 21 3/8 in. (65.0 x 54.5 cm), in a period frame. Condition: Lined, scattered retouch, fine craquelure, staining to the reverse. Provenance: Dealer, France; Private Collection, United States; Private Collection, South Dakota (acquired in 2003); acquired from the above by the present owner in 2009. $1,000-1,500 223 Edward King (British, 1862-1951) Strolling Musician Signed “EDWARD KING 1888” l.l. Oil on canvas, 40 1/2 x 34 in. (102.9 x 86.4 cm), framed. Condition: Craquelure, varnish discoloration, stretcher marks, scattered accretions. $1,000-1,500

223

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224

224 Alfred Walter Bayes (British, 1832-1909) Thwarted Signed “AWBayes” l.r., identified and titled on a presentation plaque. Oil on canvas, 24 x 36 1/4 in. (61.0 x 92.1 cm), framed. Condition: Puncture with surrounding paint loss to center, approximately 1 1/4 inch paint loss, small area of loss near u.l. edge, possible small area of retouch near l.r. corner. $1,500-2,000 225 Charles Landseer (British, 1799-1879) The Approval of the Matriarch Signed “Charles Landseer. 1847.” l.l. Oil on panel, 32 x 37 3/4 in. (81.3 x 95.9 cm), framed. Condition: Surface grime, craquelure, scattered minor paint losses, varnish discoloration. $800-1,200

225

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226

226 Attributed to Thomas Gainsborough (British, 1727-1788) The Campfire Unsigned, attributed on a presentation plaque, inscribed “Gainsborough� in ink on an unattributed inventory label affixed to the stretcher. Oil on canvas, 30 x 25 in. (76.5 x 63.5 cm), framed. Condition: Lined, retouch, craquelure, surface grime. Provenance: William A. Coats, Esq., Dalskairth, Dumfries; Mr. and Mrs. Julius Haass, Detroit; Newhouse Galleries, New York; Robert W. Lyons, Washington, DC; Parke-Bernet Galleries, Inc., Notable Paintings from the collection of Mr. & Mrs. Robert W. Lyons, January 4, 1945, Cat. no. 32; ...; Jackson & Wyckliff Auctioneers, Inc., Carmel, Indiana, June 6, 1994, as Attributed to Thomas Gainsborough; acquired from the above by the family of the consignor.

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Literature: W.A. Coats, Catalogue of the Collection of Pictures of the French, Dutch, British and other Schools Belonging to W.A. Coats (Glasgow: Wm. B. Paterson, 1904), No. CXX and Plate CXX. (viewed digitally at https://www.worldcat.org/title/catalogue-of-the-collectionof-pictures-of-the-french-dutch-british-and-other-schools-belonging-towa-coats/oclc/14064402/viewport) Exhibitions, as listed in Parke-Bernet catalog: Detroit Institute of Arts, Detroit, Michigan, 1930; Dayton Art Institute, Dayton, Ohio, 1930 (unconfirmed). N.B. The lot is accompanied by a copy of the above-referenced 1945 Parke-Bernet auction catalog and a receipt from Jackson Wyckliff Auctioneers. The early provenance recorded above (through 1945) was gleaned from the Parke-Bernet entry. The Parke-Bernet entry also makes reference to an authentication provided by Mr. W. Roberts, but that document no longer accompanies the painting. Julius Heinrich Haass and Lillian Martha Henkel Haass were collectors and philanthropists in Detroit, Michigan, where Mr. Haass served as a trustee and president of the Detroit Museum of Art Founders Society. $8,000-12,000


227 partial

227 Attributed to Samuel Henry Alken (British, 1810-1894) Four Coaching Scenes Each signed or inscribed “H Alken” l.l. or l.r., attributed to Alken on presentation plaques, all with fragmentary labels from Arthur Ackermann & Sons, Inc., New York, affixed to the frames, labels from Closson’s, Cincinnati, on the frame backing boards. Oil on canvas, 11 x 15 in. (27.9 x 38.1 cm), framed. Condition: Lined, retouch, craquelure, varnish inconsistencies, minor surface imperfections, craquelure, surface grime. Provenance: Skinner, Inc., American & European Works of Art, September 12, 2008, Sale 2422, Lot 421. $4,000-6,000 228 George Balmer (British, 1806-1846) Newcastle on Tyne Unsigned, identified on a presentation plaque, ascribed on a gummed label affixed to stretcher. Oil on canvas mounted to board, 17 1/4 x 24 in. (43.8 x 61.0 cm), framed. Condition: Lined, craquelure, minor varnish discoloration and surface grime, minor scattered surface accretions. $2,000-2,500

228

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229

229 Continental School, 18th Century Two Scenes of Wayfarers: River Crossing and Journey’s Rest Unsigned. Gouache on paper, sight sizes to 6 3/4 x 8 7/8 in. (17.1 x 22.5 cm), mounted and framed. Condition: Minute flaking, River with small accretion to l.r. corner, Journey with small accretion to u.l. quadrant and pinprick puncture to u.c. edge, not examined out of frame. $2,000-3,000 230 Thomas Sidney Cooper (British, 1803-1902) Cattle on a Riverbank Signed and dated “T. Sidney Cooper R.A./1871” l.l. Oil on canvas, 26 1/8 x 38 1/8 in. (66.4 x 96.9 cm), framed. Condition: Lined, scattered retouch to sky and along left edge, stable craquelure, minor surface grime.

230

Literature: Kenneth J. Westwood, Thomas Sidney Cooper, His Life and Work (Somerset [England]: David Leathers, 2011), vol. I, p. 360. N.B. We would like to thank Dr. Kenneth Westwood for his kind assistance cataloging this lot and for confirming its listing in the Cooper catalogue raisonné. $3,000-5,000 231 John Joseph Enneking (American, 1841-1916) Landscape in the Alps No visible signature, identified as signed “E” l.r. on a label from Pierce Galleries on the reverse. Oil on board, 5 1/2 x 9 in. (13.9 x 22.8 cm), framed. Condition: Wear to edges, accretions to the u.c. edge, craquelure. N.B. Label on the reverse certifies the work was registered as “II-B-320” and titled Landscape in the Alps by Patricia Job Pierce for the Enneking catalogue raisonné. $600-800

231

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233

232 Camille Pissarro (French, 1830-1903)

232

Paysage Initialed “CP” l.r., dated “circa 1855-1860” in pencil on the frame backing cardboard, identified on an unattributed fragmentary label and with stamps from Hammer Galleries, New York, all on the frame backing board. Charcoal on paper, sight size 9 1/8 x 6 3/8 in. (23.3 x 16.3 cm), framed. Condition: Small tear to l.l. corner, taped to window mat with brown paper tape around the perimeter of the reverse, minor rippling, toning. N.B. This landscape drawing has been accepted for the Catalogue Raisonné of the Drawings by Camille Pissarro in preparation by Dr. Joachim Pissarro. In his opinion, Dr. Pissarro concludes that this drawing may have been executed in the surroundings of Chailly, in the neighborhood of Barbizon, and was likely drawn in the late 1850s. A copy of Dr. Pissarro’s analysis accompanies the lot. $4,000-6,000 233 Léon Richet (French, 1847-1907) Barbizon Landscape with Figure Signed “Richet...” l.l. Oil on board, 9 x 12 3/4 in. (22.9 x 32.4 cm), framed. Condition: Surface grime, varnish inconsistencies, craquelure. $600-800 234 School of Jacques Fouquières (French, c. 1580-1659)

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Woodland Embankment Indistinct pencil mark l.r., inscribed “Fouqu...” in ink u.r. on the reverse. Ink wash on paper, 13 1/2 x 9 1/2 in. (34.3 x 24.1 cm), framed. Condition: Affixed around the perimeter of the reverse to a supporting sheet, accretions similar to foxing to lower half, repair to corner u.r., staining with minute loss to paper at u.r. edge. Provenance: The estate of Robert Wynne, Massachusetts. $500-700

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235

235 Clement Drew (American, 1806-1889) Moonlit Harbor Signed and dated “C. Drew 83� l.l. Oil on canvas, 20 x 25 in. (50.8 x 63.5 cm), framed. Condition: Lined, craquelure, surface grime, scattered areas of retouch. $800-1,200 236 Continental School, 19th Century Diving off the Coast Unsigned. Oil on canvas, 25 x 20 1/4 in. (63.5 x 51.4 cm), framed. Condition: Lined, minor surface grime, craquelure, small scattered areas of retouch. $600-800

236

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237 Attributed to Ernest Poulson (British, fl. 1836-1865) Nighttime Encounter with Smugglers off the Isle of Thanet Unsigned, attributed and dated “E. Poulson/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.

237

N.B. This nocturnal 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 have 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 in cataloging this lot. $2,000-3,000 238 Aleksei Vasilievich Hanzen (Russian, 18761937) Sea at Sunset Signed “A. Hanzen” l.l. Oil on canvas, 27 3/4 x 39 3/4 in. (70.5 x 101.0 cm), framed. Condition: Surface imperfections including a loss to l.r. edge, possible old retouch, small area of craquelure in l.r. quadrant.

238

Provenance: MacDougall’s Fine Art Auctions, London, Russian Art Sale: XIX and XX Century Russian Art, Post War & Contemporary Russian Art, June 11, 2009, Lot 318. $10,000-15,000 238A Alexander Dzigurski (American/ Yugoslavian, 1911-1995) Morning Tide Signed “A. Dzigurski” l.r. Oil on canvas, 24 x 36 in. (61.0 x 91.4 cm), framed. Condition: Good. $800-1,200

238A

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239

240

239 D. Jerome Elwell (American, 1847-1912) Gloucester Signed, titled, and dated “Elwell/ Gloucester/1865” l.l. Oil on canvas, 26 x 40 in. (66.0 x 101.6 cm), framed. Condition: Craquelure, wax applied to area on the reverse. Provenance: A private Massachusetts collection. $4,000-6,000

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240 Wesley Elbridge Webber (American, 18411914) Coming into Port Signed “Wesley Webber” l.l., title inscribed on the reverse. Oil on canvas, 26 x 36 in. (66.0 x 91.4 cm), framed. Condition: Surface grime, possible minor varnish inconsistencies to ocean. $1,800-2,200

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241

241 Fitz Henry Lane (Massachusetts, 1804-1865) Vessel Returning from Surinam Signed and indistinctly inscribed or dated “F.H. Lane...” l.r., with a faint “FH” just above and to the left of the signature, identified on a typed label affixed to the stretcher. Oil on canvas, 18 x 30 1/4 in. (45.5 x 76.5 cm), framed. Condition: Minor retouch to fill craquelure in sky and stretcher bar mark along right vertical edge, signature reinforced, craquelure, minor surface grime. Provenance: Probably Dr. Greenleaf, Gloucester, Massachusetts; to his daughter Harriet Greenleaf Whitman; to the parents of the current owner, by family descent. Literature: John Wilmerding, Fitz Hugh Lane (1804-1865), American Marine Painter (Salem, Massachusetts: Essex Institute, 1964), p. 83, #370. N.B. This work will be included in the Fitz Henry Lane online catalogue raisonné, www.fitzhenrylaneonline.org, managed by the Cape Ann Museum, Gloucester, Massachusetts We would like to thank Sam Holdsworth and the Cape Ann Museum for their kind assistance with this lot. $80,000-120,000

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242

242 James Gale Tyler (American, 18551931) In the Breakers Signed and dated “James G. Tyler/1903” l.l., identified and titled on a presentation plaque. Oil on canvas, 20 1/8 x 28 1/8 in. (51.1 x 71.4 cm), framed. Condition: Good. Provenance: A private Massachusetts collection. $1,500-2,500

242A

242A Alfred Thompson Bricher (American, 1837-1908) Vessels at a Wharf Inscribed “ATBricher” in a later hand l.l., inscribed indistinctly in pencil l.r. Watercolor and gouache on paper, 10 x 17 5/8 in. (25.2 x 44.8 cm), framed. Condition: Laid down on paperboard, gently toned, mat burn along three sides, glue residue around the perimeter of the reverse of the mount. $600-800 243 Gordon Hope Grant (American, 18751962) The Ancient Way Signed “Gordon Grant” l.l., titled on the stretcher, with a label from Quester Gallery, Stonington, Connecticut, on the backing. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Minor surface grime. $2,000-3,000

243

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244

244 Harrison Bird Brown (American, 1831-1915) Crashing Surf with Cliffs, Probably Grand Manan Signed “HBBrown” l.l. Oil on canvas, 13 x 30 in. (33.0 x 76.0 cm), framed. Condition: Craquelure, tiny cluster of paint losses to l.l. corner, tiny loss at u.c. edge, minor surface grime. Provenance: Property from the estate of A. Margaret Bok, Rockport, Maine. $1,000-1,500 245 Edward A. Page (American, 1850-1928)

245

Fisherman and Dinghy at Low Tide Signed and dated “E.A. Page 1904” l.r. Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), framed. Condition: Scattered minor accretions, surface grime. $2,000-3,000 246 Alfred Thompson Bricher (American, 18371908) Sea and Cliffs, Conanicut [?], R.I. Signed “AT BRICHER” l.l., titled in ink, now blurred, and numbered “39” on the reverse. Watercolor and graphite on paper, 9 3/4 x 21 1/2 in. (24.9 x 54.8 cm), framed. Condition: Toning, mat burn, fading to sky, minor foxing, glue residue and paper fragments with shallow surface losses along right edge of recto from a former mounting. $500-700

246

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247 Attributed to Ralph Albert Blakelock (American, 1847-1919) Moonlit Forest Signed “R.A.Bla...k” l.l. Oil on panel, 7 1/4 x 9 1/8 in. (18.4 x 23.2 cm), framed. Condition: Varnish discoloration, craquelure, tenting, surface grime. $1,000-1,500 248 Charles Warren Eaton (American, 18571937) Moonrise Signed and dated “CHAS WARREN EATON/1887” l.r., with a label from Hirschl & Adler Galleries, New York, on the reverse. Oil on canvas, 12 x 18 in. (30.5 x 45.7 cm), framed. Condition: Lined. Provenance: Private collection, Connecticut and Florida. $6,000-8,000

247

248

100

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248A Attributed to Ralph Albert Blakelock (American, 1847-1919) Indian Encampment Signed “...Blakelock” l.l., attributed on a presentation plaque. Oil on panel, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Wear with losses to edges, possible varnish discoloration, surface grime. $1,500-2,500 249 Dwight William Tryon (American, 18491925)

248A

A Pasture, Cape Cod Signed “D.W. TRYON” l.r., identified on a presentation plaque, titled on a Chicago Exposition label on the reverse (see below). Oil on panel, 13 3/4 x 21 1/2 in. (34.9 x 54.6 cm), framed. Condition: Good. Provenance: Private collection, Connecticut and Florida. N.B. This work is listed as #433 in the catalog of the paintings exhibited at the Inter-State Industrial Exposition of Chicago in 1887. $6,000-8,000

249

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250

250 Samuel W. Griggs (American, 1827-1898) Cows Watering at a Quiet Riverside Signed and dated “S.W. Griggs/78” l.r., with a label from A.A. Walker & Company, Artists’ Colormen, Boston, affixed to the stretcher. Oil on canvas stretched with Boston tabs, 18 x 30 in. (46.0 x 76.3 cm), framed. Condition: Varnish discoloration, surface grime. $1,200-1,800 251 Samuel Colman (American, 1832-1920) A Song of Summer Monogrammed “SC...” l.l., identified and titled on a presentation plaque affixed to the reverse. Oil on board, 15 1/2 x 11 1/4 in. (39.4 x 28.6 cm), framed. Condition: Craquelure, small scattered areas of retouch. $500-700

251

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252

252 American School, 20th Century Mountain Stream Signed “OR...18...5” l.r. Oil on canvas, 10 x 14 9/16 in. (25.4 x 37.0 cm), framed. Condition: Minor surface grime. $600-800 253 Jonas Joseph LaValley (American, 18581930) Field of Mountain Laurel Signed and dated “J.J. LaValley/1900” l.l., label from Douglas Galleries, South Deerfield, Massachusetts, on the reverse. Oil on board, sight size 13 5/8 x 12 1/8 in. (34.6 x 30.8 cm), framed. Condition: Surface grime, abrasion to c.l. edge. $600-800

253

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254

254 John William Casilear (American, 18111893) Autumn Lake View Initialed “JWC” l.r. Oil on panel, 8 x 15 1/4 in. (20.2 x 39.0 cm), framed. Condition: Varnish discoloration. $1,000-1,500 255 Eliza Rosanna Lamb Barchus (American, 1857-1959) Mt. Hood, Oregon, Sunset Signed “Barchus” l.r., titled on the reverse. Oil on panel, 6 5/8 x 8 1/2 in. (16.8 x 21.6 cm), framed. Condition: A few very minor accretions. Provenance: Private collection, Connecticut and Florida. $600-800

255

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256

257

256 Hudson River School, 19th Century Sunset Vista Unsigned, inscribed indistinctly “H.F. Osborn/2...” on the reverse. Oil on board, 4 x 7 1/2 in. (10.1 x 18.8 cm), framed. Condition: Craquelure.

N.B. The inscription “H.F. Osborn” on the reverse may refer to Henry Fairfield Osborn, son of William Henry Osborn, who was Frederic Church’s longtime patron and close friend. Church’s friendship with the Osborns continued even after W.H. Osborn’s death in 1894; both Church and his wife died at Osborn’s Park Avenue residence in New York City in 1900 and 1899, respectively. Among Church’s scenes of the Hudson River Valley are depictions of the view from W.H. Osborn’s residence, Castle Rock, near Garrison, New York. $600-800

257 Alfred Thompson Bricher (American, 18371908) Hudson River View, Possibly West Point Signed and dated “A.T. Bricher/64” l.c. Oil on canvas, stretched with Boston tabs, 9 x 18 in. (23.0 x 46.0 cm), framed. Condition: Paint losses, areas of bubbling paint, craquelure with lifting, canvas deformation, surface grime. $1,000-1,500

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258

258 John Robinson Tait (American, 1834-1909) The Noon Day Ride Signed and dated “J.R. Tait/18...” l.l. Oil on canvas, 21 1/2 x 30 1/4 in. (54.5 x 77.0 cm), in a period frame. Condition: Lined, minor retouch. $1,500-2,500 259 Arthur Fitzwilliam Tait (American, 18191905)

259

Repose Signed “A.F. Tait” l.r., identified on a presentation plaque, titled, signed with artist’s address “53 East 56th St/N.Y.,” and inscribed “C. 91” in paint on the reverse. Oil on board, 15 x 23 in. (38.1 x 58.4 cm), framed. Condition: Varnish discoloration, areas of minor accretions and minute paint loss, craquelure. $1,500-2,500

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260

260 Alexander Helwig Wyant (American, 18361892) Lake Placid and Whiteface in the Adirondacks, alternately titled Lake Placid, Whiteface III Signed “A H Wyant” l.r., identified and titled “Autumn Landscape” on a label from Bernard Danenberg Galleries, New York, affixed to the stretcher. Oil on canvas, 18 x 30 in. (46.0 x 76.0 cm), in a period frame. Condition: Lined, scattered retouch.

Provenance: Museum of the City of New York, to Mrs. Giles Whiting, Scarborough, New York; to Christie’s New York, Important American Paintings, Drawings and Sculpture, December 6, 1991, Lot 37; Private Collection, Brookline, Massachusetts, 1991; Private Collection, Newport, Rhode Island, 2015. Exhibitions: Scenes of Placid Lake, Lake Placid Center for the Arts, Lake Placid, New York, July 22–September 6, 1993, illustrated in the exhibition catalog, p. 16, fig. 16. N.B. The painting is listed on The Wyant Website with the reference number 116.019. It is described there as Lake Placid, Whiteface III and is dated c. 1872-1875. The provenance above was provided by The Wyant Website. The period the painting was at Danenberg Galleries in New York is unrecorded. $12,000-18,000

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262

261

261 Nelly Erichsen (British, 1862-1918)

262 Paolo Sala (Italian, 1859-1924)

Middle Eastern Fruit Vendor Signed “N. Erichsen” l.l. Oil on canvas, 36 x 24 in. (91.4 x 61.0 cm), framed. Condition: Gentle rippling to u.r. corner, craquelure. $1,000-1,500

Gondole Veneziane Monogram signature and inscribed “PSala/ Milano” l.r., titled l.l. Watercolor on paper, sight size 20 7/8 x 14 in. (53.0 x 35.5 cm), framed. Condition: Area of transfer of gold from the frame liner to l.r. corner, not examined out of frame. $800-1,200

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263

263 Warren Sheppard (American, 1858-1937) Venetian Palazzo Signed and dated “WARREN SHEPPARD -91-” l.r. Oil on board, 18 x 29 3/4 in. (45.7 x 75.6 cm), framed. Condition: Surface grime, small accretion to u.l. quadrant. $800-1,200 264 Charles Wellington Furlong (American, 1874-1967) The Thief Signed and dated “Charles W. Furlong ‘06” l.l., partial label from the Boston Art Club Exhibition on the reverse of the frame. Oil on board, 20 3/4 x 14 1/8 in. (52.7 x 35.9 cm), framed. Condition: Bowing to board, scattered areas of losses and accretions, surface grime. $800-1,200

264

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265

265 Porfirio Salinas (American, 1910-1973) Desert Mesquite Tree, Amarillo, Texas Signed “Porfirio Salinas” l.r., titled on an unattributed typewritten label affixed to the reverse. Oil on canvasboard, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Minor surface grime. $4,000-6,000 266 Charles Hoffbauer (French/American, 18751957)

266

Desert Scene Stamped signature “C Hoffbauer” l.r., inscribed “Hoffbauer” on the reverse. Oil on panel, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Minor surface grime, small horizontal crack to c.l. edge of panel, approximately 1 1/2 inches in length. $600-800

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267

267 John La Farge (American, 1835-1910) Passing Storm, Samoa Inscribed, signed, located, and dated “To Mr. Bob Davis with/the compliments of the artist J. La Farge/Samoa 1894” in pencil l.r. Watercolor on paper, 9 3/8 x 9 15/16 in. (24.0 x 25.2 cm), framed. Condition: Subtle toning, pale mat burn, tack holes to corners, hinged to window mat at intervals around the perimeter of the reverse. Provenance: Private collection, Honolulu, Hawaii, 1950; private collection, Honolulu, Hawaii, 2005; through to the current owner. N.B. Dr. James Yarnall reviewed this watercolor via digital photographs in 2007 and confirmed its authenticity in an email to the consignor.

A fascination with exotic cultures led John La Farge and his good friend, historian Henry Adams, on an extended journey to the South Seas islands in 1890 and 1891. La Farge said that he was “dreaming of a land of uncorrupted nautral beauty,” and this he found in the culture and unspoiled landscape of Samoa. La Farge was entranced by the lush tropical scenery and beautiful native peoples. He stayed four months in Samoa, considering this time the high point of his South Pacific tour. With precise observation and spontaneous brushwork, he captured their way of life in more than 200 oil paintings and watercolors. The original tag from the frame backing indicates that this artwork was framed by E.H. & A.C. Friedrichs, Co., New York, sometime after La Farge’s return in November 1891. $15,000-20,000

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268 partial

268 Samuel Colman (American, 1832-1920) Two Watercolor Studies: The Grödner Joch and Mt. Snowden, from Above the Quarries Grödner signed “Samuel Colman” in pencil l.l., titled and dated “...August 4th 1904” in pencil l.r., Snowden titled in pencil l.l. and identified on a label from Kennedy Galleries, New York, on the reverse. Watercolor, pencil, and gouache on paper, sight sizes to 9 x 12 7/8 in. (22.9 x 32.7 cm), framed. Condition: Toned, not examined out of frames. N.B. Both with Kennedy Galleries Inc. labels on the reverse, Snowden with photocopy on the reverse of the unframed work showing the artist’s signature “Samuel Colman” and the date “July 1875” under the title on the front. $1,200-1,800 269 Alfred Fontville de Breanski Jr. (British, 18771955)

269

Derwentwater Signed “A de Breanski jr” l.l., identified and titled on a presentation plaque, signed and with full title “English Lakes/Summer Morning. Derwentwater” on the reverse. Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Varnish inconsistencies, scattered minor accretions to r.c. $700-900 270 Sydney Adamson (American/Scottish, fl. 1892-1914) Algeciras Signed, dated, and titled “Sydney Adamson/1908/...” l.l. Oil on canvas, 18 x 24 1/4 in. (46.0 x 61.4 cm), framed. Condition: Small horizontal tear with surface abrasion (3/8 in.) l.c., craquelure, minor surface grime. $600-800

270

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271

272

271 Ercole Calvi (Italian, 1824-1900)

272 Ramón Martí Alsina (Spanish, 1826-1894)

Ponte di Pescarenico Signed “Ercole Calvi” l.l., titled “Ponte di Pescarenico/Sul-Adda” on a presentation plaque, identified “N. 642/Dipinto del Cav. Ercole Calvi di Verona” on a printed label on the stretcher. Oil on canvas, 18 1/2 x 31 3/4 in. (47.0 x 80.5 cm), in the original frame. Condition: Retouch running the height of the right side edge measuring one inch wide, gridlike pentimento or similar to the sky, canvas rippling, canvas deformation to l.r. corner, scattered small paint losses, fine craquelure, surface grime.

Cattle and Drovers Signed “R. Marti” l.r. Oil on canvas, 16 3/4 x 38 1/2 in. (42.5 x 97.8 cm), unframed. Condition: Lined, patch reinforcements to the reverse, scattered areas of retouch, small puncture with paint loss l.r., minute puncture u.r., stabilized tear to the u.l. perimeter, dent to u.l. edge, narrow, horizontal abrasion to u.c. likely resulting in small loss to varnish. $800-1,200

Provenance: A Westchester County, New York, estate. N.B. Dr. Christl Wolf of the Dorotheum in Vienna has confirmed this painting to be the work of Ercole Calvi. $3,000-5,000

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273

273 Casimiro Sainz y Saiz (Spanish, 18531898) Spanish Landscape Signed and dated “1878 Cro Sainz” u.r., indistinct title above signature, framing label from Antonio Satorres, Madrid, on the reverse. Oil on panel, 6 1/4 x 9 1/2 in. (15.9 x 24.1 cm), framed (under glass). Condition: A few minute scattered accretions, minor surface grime. $800-1,200 274 George Elmer Browne (American, 18711946) The Jung from Morning Signed “Geo. Elmer Browne” l.l., signed and titled in pencil on the reverse, with a label from P. Navez inscribed “Exposition de Chicago/No. 10/M. Browne...” on the reverse. Oil on canvas, 25 3/4 x 32 in. (65.2 x 81.0 cm), unframed. Condition: Puncture measuring approximately 1 inch in u.r. quadrant, flaking to lower edge, surface grime, craquelure, stretcher marks, wear to edges. $700-900

274

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275

275 Elihu Vedder (American, 1836-1923) Hillside with Sheep, Perugia Signed “Copyright 1899 by E. Vedder” l.l. Oil on canvas, 24 1/2 x 34 in. (62.2 x 86.4 cm), framed in a liner. Condition: Lined, stretcher replaced, varnish discoloration, varnish inconsistencies, craquelure. N.B. Alongside the symbolic and allegorical subjects for which he is most recognized, Elihu Vedder painted more freely executed Italian landscapes after moving permanently to Rome in 1866. This painting may be Hillside wtih Sheep—Perugia, alternatively titled Sheep in Umbria, which is recorded as #80890374 in the Smithsonian American Art Museum’s Inventories of American Painting and Sculpture. $20,000-30,000

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276

277

278

276 John Joseph Enneking (American, 18411916)

277 Charles Partridge Adams (American, 18581942)

278 Joseph Foxcroft Cole (American, 18371892)

Hyde Park on the Neponset Unsigned, identified on a label from Adelson Gallery, Boston, on the reverse, with a sticker from Haley & Steele, Boston, on the backing paper. Oil on canvas mounted to board, 8 x 12 in. (20.3 x 30.5 cm), framed. Condition: Wear to edges. $800-1,200

Vermont Beech Trees Signed “Chas Partridge Adams” l.l., inscribed with title in pencil on the reverse, with a partial label from Turner Art Gallery, Boulder, on the reverse. Oil on canvas, 12 x 9 in. (30.5 x 20.3 cm), framed. Condition: Craquelure, vertical line of craquelure 3/4 length of the canvas near the left edge.

Landscape with House Signed and dated “J. Foxcroft Cole 1879” l.r. Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Lined, very shallow vertical convex dimpling c.r., minor surface grime. $800-1,200

N.B. A second title, Colorado Aspens, also appears on the reverse, but has been crossed out. $800-1,200

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279

279 John Joseph Enneking (American, 18411916) Cattle Landscape Signed, dated, and titled “Enneking/1900/ Cattle landscape” and with two “E” stamps on the reverse. Oil on board, 12 3/4 x 13 3/4 in. (32.4 x 34.9 cm), framed. Condition: Surface grime. $800-1,200 280 James McDougal Hart (American, 18281901)

280

Cows in a Landscape Signed “James M. Hart” l.r. Oil on canvas, 16 x 21 in. (40.6 x 53.3 cm), in a Hermann Dudley Murphy frame. Condition: Puncture u.l. measuring approximately 1 3/4 inches with paint loss, several scattered pinprick punctures with minor paint losses, surface grime, varnish discoloration, minor stretcher marks. N.B. Frame incised “1924 M/Carrig-Rohane Shop Inc./R.C. Vose/Boston/#3846” on the reverse. $1,000-1,500

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281

281 Lemuel Maynard Wiles (American, 18261905) Genesee Valley Sunset Unsigned. Oil on canvas, 12 x 20 in. (30.5 x 50.8 cm), framed. Condition: Lined, minor retouch. Provenance: Private collection, Connecticut and Florida. $1,500-2,500 282 John Joseph Enneking (American, 18411916)

282

September Woods Signed “Enneking” l.r., inscribed “Francis Ferguson Hicks bought of John J Enneking...” on the reverse. Oil on board, 10 x 14 in. (25.4 x 35.6 cm), framed. Condition: Surface grime, wear to edges. $800-1,200

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283

283 Bruce Crane (American, 1857-1937) Long Island, NY, alternatively titled Marshes - Long Island Signed “BRUCE CRANE” l.r., titled and signed on the reverse, alternatively titled on a presentation plaque. Oil on canvas, 16 x 24 in. (40.6 x 61.0 cm), framed. Condition: Areas of thin pigment near center. $4,000-6,000 284 Benjamin Champney (American, 18171907) Wooded Pasture Signed and dated “B Champney 74” l.l. Oil on canvas, 19 1/4 x 12 3/4 in. (48.9 x 32.4 cm), framed. Condition: Surface grime, rippling. $800-1,200

284

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285 Charles Herbert Woodbury (American, 1864-1940) Mt. Monadnock Signed “Woodbury” l.l., stamped with the joint initials “C.H.W./(E.W.P.)” on the reverse. Oil on canvasboard, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Good. N.B. The initials E.W.P. correspond to E.W. Perkins, an executor of the artist’s estate. $800-1,200 286 British School, 20th Century Morning on the Pilgrim’s Way to Canterbury Signed and dated “R. McGill.1968” l.r., inscribed “R.W. McGill/Painter” on a handwritten label affixed to the frame, title provided by the consignor. Oil on canvas, 24 x 36 in. (61.0 x 91.0 cm), framed. Condition: Minor canvas rippling.

285

N.B. This painting was a gift to an organist who played at churches throughout the UK. The title cited above was provided to him at the time he received the painting. $800-1,200

286

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287

287 William Jurian Kaula (American, 1871-1953) Sky and Hills Signed “W J Kaula” l.r. Oil on board, 10 x 12 3/4 in. (25.4 x 32.4 cm), framed. Condition: Good. $800-1,200 288 Robertson K. Mygatt (American, 18621919) Fall Tonal Landscape Signed and dated “Robertson K. Mygatt 1905” l.l. Oil on canvas, 20 x 22 in. (50.8 x 55.8 cm), framed. Condition: Lined, craquelure, minor surface grime.

288

Provenance: Private collection, Connecticut and Florida. $800-1,200

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289

290

291

289 Alexander Theobald Van Laer (American, 1857-1920) Pastoral Hillside Signed “A.T. VAN LAER. ANA.” l.r. Oil on canvas, 27 x 20 in. (68.6 x 50.8 cm), framed. Condition: Craquelure, varnish discoloration, tack holes near edges, minor accretion l.l. near margin. $700-900

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290 Dennis Sheehan (American, b. 1950)

291 Horace P. Giles (American, 1806-1897)

Moonrise Over a Wood and Path Signed “Sheehan” l.l. Oil on canvas, 20 x 23 3/4 in. (50.8 x 60.3 cm), framed. Condition: Minor surface grime. $1,000-1,500

Path to the Sea Signed “H.P. Giles” l.r., with an unattributed label on the reverse. Oil on canvas, 12 x 20 1/4 in. (30.5 x 51.4 cm), framed. Condition: Lined, craquelure. $800-1,200

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292

292 Arthur Clifton Goodwin (American, 18661929) Nocturne with Trees and Lake Signed “A.C. Goodwin” l.l., inscribed “31893D” and “Night of the...” on the stretcher, inscribed “51” on an unattributed sticker on the stretcher, inscribed “G211” on the reverse. Oil on canvas, 23 1/2 x 28 3/4 in. (59.7 x 73.0 cm), framed. Condition: Surface grime, stretcher marks, abrasions/rubs with minor paint loss to upper edge. Provenance: Estate of the artist; to a private collection; to the current owner. $800-1,200

293

293 George W. Waters (American, 1832-1912) Along the Coast Signed “G.W. Waters” l.r., identified on a label from The Crane Collection, Wellesley, Massachusetts, affixed to the back of the frame. Oil on canvas, 18 x 30 in. (45.5 x 76.0 cm), in a period frame. Condition: Lined, minor retouch, craquelure. $1,500-2,000

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294

296

295

294 Robert Emmett Owen (American, 18781957)

295 John Nichols Haapanen (American, 18911968)

Autumn Oaks Signed “R. Emmett Owen” l.r., signed, inscribed, and dated “...1931” on the stretcher, identified on a presentation plaque, with the artist’s label affixed to the back of the frame. Oil on canvas, 36 x 44 in. (91.4 x 111.8 cm), in the original frame. Condition: Lined, flaking to center quadrant, craquelure, surface grime.

Autumn Sunset Signed “Haapanen” l.l., with a label from Haley & Steele Art Dealers, Boston, on the reverse. Oil on canvas, 9 x 11 in. (22.9 x 27.9 cm), framed. Condition: Lined, scattered areas of retouch primarily to sky, some natural pigment fluorescence, scattered minute areas of flaking.

N.B. Artist’s studio label on the reverse of the frame. $1,000-1,500

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Provenance: Private collection, Connecticut and Florida. $700-900

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296 George W. Drew (American, 1875-1968) Autumn Pond Signed “George W Drew” l.r. Oil on canvas, 24 x 18 1/8 in. (61.0 x 46.0 cm), framed. Condition: Surface grime, craquelure, scattered pinprick accretions to sky, stretcher mark to top. $800-1,200


297 Charles Warren Eaton (American, 18571937) Autumn, New England Signed “CHAS WARREN EATON” l.r., titled on the stretcher, identified on two handwritten labels affixed to the stretcher. Oil on canvas, 30 x 36 3/8 in. (76.2 x 92.4 cm), framed. Condition: Lined, minor retouch, fine craquelure. Provenance: Private collection, Connecticut and Florida. $6,000-8,000 298 Charles P. Appel (American, 1857-1928)

297

Sunset Over a Marsh Signed and dated “C.P. Appel. 1927” l.l. Oil on canvas, 20 x 30 in. (51.0 x 76.5 cm), in a period frame. Condition: Lined, scattered retouch, fine, stable craquelure, minor surface grime. $1,200-1,800 299 Bruce Crane (American, 1857-1937) Golden Afternoon, Mohawk Valley Signed “BRUCE CRANE” l.r., signed and titled on a label on the reverse. Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Varnish discoloration, surface grime, some craquelure. $800-1,200

298

299

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300 Frederic Remington (American, 1861-1909) Camp Kettle Unsigned, inscribed “360.” l.l., with further inscriptions on the reverse. Ink on Bristol board, 8 1/8 x 7 1/16 in. (20.7 x 17.9 cm), unframed. Condition: Hinged to backing with white linen tape near upper corners on the reverse, gentle toning, foxmarks near lower edge, scattered spots of soiling, small punctures u.r., l.r., and l.l., small crease near l.r. corner, tape remnants (possibly from previous hinges) near upper and lower corners on the reverse. Provenance: By descent from the estate of the owner’s uncle, Richard Mills, of Exeter, New Hampshire. Literature: Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors, and Drawings (Cody, Wyoming: Buffalo Bill Historical Center in association with the University of Washington, 1996) vol. I, p. 215 (no. 00621).

300

N.B. This work was examined by the Remington Examination Committee on March 12, 2019. The committee identified this work as the drawing used to make an illustration for Henry Wadsworth Longfellow’s The Song of Hiawatha (1891, p. 106). A copy of the examination form with the committee’s professional opinion accompanies the lot. $1,500-2,000 301 Frederic Remington (American, 1861-1909) Pool among Rocks Signed “R...” l.r., inscribed “246. -/chapter ending/ Hiawatha-” u.r., and “19643” on the reverse. Ink on paper, 15 3/4 x 12 1/2 in. (40.0 x 31.7 cm), unframed. Condition: Hinged to backing with white linen tape near upper corners on the reverse, toning, fox marks u.l., scattered minor spots of soiling, small accretions near lower edge, creases to corners, small tear l.r., adhesive residue (possibly from previous hinges) near corners on the reverse. Provenance: By descent from the estate of the owner’s uncle, Richard Mills, of Exeter, New Hampshire. N.B. This work was examined by the Remington Examination Committee on March 12, 2019. The committee identified this work as a drawing that was intended to provide an illustration for Henry Wadsworth Longfellow’s The Song of Hiawatha (1891). There are several landscapes in Hiawatha; however, this image does not appear to have been published. A copy of the examination form with the committee’s professional opinion accompanies the lot. $1,500-2,000

301

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302

302 Harry Jackson (American, 1924-2011) Cowboy’s Meditation Numbered, signed, and dated “9./Harry Jackson 64” in the bronze base. Bronze with dark brown patina, height 22 in. (56.0 cm), on a stone plinth. Condition: Dust and dirt to interstices. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. This sculpture relates to Jackson’s two seminal works titled Range Burial, one version a painting and the other a bronze. Described as a study in stillness, Range Burial presented cowboys gathered around an open grave witnessing the burial of one of their own, presumably the victim of a stampede. Each of the figures was conceived by Jackson as an individual portrait. The artist wrote, “From the beginning I did individual figures, first from the overall sculpture...and then in connection with the paintings...

The whole thing has been like a wellspring for me. I wanted to focus on certain figures like you might single out someone at a gathering to get to know them better...”1 In the figure at hand, Jackson maintained that sense of individuality and dignity, with the cowboy’s eyes downcast and his hat in his hand. Even the pose of the horse, with its head lowered and tail down, reinforces the solemn moment. This bronze relates most closely to the sole mounted figure in the painted version of Range Burial. 1. Larry Pointer and Donald Goddard, Harry Jackson (New York: Harry N. Abrams Inc., 1981), p. 173.

$8,000-12,000

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303 Frederic Remington (American, 1861-1909) Coup-Stick Stone Shrunken on Rawhide Signed and inscribed “no 118. Remington Hiawatha-” u.l., titled “Coupstick-stone shrunken on rawhide” u.r., with further inscriptions on the reverse. Ink on Bristol board, 11 x 8 5/8 in. (27.9 x 21.9 cm), unframed. Condition: Hinged to backing with white linen tape near upper corners on the reverse, lower and right edges unevenly trimmed, toning, scattered pale fox marks and minor spots of soiling, scattered pinholes, abrasion u.l., tape remnants (possibly from previous hinges) near edges on the reverse. Provenance: By descent from the estate of the owner’s uncle, Richard Mills, of Exeter, New Hampshire. Literature: Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors, and Drawings (Cody, Wyoming: Buffalo Bill Historical Center in association with the University of Washington, 1996) vol. I, p. 218 (no. 00634).

303

N.B. This work was examined by the Remington Examination Committee on March 12, 2019. The committee identified this work as the drawing used to make an illustration for Henry Wadsworth Longfellow’s The Song of Hiawatha (1891, p. 25). A copy of the examination form with the committee’s professional opinion accompanies the lot. $1,500-2,000 304 Harry Jackson (American, 1924-2011) Algonquin Chief, Bust Numbered, signed, and dated “11. © H. Jackson 71” in the bronze on the back of the figure’s collar, identified on a presentation plaque and on a gummed label from Kennedy Galleries, Inc., New York, affixed to the underside of the plinth. Bronze with dark brown patina, height 9 1/8 in. (23.0 cm), on a round stone plinth. Condition: Dust and dirt to interstices. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. This small bronze bust relates to Harry Jackson’s major bronze Algonquin Chief and Warrior, created during the preparation of the Fort Pitt mural, River, Road, and Point. $1,200-1,800 305 Frederic Remington (American, 1861-1909)

304

Antique Vase, Tennessee Inscribed and signed “No 78. Hiawatha Remington del.” u.l., titled “antique vase. Tennessee. -” u.r., with further inscriptions on the reverse. Ink on Bristol board, 6 3/4 x 8 3/4 in. (17.2 x 22.2 cm), unframed. Condition: Hinged to backing with white linen tape near upper corners on the reverse, left and lower edges unevenly trimmed, scattered pinholes, minor soiling near edges, small creases u.r. and near u.l. corner, tear l.r., small stain c.l., faint pencil inscriptions l.r., tape remnants (possibly from previous hinges) near upper corners on the reverse. Provenance: By descent from the estate of the owner’s uncle, Richard Mills, of Exeter, New Hampshire. Literature: Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors, and Drawings (Cody, Wyoming: Buffalo Bill Historical Center in association with the University of Washington, 1996) vol. I, p. 202 (no. 00560).

305

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N.B. This work was examined by the Remington Examination Committee on March 12, 2019. The committee identified this work as the drawing used to make an illustration for Henry Wadsworth Longfellow’s The Song of Hiawatha (1891, p. 165). A copy of the examination form with the committee’s professional opinion accompanies the lot. $1,500-2,000

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306 Harry Jackson (American, 1924-2011) The Seeker Signed, dated, and numbered “© Harry Jackson 1978/S24” and impressed with the artist’s thumbprint and the Wyoming Foundry Studios stamp along the back edge of the base, titled on a presentation plaque. Bronze with a green/brown patina, height 11 1/2 in. (29.0 cm), on a black metal plinth Condition: Dust and dirt to interstices, minor wear to patina at bottom of headdress. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. This standing figure of a chief with a trailing warbonnet probably represented Washakie. In 1978 Harry Jackson was at work on a major outdoor equestrian sculpture of chief Washakie and did several standing versions as studies which became finished works in their own right. $1,200-1,800 307 Frederic Remington (American, 1861-1909)

306

Cheyenne Moccasin Unsigned, titled “Cheyanne. [sic] -” l.r., inscribed “No 174.” u.l., with further inscriptions on the reverse. Ink on Bristol board, 6 3/4 x 8 3/8 in. (17.2 x 21.3 cm), unframed. Condition: Hinged to the backing with white linen tape near upper corners on the reverse, upper edge unevenly trimmed, gentle toning to edges, scattered pale fox marks, scattered pinholes, small creases to corners, small nicks to l.l. corner, small abrasion l.c., minor soiling, tape remnants (possibly from previous hinges) near lower corners on the reverse. Provenance: By descent from the estate of the owner’s uncle, Richard Mills, of Exeter, New Hampshire. Literature: Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors, and Drawings (Cody, Wyoming: Buffalo Bill Historical Center in association with the University of Washington, 1996) vol. I, p. 216 (no. 00627).

307

N.B. This work was examined by the Remington Examination Committee on March 12, 2019. The committee identified this work as the drawing used to make an illustration for Henry Wadsworth Longfellow’s The Song of Hiawatha (1891, p. 213). A copy of the examination form with the committee’s professional opinion accompanies the lot. $1,500-2,000

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308

308 Jimmy Dyer (American, b. 1956) The Last Stray Signed “Jimmy Dyer ©” l.r., titled and identified on a presentation plaque. Oil on board, 16 x 24 in. (40.6 x 61.0 cm), framed. Condition: A few very minor pinprick accretions to sky, narrow horizontal abrasion to the left and right flank of horse. $1,000-1,500 309 Gray Phineas Bartlett (American, 18851951) 309

Indian Rider with Horses Signed “Gray Bartlett” l.r. Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Scattered accretions. $2,000-3,000 310 Harry Jackson (American, 1924-2011) Lone Hand Signed, dated, and numbered “© H Jackson/61/LH. 40,” with the artist’s thumbprint and the Wyoming Foundry Studios stamp, all in the bronze base. Bronze with brown/black patina, height 15 3/16 in. (39.0 cm), on a stone plinth. Condition: Dust and dirt to the interstices. Provenance: The collection of Joseph Thomas Alvarez III, California. N.B. Lone Hand, along with The Plainsman (1960), were conceived as studies for a larger sculpture envisioned by Jackson but never undertaken. $2,500-3,500

310

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311 Harry Jackson (American, 1924-2011) Bustin’ One, alternatively titled Steer Roper, Dally Titled, signed, dated “.../© Harry Jackson/59” and with the artist’s thumbprint, all in the top of the bronze base, identified with the title Steer Roper on a presentation plaque affixed to the front of the plinth. Bronze with green/brown patina, height 12 in. (30.5 cm), on a contoured metal plinth. Condition: Dust and dirt to interstices. Provenance: The collection of Joseph Thomas Alvarez III, California.

311

N.B. Harry Jackson created this bronze early in his career as a sculptor, just after his success with Range Burial and as he was finishing Stampede, finding relief in working on a smaller scale. Steer Roper was worked very broadly and roughly to stress the vigorous action of this everyday task, capturing the determination of the cowboy and the intense opposing movement of the horse and the steer. Harry Jackson did two versions of Steer Roper, Hard and Fast and Dally, distinguished from one another by the cowboy’s handling of the rope. In the rodeo arena, the roper’s end of the lariat must be tied to the saddle horn “hard and fast,” but when working in the open, cowboys will sometimes wrap the end of the rope around the saddle horn for a couple of turns or “dallies,” tying off firmly only after the steer is down. $3,000-5,000 312 Bill Mittag (American, b. 1935)

312

Warriors Return Signed “Bill Mittag” followed by the artist’s symbol l.l., signed/inscribed “Artist Bill Mittag/©...” on the reverse, titled on a presentation plaque. Oil on board, 9 1/2 x 10 1/2 in. (24.0 x 42.0 cm), framed. Condition: Good. $300-500

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313

313 John Whorf (American, 1903-1959) The Marauder Signed l.r., titled in pencil on the reverse, and with a label from Vose Gallery, Boston, on the reverse. Watercolor and gouache on paper, sight size 21 1/4 x 29 1/4 in. (54.0 x 74.3 cm), framed. Condition: Cockling, 3/8 inch possible water damage or similar near u.r. corner, not examined out of frame. $1,200-1,800 314 Charles Olivier De Penne (French, 18311897) Hunt Scene with Dogs Signed “Ol. de Penne� l.r. Oil on panel, 16 3/4 x 13 1/2 in. (42.5 x 34.3 cm), framed. Condition: Panel with cradle backing, minor surface grime and craquelure. $800-1,200 314

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315

315 John Whorf (American, 1903-1959) Guide in the Mountains Signed “John Whorf” l.l. Watercolor and gouache on paper, sight size 14 1/4 x 20 1/4 in. (36.2 x 51.4 cm), framed. Condition: Not examined out of frame. $1,000-1,500 316 Madeleine Fish Park (American, 1891-1960) Febo Unsigned. Bronze with dark brown patina, height 13 in. (33.5 cm), on a marble plinth. Condition: Areas of wear to the patina, minor surface scratches, dust and dirt to the interstices. Exhibitions: Animal Sculptures by Madeleine Park, Studio Guild, New York, October 30– November 11, 1939; possibly 125th Annual Exhibition of the National Academy of Design, New York, 1950, as Smooth-Haired Saluki from Iran; Madeleine Park Retrospective Exhibition, James R. Bakker Gallery, Boston, June 16–30, 2000.

316

N.B. This work depicts the smooth-haired Sicilian saluki belonging to the Contessa Jane Gradenigo, which the artist modeled in Rome in 1939. It is thought that the work is unsigned because it was conceived without a bronze base, where the artist would traditionally have signed. While it does not bear a foundry mark, the artist’s sculptures were usually cast by the Gorham foundry. We would like to thank James R. Bakker for his kind assistance with cataloging this lot. $800-1,200

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317

317 Emile Albert Gruppé (American, 1896-1978) March Stream Signed “Emile A Gruppé” l.r., titled on the reverse. Oil on canvas, 20 x 24 in. (50.8 x 70.0 cm), framed. Condition: Very small abrasion with paint loss to l.l. corner, very small abrasion with paint loss and small puncture to l.r. corner. $2,000-3,000 318 Mabel May Woodward (American, 18771945) Seaside Pasture Signed “M.M. Woodward” in pencil l.r. Oil on board, 7 3/4 x 9 3/4 in. (19.8 x 24.6 cm), framed. Condition: Minor surface grime. $700-900

318

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319 Frederick Mulhaupt (American, 1871-1938) The Stream Unsigned, inscribed “M-7/16 x 16” in pencil on the reverse and corresponding to a photocopy of a Vose Galleries, Boston, letter that accompanies the work, identified on an unattributed label on the reverse, inscribed “Pemigewasset” in pencil on the reverse. Oil on board, 16 x 15 1/2 in. (40.6 x 39.4 cm), framed. Condition: Some surface grime, craquelure. N.B. The lot is accompanied by a photocopied letter from Vose Galleries to Frederick K. Mulhaupt, dated to April 10, 1978, that includes the work, M-7 The Stream amongst the gallery’s Mulhaupt inventory. The bottom of the photocopied letter includes a handwritten note (on the original letter) from Frederick K. Mulhaupt certifying that M-7 The Stream was painted by his father. The Pemigewasset River, or “Pemi” as it is known locally in New Hampshire, runs from Profile Lake through scenic waterfalls, flumes, and basins for nearly 65 miles before becoming part of the Merrimack River. $800-1,200 319

320 William Lester Stevens (American, 18881969) Autumn Farm Signed “W.LESTER STEVENS” l.r. Oil on canvas, 25 x 30 1/2 in. (63.5 x 77.5 cm), framed. Condition: Good. $2,000-3,000

320

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321

321 John Folinsbee (American, 1892-1972) Untitled, Winter Thaw Signed “John F. Folinsbee” l.r. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Craquelure, surface grime, a few minute scattered accretions, patch reinforcement c.l. on the reverse. N.B. The work at hand will be included as #1659 in the John Folinsbee online catalogue raisonné. We would like to thank Nikki Hayes, Manager, John F. Folinsbee Catalogue Raisonné, for her kind assistance with cataloging this lot. $500-700 322 Margaret Jordan Patterson (American, 1867-1950) Cottage by the Shore Unsigned, Margaret J. Patterson estate stamp on the backing panel. Oil on canvas, 9 x 11 in. (22.9 x 27.9 cm), framed. Condition: Craquelure, minor varnish inconsistencies. $2,000-3,000

322

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323

323 Mary Brewster Hazelton (American, 18681953) Landscape with Birches Signed “MB Hazelton” l.l. Oil on canvas, 24 x 20 in. (61.0 x 50.8 cm), framed. Condition: Craquelure, minor surface grime, small puncture with minor paint loss l.c. near stretcher. $1,000-1,500 324 Robert Emmett Owen (American, 18781957) Winter Village Signed “R Emmett Owen” l.l. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Craquelure, surface grime. $1,000-1,500 324

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325

325 Arthur Clifton Goodwin (American, 18641929) Winter in the City Signed “ACGOODWIN” l.r., inscribed “PICHETTO/ANDREPONT 72-B” on a label affixed to the reverse. Oil on canvas, 18 1/2 x 23 3/4 in. (47.0 x 60.3 cm), framed. Condition: Lined, minor surface grime. $4,000-6,000 326 Arthur Clifton Goodwin (American, 18661929) Swan Boats, Boston Public Garden, Misty Day Signed and dated “A.C. Goodwin/08” l.l., numbered “G89” on the reverse and on the tacking edge of the canvas. Oil on canvas, 29 x 36 in. (73.8 x 91.2 cm), unframed. Condition: Puncture to l.r. corner, surface abrasions and paint losses, surface grime, losses to tacking edges.

326

Provenance: Estate of the artist; to a private collection; to the current owner. $600-800

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327

327 Arthur Clifton Goodwin (American, 18661929) Park Street in Snow Signed “A.C. Goodwin” l.l. Oil on canvas, 31 x 40 in. (78.7 x 101.6 cm), framed. Condition: Minor surface grime. $6,000-8,000 328 Arthur Clifton Goodwin (American, 18661929)

328

Looking Toward Park Street Church, Boston Signed “A.C. Goodwin” l.l., inscribed, dated, and signed “South Bay Channel/ Apr 1916/A.C. Goodwin” on the reverse, numbered “G214” on the reverse, on the stretcher, and on the tacking edge of the canvas. Oil on canvas, 29 x 36 in. (73.6 x 91.7 cm), unframed. Condition: Paint losses, flaking, surface grime. Provenance: Estate of the artist; to a private collection; to the current owner $1,000-1,500

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The Justin “Bud” Lyman Cobb III Collection Skinner is pleased to offer a number of paintings (Lots 329–353) from the estate of long-time collector and dealer Justin L. Cobb III. Justin’s passion for collecting began with his New England roots and his love of its history and natural beauty. His collecting focused over time to encompass primarily his interests in maritime history, seafaring, and the countryside of his New England youth. Thanks to his wide network of fellow collectors and dealers, he assembled a collection of marine and landscape paintings by artists prominent in these themes from auction houses, art dealers, and private collections across New England over a career spanning 40 years. He was naturally drawn to the classic ships portraiture of W.P. Stubbs, S.F.M. Badger, and others who so evocatively captured the Golden Age of Sail in New England. His early upbringing in Vermont and Massachusetts (unblemished by its later rapid suburbanization and development) spawned his interest in the natural environment, its countryside, villages, and harbors; he was drawn to Emile Gruppé, Carl W. Peters, Aldro Hibbard, and the Modernists of the Cape Ann School who powerfully depicted this time period. For sheer joy, passion, and expression of action, he sought out the illustrative paintings of Anton Otto Fischer who so figured in fiction and captured the imaginations of many collectors drawn to the sea.

329 Clifford Ashley (American, 1881-1947) Bark Canton Outward Bound from New Bedford Signed “CW Ashley” l.l. Oil on canvas, 27 x 36 in. (68.6 x 91.4 cm), framed. Condition: Craquelure, surface grime. Provenance: The estate of Justin L. Cobb III, Massachusetts. N.B. The work was used as an illustration in a 1931 Berwind-White Coal Mining Company calendar for January, February, and March. $4,000-6,000

329

330 Theodore Victor Carl Valenkamph (American, 1868-1924) Schooner and Dinghy Signed “T.V.C. Valenkamph 1902” l.r. Oil on canvas, 20 x 28 in. (50.8 x 71.1 cm), framed. Condition: Repair to canvas l.l. near edge, craquelure, stretcher marks, small scattered areas of retouch. Provenance: The estate of Justin L. Cobb III, Massachusetts. $1,000-1,500

330

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332

331

331 Anton Otto Fischer (American, 1882-1962) With her great sail spread she thrust her nose into the heavy swell Dated and signed “1934/ANTON OTTO FISCHER” l.r., inscribed “P.74” with title and “Little Brown + Company” in pencil by a later hand on the reverse of frame. Oil on canvas, 28 x 20 in. (71.1 x 50.8 cm), framed. Condition: Lined. Provenance: The estate of Justin L. Cobb III, Massachusetts. N.B. The work was an illustration for the table of contents in the 1934 print edition of Charles Boardman Hawes’ The Dark Frigate. $1,000-1,500 332 James Gale Tyler (American, 1855-1931) Homeward Bound Signed “James G. Tyler” l.r., titled on a presentation plaque. Oil on canvas, 28 x 23 in. (71.1 x 58.4 cm), framed. Condition: Area of restoration or skinning near u.r. edge, minor surface grime, craquelure. Provenance: The estate of Justin L. Cobb III, Massachusetts. $800-1,200

333

333 Hendricks A. Hallett (American, 1847-1921) Sailboat in Cove Signed “Hendricks A. Hallett” l.r. Oil on canvas, 30 x 24 in. (76.2 x 61.0 cm), framed. Condition: Minor surface grime. Provenance: The estate of Justin L. Cobb III, Massachusetts. N.B. The lot is accompanied by a photocopy of the artist’s carte-de-visite. $800-1,200

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334 Carl William Peters (American, 1897-1980) On the Path through the Birch Grove Stamp of authentication from Elaine Woodbury, daughter of the artist, on the reverse. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Good. Provenance: The estate of Justin L. Cobb III, Massachusetts. N.B. One of the figures is described as the daughter of the artist on an accompanying note from the current owner. $800-1,200

334

335 Edwin Willard Deming (American, 18601942) Sunrise, Ceremony Signed with the artist’s cipher followed by “EWDEMING” l.r. Gouache on paper, sight size (oval) 5 x 8 1/4 in. (12.7 x 21.0 cm), framed. Condition: Good. Provenance: The estate of Justin L. Cobb III, Massachusetts. $700-900 336 Wayne Beam Morrell (American, 19232013) March Winds Signed “WAYNE MORRELL” l.r., signed and inscribed “...WOOD BRIDGE AT GOOD HARBOR BEACH/MARCH WINDS 1968/ GLOUCESTER, MASS.” on the reverse. Oil on board, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Surface grime, accretions/ markings to sky.

335

Provenance: The estate of Justin L. Cobb III, Massachusetts. N.B. An inscription by the artist on the reverse indicates that a watercolor of similar subject was exhibited by him in the American Watercolor Society show in New York, March 1968. $700-900

336

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337

337 Harry Neyland (American, 1877-1958) Autumn’s Splendor Signed “Harry Neyland” l.r. Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Minor drying cracks. Provenance: The estate of Justin L. Cobb III, Massachusetts. $700-900 338 Gustave Adolph Wiegand (American, 18701957)

338

The Maple Tree Signed “Gustave Wiegand” l.r., titled on a Salmagundi Club Thumb-box Exhibition label on the reverse. Oil on panel, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Good. Provenance: The estate of Justin L. Cobb III, Massachusetts. $700-900

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339

339 Camillo Adriani (American, 20th Century) Mountain Village in Snow Signed “C. Adriani” l.l. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Patch reinforcement to reverse, surface imperfection to l.l. quadrant. Provenance: The estate of Justin L. Cobb III, Massachusetts. $800-1,200 340 Aldro Thompson Hibbard (American, 18861972) Sawmill at Winter Signed “A.T. Hibbard” l.r., two stamps from the artist’s estate and four authentication stamps from Elaine Hibbard Clark on the reverse and on the stretcher. Oil on canvas, 24 x 32 in. (61.0 x 81.3 cm), framed. Condition: Minor canvas deformation to u.l. and l.l. corners.

340

Provenance: The estate of Justin L. Cobb III, Massachusetts. $4,000-6,000

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341

341 Emile Albert Gruppé (American, 1896-1978) Covered Bridge, Winter Signed “Emile A. Gruppé” l.r. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Surface grime. Provenance: The estate of Justin L. Cobb III, Massachusetts. $3,000-5,000 342 Antonio Cirino (Italian/American, 18891983)

342

Two Bridges in Lincoln, Rhode Island Signed “A. CIRINO” l.r., inscribed by a later hand “Two Bridges in Lincoln, R.I.” with artist’s name and address on the backing, unattributed label with artist’s biography affixed to the backing. Oil on canvas, 20 x 24 1/4 in. (50.8 x 61.6 cm), framed. Condition: Small losses to paint at u.r. and u.l. corners. Provenance: The estate of Justin L. Cobb III, Massachusetts. $700-900

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343 Anton Otto Fischer (American, 1882-1962) Hauling in the Catch Signed and dated “ANTON OTTO FISCHER 22” l.r. Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), framed. Condition: Two patch reinforcements to the reverse, canvas deformation, craquelure, surface grime, stretcher mark to the left side. Provenance: The estate of Justin L. Cobb III, Massachusetts. $1,500-2,500 344 Anton Otto Fischer (American, 1882-1962) Fire Aboard Ship Signed “ANTON OTTO FISCHER” l.r., titled and dated “.../c. 1925” on a label from Schoonover Studios Ltd., Wilmington, Delaware, affixed to the back of the frame. Oil on canvas, 20 x 40 in. (50.8 x 101.6 cm), framed. Condition: A few small areas of retouch, primarily to l.l. edge.

343

Provenance: The estate of Justin L. Cobb III, Massachusetts. N.B. The lot is accompanied by clippings of the work from two previous auction catalogs and the previous owner’s catalog card. $700-900 345 Anton Otto Fischer (American, 1882-1962) News from the Harbor Master Monogrammed and dated “1936/A.O.F.” l.l. Oil on canvas, 12 x 30 in. (30.5 x 76.2 cm), framed. Condition: Minor surface grime.

344

Provenance: The estate of Justin L. Cobb III, Massachusetts. $600-800 346 Anton Otto Fischer (American, 1882-1962) Pirates Signed “ANTON OTTO FISCHER” l.r. Oil on canvas, 28 x 20 in. (71.1 x 50.8 cm), framed. Condition: Good. Provenance: The estate of Justin L. Cobb III, Massachusetts.

345

N.B. A label on the reverse indicates that the work was used as an illustration for Jack London’s South Sea Tales. $1,000-1,500

146

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346

347

348

349

347 Anton Otto Fischer (American, 1882-1962)

348 Anton Otto Fischer (American, 1882-1962)

349 Anton Otto Fischer (American, 1882-1962)

Wreck Survivors 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. Condition: Lined onto a rigid support, retouch, craquelure, abrasions c.l. and u.l., surface grime.

Fisticuffs on Deck Signed and dated “’25/ANTON OTTO FISCHER” l.r. Oil on canvas, 32 x 22 in. (81.3 x 55.9 cm), framed. Condition: Lined, stretcher marks, stable craquelure, retouch to restored tear near left edge.

Burial at Sea Signed and dated “1929/ANTON OTTO FISCHER” l.r. Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), framed. Condition: Lined, small area of retouch to center, stable craquelure.

Provenance: The estate of Justin L. Cobb III, Massachusetts.

Provenance: The estate of Justin L. Cobb III, Massachusetts. $800-1,200

Provenance: The estate of Justin L. Cobb III, Massachusetts. $700-900

N.B. The lot is accompanied by a photocopy of the work on the November 5, 1923, cover of Sea Stories Magazine, printed by Street & Smith Corporation. $800-1,200

Online bidding at www.skinnerinc.com

147


350

350 Emile Albert Gruppé (American, 1896-1978) Harbor View Signed “Emile A. Gruppé” l.r. Oil on canvas, 18 x 20 in. (45.7 x 50.8 cm), framed. Condition: Craquelure, minor retouch to sky. Provenance: The estate of Justin L. Cobb III, Massachusetts. $3,000-5,000 351 Gordon Hope Grant (American, 1875-1962) Portside Signed and dated “Gordon Grant/1946” l.l., title inscribed on the backing board. Oil on canvas, 14 x 18 in. (35.6 x 45.7 cm), framed. Condition: Minor surface grime. 351

148

Provenance: The estate of Justin L. Cobb III, Massachusetts. $700-900

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352

352 Jack Lorimer Gray (Canadian, 1927-1981) Paddle Wheelers and Bridge Signed “JACK L. GRAY” l.l. Oil on board, 11 x 15 in. (28.0 x 38.1 cm), framed. Condition: Good. Provenance: The estate of Justin L. Cobb III, Massachusetts. $3,000-5,000 353 Antonio Cirino (Italian/American, 18891983)

353

Fishermen in a Boat Signed “A. CIRINO” l.l., labels from the Darvish Collection and DeBruyne Fine Art, both Naples, Florida, affixed to the backing. Oil on canvas, 19 x 22 1/2 in. (48.2 x 57.2 cm), framed. Condition: Minor paint losses to c.r. and l.r. edges. Provenance: The estate of Justin L. Cobb III, Massachusetts. $1,000-1,500

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149


354 Reynolds Beal (American, 1867-1951) Annapolis, 1924 Signed and titled “Reynolds Beal...” l.r. Watercolor and gouache on paper, sight size 14 1/4 x 21 1/4 in. (36.2 x 54.0 cm), framed. Condition: Gentle cockling, not examined out of frame. $1,500-2,000 355 Edmond James Fitzgerald (American, 1912-1989)

354

Perkins Cove, Ogunquit Signed “Edmund J. Fitzgerald” l.r., titled in pencil on the reverse, identified on labels from Kollar & Davidson (see below) and A.J. Kollar Fine Paintings, both Seattle, Washington, and Adamson-Duvannes Galleries, Los Angeles, all affixed to the frame backing cardboard. Watercolor on paper, sight size 10 1/2 x 14 3/4 in. (26.7 x 37.5 cm), framed. Condition: Brown paper tape remnants and glue residue around the perimeter of the reverse, hinged to back mat in two places along the top edge of the reverse. Provenance: Estate of the artist; A.J. Kollar Fine Paintings, Seattle, Washington; through to the current owner. Exhibitions: Selected Works from the Estate of Edmond James Fitzgerald, Kollar & Davidson, Seattle, Washington, October 30– December 2, 1990, exhibition catalog, color illus. p. 8. N.B. A copy of the exhibition catalog referenced above accompanies the lot. $700-900

355

356 Reynolds Beal (American, 1867-1951) Moonlight - Rockport Signed and dated “Reynolds Beal/1926” l.r., titled on a label from Quester Gallery, Stonington, Connecticut, on the backing. Watercolor and charcoal on paper, sight size 14 x 20 1/2 in. (35.6 x 52.1 cm), framed. Condition: A few small areas of staining, not examined out of frame. $1,000-1,500

356

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357

357 Emile Albert Gruppé (American, 1896-1978) Mending the Nets Signed “Emile A Gruppé” l.r., titled on the reverse. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Craquelure. $3,000-5,000 358 Anthony Thieme (American, 1888-1954)

358

Motif #1 Signed “AThieme” l.r., with a label from J.J. Gillespie Company Fine Art Galleries, Pittsburgh, affixed to the frame backing. Oil on canvas, 20 x 24 in. (50.5 x 60.5 cm), in a period frame. Condition: Minor craquelure and varnish discoloration. $3,000-5,000 359 Emile Albert Gruppé (American, 1896-1978) Morning Gloucester, Massachusetts Signed “Emile A. Gruppé” l.r., signed, titled, and dated “...1937” on the reverse. Oil on canvas, 20 1/8 x 18 1/8 in. (51.1 x 46.0 cm), framed. Condition: Varnish discoloration, surface grime, minor abrasion with paint loss to u.r. quadrant, minor flaking to u.r. quadrant in sky, scattered minor surface accretions. $1,500-2,500

359

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151


360

360 Arthur C. Knapp (American, 20th Century) Schooner Signed “ARTHUR C KNAPP” l.l. Oil on canvas mounted to board, 21 3/4 x 23 5/8 in. (55.2 x 60.0 cm), framed. Condition: Surface grime, a few small scattered scratches to sky, varnish discoloration to u.l. and u.r. corners. $800-1,200 361 Arthur Clifton Goodwin (American, 18661929) Seascape with Waves Signed “A.C. Goodwin” l.l., inscribed “G 18 31891-R” and with a sticker inscribed “20” on the stretcher. Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), unframed. Condition: Surface grime, minor scattered accretions to u.l. quadrant, surface imperfection l.c.

361

Provenance: Estate of the artist; to a private collection; to the current owner. $700-900

152

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362

362 John Whorf (American, 1903-1959) Securing the Sails Signed “John Whorf” l.l. Watercolor on paper, 14 7/8 x 20 1/4 in. (38.0 x 51.2 cm), framed. Condition: Laid down on paperboard support. N.B. The work at hand probably dates from the years 1923-25, and may be inspired by Whorf’s trip to the area around Morocco. We would like to thank John Whorf, grandson of the artist, for his assistance with this lot. $2,500-3,500 363 Harry Allchin (American, 1849-1907)

363

Tonalist Coast Signed “Harry Allchin” l.l. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Small tack punctures to corners, surface grime, craquelure. $800-1,200

Online bidding at www.skinnerinc.com

153


364 Alice Preble Tucker De Haas (American, 1859-1920) Rocky Coast with Sailboats on the Horizon Signed and dated “A.P.T de Haas/1916” l.l. Oil on canvas, 22 1/8 x 28 1/4 in. (56.3 x 72.0 cm), in a period frame. Condition: Lined, retouch, signature possibly added later, canvas deformation, scattered minor paint losses, craquelure. $600-800 365 Charles Herbert Woodbury (American, 1864-1940) 364

Color Record No visible signature, identified on a presentation plaque, inscribed “Color Record C.H.W.” and with an unattributed auction label on the backing. Oil on canvasboard, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Very minor surface grime. $800-1,200 366 Jeannette McMullin (American, fl. 18961917)

365

366

154

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Dunes Signed and dated “Jeannette W. McMullin/1910” l.l., with a label from Comenos Fine Arts, Boston, on the reverse. Oil on canvas, 17 x 21 in. (43.2 x 53.3 cm), framed. Condition: Minor stretcher marks, minor canvas deformation with a few lines of craquelure to u.l. corner. $600-800


367

367 Don Stone (American, 1929-2015) View from the Dunes Signed “Don Stone NA” l.l. Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), framed. Condition: Good. Provenance: A Massachusetts estate. $600-800 368 Charles Herbert Woodbury (American, 1864-1940)

368

Swimming Signed “Charles H Woodbury” l.r., Charles Woodbury estate stamp on the reverse, inscribed “Swimming 26/117” on the reverse. Oil on canvasboard, 8 1/4 x 10 in. (21.0 x 25.4 cm), framed. Condition: Minor surface grime, minute loss l.c. near edge. $2,000-3,000 369 George Loftus Noyes (American/Canadian, 1864-1954) Dunes and Grasses Signed “...L. Noyes-” l.l. Oil on board, sight size 10 3/4 x 12 5/8 in. (27.3 x 32.1 cm), framed. Condition: Scattered areas of retouch, surface grime, craquelure, small bubble in l.l. quadrant, minor frame abrasion to left of signature. $800-1,200

369

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155


370 Frederick Judd Waugh (American, 18611940) After the Storm Signed “F Waugh” l.r., titled or inscribed on the reverse. Oil on board, 12 x 16 in. (30.5 x 40.6 cm), framed (under glass). Condition: Craquelure. $600-800 371 Stephen George Maniatty (American, 19101984) 370

Halibut Point, Rockport, Mass. Signed “S.G. MANIATTY” l.r., titled and signed “HALIBUT Pt./.../S.G. MANIATTY” on the reverse. Oil on canvas, 20 x 30 in. (51.0 x 76.2 cm), framed. Condition: Scattered very minor paint losses. Provenance: Purchased from the artist by the parents of the consignor, who were Maniatty’s neighbors. $1,000-1,500 372 Thomas Shrewsbury Parkhurst (American, 1853-1923)

371

372

156

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The Rocky Inlet Signed “T.S. Parkhurst” in pencil l.r., a label from Wunderly Brothers, Pittsburgh, Pennsylvania, on the reverse. Oil on board, 16 x 16 in. (40.6 x 40.6 cm), in a period frame (under glass). Condition: Not examined out of frame. $1,000-1,500


373

373 Edward Henry Potthast (American, 18571927) Rocks and Surf Signed “E Potthast” l.l., identified and titled on a label from Grand Central Galleries, New York, and on an unattributed label affixed to the stretcher, identified and titled on a label from Berry Hill Galleries, Inc., New York, on the backing. Oil on canvas, 16 1/8 x 20 1/8 in. (41.0 x 51.1 cm), unframed. Condition: Wax lined, craquelure, minor surface grime, weakened tacking edges. 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. $6,000-8,000 374 Anthony Thieme (American, 1888-1954)

374

Rolling Surf Signed “AThieme” l.l., with a label from J.J. Gillespie Company Fine Art Galleries, Pittsburgh, affixed to the frame backing. Oil on canvas, 20 x 24 in. (50.5 x 60.5 cm), framed. Condition: Multiple small losses in the rocks, fine craquelure, varnish discoloration, minor surface grime. $2,500-3,500

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157


375

375 Richard Hayley Lever (American, 18761958) Brandt Rock Signed and indistinctly dated “Hayley Lever 19...” l.r., titled and dated “...1931” on a label from Clayton-Liberatore Gallery, Bridgehampton, New York, on the reverse, inscribed with title and artist’s name and dates in a later hand on the stretcher. Oil on canvas, 12 x 15 in. (30.5 x 38.1 cm), framed. Condition: Lined, two tack holes u.c. and l.c. $6,000-8,000 376 Niek van der Plas (Dutch, b. 1954)

376

A Day at the Shore Signed “Van Der Plas” l.r. Oil on panel, 11 x 14 in. (27.9 x 35.6 cm), framed. Condition: Good. $600-800

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377

377 Ernest Lawson (American, 1873-1939) Peggy’s Cove Signed “E. LAWSON” l.r., inscribed “Peggy’s Cove Nova Scotia/E. Lawson/119 E. 19th St/N.Y...” on the reverse, labels from Davis Galleries, New York, the Pennsylvania State University Museum of Art, University Park, Pennsylvania, Aspen Center for the Visual Arts, Aspen, Colorado, and Davis & Langdale Company, Inc., New York, affixed to the reverse. Oil on canvas mounted to board, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Scattered areas of retouch, minor surface grime, craquelure.

Literature: Melinda Kahn Tally et al., Selections from the Collection of Mimi and Sanford Feld (University Park: Museum of Art, Pennsylvania State University, 1981), cat. no. 12, black and white illustration. According to the catalog, the work was probably painted around 1924 during Lawson’s summer in Peggy’s Cove, Halifax. Exhibitions: Selections from the Collection of Mimi and Sanford Feld, Pennsylvania State University Museum of Art, March 22–May 24, 1981 and Aspen Center for the Visual Arts, Aspen, Colorado, October 10–November 22, 1981. $15,000-25,000

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159


378

378 Marcel Dyf (French, 1899-1985) Ile dans le golfe du Morbihan Signed “Dyf� l.r., with a label from Frost & Reed, London, affixed to the stretcher, with a copyright stamp applied to the reverse. Oil on canvas, 24 x 28 3/4 in. (61.0 x 73.0 cm), framed. Condition: Small tack hole near corners, small area of craquelure with lifting c.l., minor surface grime.

N.B. This work depicts the small island of Tascon in the Gulf of Morbihan, near SaintArmel, France, at the southern end of Brittany. The painting is registered in the Marcel Dyf archives as HST SBD. We would like to thank Claudine Dyf for her kind assistance with cataloging this work. $4,000-6,000

Provenance: Frost & Reed, London (ID no. 2780); through to the current private Massachusetts collection.

160

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379

379 Jane Peterson (American, 1876-1965) Bridge Tower, Prague Signed “JANE PETERSON� l.r., titled on the reverse. Gouache and charcoal on paper, 24 x 18 in. (61.0 x 45.7 cm), framed. Condition: Small losses to corners, tear/ puncture to c.l. edge, minor creasing to l.l. edge. $3,000-5,000 380 Jane Peterson (American, 1876-1965) Venetian Doorway in Sunlight, Old Venice No visible signature, titled on the reverse. Gouache and charcoal on paper, 24 x 18 in. (61.0 x 45.7 cm), framed. Condition: Toned, a few small tears to edges. $2,500-3,500

380

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161


381 Anthony Thieme (American, 1888-1954) Hilltown Passageway Signed “A Thieme” l.r. Oil on board, 20 x 13 1/8 in. (50.8 x 33.3 cm), framed. Condition: Surface grime, craquelure. $1,500-2,000 382 Sergei Poliakov (Russian, b. 1956) Sunny Day Signed (in Cyrillic) and dated “...90” l.r., signed or inscribed, titled, and dated (in Cyrillic and English) “...POLIAKOV SERGEI/...” on the reverse. Oil on canvas, 28 x 40 in. (71.0 x 101.3 cm), framed. Condition: Minor surface grime in a small area of the sky. $700-900

381

382

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383

383 Edward Charles Volkert (American, 18711935) Oxen and Wagon on a Sun-dappled Path Signed “Edw Volkert” l.l. Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Minor areas of drying cracks. $400-600 384 Maurice Barbey (French, 20th Century) 384

Breton Market Signed “M Barbey” in the l.l. quadrant, with a label from Gleason Fine Art, Boothbay, Maine, on the reverse. Oil and graphite on academy board, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Good. $600-800

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163


385

385 Paul-Émile Pissarro (French, 1884-1972) Country Snowfall Signed “Paulémile - Pissarro -” l.l. Pastel, charcoal, and gouache on paper, 9 7/8 x 12 3/4 in. (25.1 x 32.4 cm), unmatted, unframed. Condition: Gently light-struck. $800-1,200 386 Jules-Émile Zingg (French, 1882-1942) 386

Winter Village Signed “ZINGG” l.r. Oil on board, 21 3/4 x 14 3/4 in. (55.2 x 37.5 cm), framed. Condition: Varnish discoloration, minor paint loss to tree in u.l. quadrant, surface grime. Provenance: Dmitri Kessel, Life magazine photographer, to his sister, then by descent. $2,500-3,500

164

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387

387 André Hambourg (French, 1909-1999) L’automne au Luxembourg Signed “a. hambourg” in ink l.r., titled l.l. Mixed media including ink and pastel on paper, sight size 18 1/4 x 24 in. (46.4 x 61.0 cm), framed. Condition: Toned, cockling, not examined out of frame. $800-1,200 388 Paul-Émile Pissarro (French, 1884-1972) 388

In a Winter Field Signed “Paulémile - Pissarro-” l.l. Watercolor and charcoal on paper, 10 x 12 3/4 in. (25.4 x 32.4 cm), unmatted, unframed. Condition: Minor surface grime. $800-1,200

Online bidding at www.skinnerinc.com

165


389

389 John F. Francis (American, 1808-1886) Still Life with Fruits and Nuts Signed and dated “J.F. Francis px 1865” l.r., inscribed “J... F. Francis/1865” on the reverse, label from Berry-Hill Galleries Inc., New York, on the reverse and the backing. Oil on board, 14 3/4 x 19 in. (37.5 x 48.3 cm), framed. Condition: Minor surface grime, possible reinforcement to signature. $5,000-7,000 390 Elizabeth O’Neill Verner (American, 18831979) The Preacher Man Signed “Elizabeth O’Neill Verner” in charcoal l.r., titled in pencil on the reverse. Pastel and charcoal on silk mounted to board, sight size 15 7/8 x 11 7/8 in. (40.3 x 30.2 cm), framed. Condition: Fox-like accretions to l.r. quadrant. $2,500-3,500

390

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391 Elizabeth O’Neill Verner (American, 18831979) Portrait of a Woman with Flowers Signed “Elizabeth O’Neil Verner” in pencil l.r. Pastel on board, 16 x 12 in. (40.6 x 30.5 cm), framed. Condition: Small scattered areas of soiling, primarily to margins. $2,000-3,000 392 Fall River School, 19th Century Still Life with Fruit Unsigned. Oil on canvas, 10 x 16 in. (25.4 x 40.6 cm), framed. Condition: Uneven canvas surface, primarily to edges, similar to rippling, skinning c.l., accretion l.c. near edge, surface grime. $2,500-3,500

391

392

Online bidding at www.skinnerinc.com

167


393 Harry Sutton (American, 1897-1984) Still Life with Tang Horse and Pottery Pitcher Signed “Sutton 25” l.r. Oil on canvas, 24 x 19 in. (61.0 x 48.3 cm), framed. Condition: Gentle craquelure. $800-1,200 394 Henry Hensche (American, 1899-1992) Still Life with Copper Kettle Signed “HENRY HENSCHE” l.l. and u.r., titled on a Guild of Boston Artist’s label on the reverse. Oil on panel, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Good. Provenance: From the artist to the current owner. $3,000-5,000

393

394

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395

395 Marguerite Kirmse (American, 1885-1954) Three Scottie Dogs: One Seated, One Crouching, and a Recast of a Laying Scottie Dog Two stamped “© M. KIRMSE” with foundry mark “GORHAM CO,” Crouching with cast numbers “QGUL” and Seated with “QGGF” underneath. Two bronze, one white metal, height sizes to 2 1/4 in. (5.7 cm). Condition: Areas of oxidation, possible wear to patina. $2,500-3,500 396 Mary Gray (American, 1891-1964) Anemones Signed “Mary Gray” l.r., inscribed “Mary Gray -ANA” and titled in two places on the stretcher, identified on four partial labels from the Carnegie Institute, Pittsburgh, two on the stretcher and two on the frame, and with a 2013 Rockport Art Association label on the frame backing. Oil on canvas, 29 3/4 x 36 in. (76.0 x 91.5 cm), in a Newcomb-Macklin frame. Condition: Lined, retouch, craquelure.

396

Exhibitions: Carnegie Institute 26th International Exhibition of Paintings, Pittsburgh, October–December, 1927, cat. no. 10; Brooklyn Museum, January 9–February 20, 1928. N.B. There are several pencil inscriptions, including “W.H. Whiting” on the stretcher and “...1906” on the frame. $2,000-3,000

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169


397

397 Frank Vincent Dumond (American, 18651951) Two Allegorical Studies Unsigned. Oil on canvas, both 13 x 15 in. (33.0 x 38.1 cm), framed. Condition: Two Women with a Guitar with punctures near the edges u.r. and l.l., resulting in small paint losses, Figure Holding a Staff with two narrow diagonal accretions, similar to scratches, l.c. Provenance: Private collection, Connecticut and Florida. N.B. These works are thought to be studies for one of Dumond’s murals. $1,000-1,500 398 Gertrude Fiske (American, 1879-1961)

398

The Old Lady Signed “Gertrude Fiske” l.r., titled and signed on the reverse, label inscribed “Mr. Percival Lowell/180 Beacon Street” affixed to the frame. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), in a signed and monogrammed Walfred Thulin frame dating to 1926. Condition: Good. Provenance: Descended in artist’s family through to current owner. $6,000-8,000

170

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399

399 Laura Coombs Hills (American, 1859-1952) Gladiolas Signed “Laura Hills� l.r., titled on a Guild of Boston Artists label on the backing paper. Pastel on paper, sight size 27 3/4 x 22 1/2 in. (70.5 x 57.2 cm), framed. Condition: Not examined out of frame. $5,000-7,000

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171


400

400 Kenneth Frazier (American, 1867-1949) The Lace Bodice Signed and dated “Kenneth Frazier/1911.” u.r., titled on a label from Jeanne Frank, New York, on the reverse. Oil on canvas, 27 x 22 in. (68.6 x 55.9 cm), framed. Condition: Minor surface grime. $1,000-1,500 401 Raphael Soyer (American, 1899-1987) Woman in Station Signed “RAPHAEL SOYER” l.l., titled and dated to c. 1936 on label from Forum Gallery, New York, affixed to the stretcher. Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed. Condition: Lined, stretcher replaced, stable craquelure, retouch near lower edge, minor surface grime. $2,000-3,000

401

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403

402

404

402 Mary Brewster Hazelton (American, 18681953)

403 Theresa Ferber Bernstein (American, 18902002)

Still Life—Flowers and Lamp Unsigned, identified and titled on a label from Vose Galleries, Boston, affixed to the reverse. Oil on academy board, 16 x 12 in. (40.6 x 30.5 cm), framed. Condition: Good. $800-1,200

Friends Signed “Bernstein” l.r., titled and dated c. 1920 on label from The Crane Collection, Boston, on the backing. Oil on academy board, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Good. $1,500-2,500

404 Carle John Blenner (American, 1862-1952) Petunias Signed “Carle J. Blenner” u.r. Oil on canvas, 20 x 24 in. (51.0 x 61.0 cm), in a period frame. Condition: Surface grime, small loss to canvas near center with patch reinforcement on the reverse, varnish inconsistencies. $700-900

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173


405 Elihu Vedder (American, 1836-1923) Classical Figure in a Garden Monogrammed and dated “18V76” l.l., inscribed and signed by the artist “To Miss Brewster/with best wishes of/Elihu Vedder/Christmas 1876” in ink to l.c. of frame. Oil on canvas, 8 1/2 x 4 3/8 in. (21.6 x 11.1 cm), in the original frame. Condition: Varnish discoloration, surface grime, minor surface imperfections. N.B. The lot is accompanied by Elihu Vedder’s autobiography Digressions of V: Written for his own fun and that of his friends (Boston & New York: Houghton Mifflin Company, 1910). $1,000-1,500 406 Dale Claude Lamphere (American, b. 1947), After Gutzon Borglum (American, 1867-1941) Shrine of Democracy Identified, titled, and numbered “...REG 13/100” on a presentation plaque embedded on the reverse, incised “DC Lamphere 1991” l.l. on the reverse. Bronze, height 18 in. (45.7 cm), on a wood plinth. Condition: Dust and dirt to the interstices, minor areas of oxidation. N.B. The sculpture was officially authorized by the Mount Rushmore National Memorial Society in agreement with the National Park Service, Department of the Interior, for the 50th anniversary of Mount Rushmore’s completion. $3,500-5,500

405

406

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407

407 Herbert Sidney Percy (British, 1863-1932) Does He Return Amongst the Victors, or is He Dead Signed and dated “Herbert S. Percy 89” l.l., title inscribed on an unattributed label and J.G. Whitwell framemakers label on the reverse of frame. Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), framed. Condition: Craquelure, a few minute scattered paint losses, surface grime. $1,500-2,000 408 Francis Tailleux (French, 1913-1981) Baigneuse Signed “Francis Tailleux” l.l., dated “1940” l.r., titled and with two indistinct stamps on the reverse. Oil on canvas, 13 1/4 x 11 3/4 in. (33.7 x 29.8 cm), framed. Condition: Surface grime, drying cracks, craquelure. Provenance: The estate of Russell Veit, Connecticut. $800-1,200

408

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175


409

411

410

409 Harvey Emrich (American, 1884-1972)

410 John Koch (American, 1909-1978)

Dream of Youth Signed “Emrich” l.l., titled, signed, and inscribed “.../Harvey Emrich/Woodstock/NY” on the reverse. Oil on canvas, 60 x 60 in. (152.3 x 152.3 cm), framed. Condition: Canvas rippling, craquelure, lifting, flaking with paint losses u.r. and l.l., surface grime. $800-1,200

Portrait of a Lady Signed “Koch” l.l. Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed. Condition: Surface grime, scattered minute losses, diagonal abrasion or scratch l.r., drying cracks.

176

N.B. There is a portrait of a man on the reverse of the canvas with significant flaking and losses to the paint. $400-600

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411 Maurice-Ambrose Ehlinger (French, 18961981) Nue endormi Signed “M. Ehlinger-” l.r., stamp from Florence Art Gallery, Italy, on the reverse. Oil on canvas, 23 1/2 x 28 3/4 in. (59.6 x 73.0 cm), framed. Condition: Varnish inconsistencies, craquelure, narrow scratches to right leg and at u.c. in background, areas of underpainting visible above bedding at center, surface grime. $800-1,200


412

412 Guy Pène du Bois (American, 1884-1958) Nude Woman Signed “Guy Pène du Bois” and dated indistinctly l.l., identified on a presentation plaque. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Small patch reinforcement to l.l. quadrant to the reverse, craquelure. $1,000-1,500 413 Hutton Webster Jr. (American, 1910-1955)

413

Maids of Lemnos Signed, dated, and inscribed indistinctly “HUTTON WEBSTER, JR./1935 - ...” l.r., titled and inscribed “.../BY/HUTTON WEBSTER, JNR./MENLO PARK, CALIFORNIA/1936” and “H. HUTTON WEBSTER/1936/KASTRO, LEMNOS GREECE/1933/...” on the reverse. Oil on canvas, 49 x 45 in. (124.5 x 114.3 cm), framed. Condition: Wax lined, craquelure, scattered areas of retouch, surface grime. $800-1,200

Online bidding at www.skinnerinc.com

177


414

414 Theresa Ferber Bernstein (American, 18902002) Masquerade Signed “T. Bernstein/1914� l.r. Oil on canvas, 27 x 35 in. (68.6 x 88.9 cm), in a period frame. Condition: Wax lined, craquelure, surface grime. $20,000-25,000

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415

415 Theresa Ferber Bernstein (American, 18902002) Colored Wedding Signed “T Bernstein” l.r., identified and titled on a label from Grand Central Art Galleries Inc., New York, affixed to the stretcher. Oil on canvas, 25 1/4 x 20 3/4 in. (64.1 x 52.7 cm), framed. Condition: Lined, vertical abrasion with paint loss to l.c. edge, very minor craquelure, minor surface grime.

Exhibitions: Impressionism and PostImpressionism: Transformations in the Modern American Mode, 1885-1945, Grand Central Art Galleries Inc., New York, March 29–May 14, 1988. $25,000-35,000

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179


416

416 Edward Percy Moran (American, 18621935) George Washington and Bride Signed “E. PERCY-MORAN” l.l. Oil on canvas, 28 x 22 in. (71.1 x 55.9 cm), framed. Condition: Rippling, varnish discoloration, a few very small areas of retouch, stretcher marks, craquelure. N.B. The bride is likely one of George Washington’s adoptive granddaughters, the biological grandchild of Martha Washington, from her first marriage. Martha Washington is depicted seated at left center. $2,000-2,500 417 Seymour Joseph Guy (American, 18241910) Girl with Geese Signed “S Guy” l.r., identified on a presentation plaque, partial London gallery label on the reverse. Oil on canvas, 11 1/2 x 10 in. (29.2 x 25.4 cm), framed. Condition: Lined. $4,000-6,000

417

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418

418 Jennie Augusta Brownscombe (American, 1850-1936) Sewing the Flag Signed “Jennie/Brownscombe� l.l. Oil on canvas, 24 x 32 1/4 in. (61.0 x 81.5 cm), framed. Condition: Very minor retouch. Provenance: Collection of Virginia Farnsworth, Essex, Massachusetts, then by family descent. $10,000-15,000

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181


419 Theresa Ferber Bernstein (American, 1890-2002)

419

Butterfly Parade Signed and dated “T. Bernstein ‘15” l.r. Oil on canvas, 25 x 35 in. (63.5 x 88.9 cm), framed. Condition: Lined, craquelure, small accretion near l.r. corner, vertical line of retouch in center running the length of the canvas. $4,000-6,000 420 John Rutherford Boyd (American, 18841951) Leggat’s Signed “RUTHERFORD BOYD” u.r. Watercolor, gouache, and pencil on paper/ board, 24 1/2 x 39 1/2 in. (62.2 x 100.3 cm), framed. Condition: Minor abrasions to edges, floated within the frame, not examined out of frame.

420

Provenance: Christie’s New York, American 19th and 20th Century Watercolors and Drawings and 20th Century Paintings and Sculpture, April 7, 1982, Lot 28. $2,000-3,000 421 Theresa Ferber Bernstein (American, 1890-2002) Double-sided Painting: Children at the Table, Wooded Landscape Signed “Bernstein” l.r. on both sides. Oil on board, 9 x 12 in. (22.9 x 30.5 cm), framed. Condition: Children with accretion or varnish inconsistencies to left edge of board, horizontal hairline crack to panel near bottom edge, scattered minor accretions, scattered minor abrasions to varnish; Landscape with varnish inconsistencies. $1,000-1,500

421

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422 William Henry Dethlef Koerner (American, 1878-1938)

422

Horse Power Signed and dated “W.H.D. Koerner/1910” l.r. Oil on canvas, 34 x 22 in. (86.3 x 55.9 cm), framed. Condition: Patch to l.c. on the reverse covering a 2 1/2 x 1 1/4 inch loss to canvas, abrasions l.l. and l.c., puncture l.c., small scattered losses to paint, areas of uneven pigmentation to sky, craquelure. Provenance: Descended within four generations of the consignor’s family. $15,000-20,000

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423 John Rutherford Boyd (American, 1884-1951) Broadway Jewelry Signed “RUTHERFORD BOYD” l.l. Watercolor, gouache, and pencil on paper/ board, 37 1/2 x 23 1/2 in. (95.2 x 59.7 cm), framed. Condition: Toning near edges, crease near u.r. corner, l.l. edge unevenly trimmed, floated within the frame, not examined out of frame. Provenance: Christie’s New York, American 19th and 20th Century Watercolors and Drawings and 20th Century Paintings and Sculpture, April 7, 1982, Lot 27, with title Broadway Jewelry. $2,000-3,000 424 Attributed to Walter D. Goldbeck (American, 1882-1925) The Wedding Party Unsigned. Oil on canvas, 34 x 41 in. (86.4 x 104.1 cm), unframed. Condition: Partially detached from stretcher due to losses at tacking edges, partial loss to u.l. corner, severe surface grime, prominent flaking to left edge, scattered punctures and tears, especially l.r. corner resulting in losses to canvas, canvas deformation. $600-800

423

425 John Rutherford Boyd (American, 1884-1951) Horn Section Signed and dated “RUTHERFORD BOYD · ‘50” l.l. Oil on canvas, 34 x 45 1/2 in. (86.3 x 115.5 cm), framed. Condition: Varnish inconsistencies. $3,000-4,000 426 Eric Pape (American, 1870-1938) The Last Soldier Signed “Eric Pape” l.l., titled on a National Academy of Design label on the reverse (see below), with the artist’s estate stamp applied to the reverse and to the back of the frame. Oil on board, 38 x 26 in. (96.5 x 66.0 cm), in the original frame. Condition: Craquelure, small area of flaking l.c., minor areas of retouch, primarily to edges. N.B. This work is listed as #65 in the National Academy of Design’s 1935 Exhibition Record and has a partial label reading “The Art Association/Twenty-Fourth Annual/1935” affixed to the back of the frame. $2,500-3,500

424

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425

427

427 John Rutherford Boyd (American, 18841951)

426

In the Subway Signed and dated “RUTHERFORD BOYD 1928” u.l., titled on a label from Hirschl & Adler Galleries, Inc., New York, affixed to the frame backing. Watercolor, ink, and gouache on paper/board, sight size 20 x 28 1/2 in. (50.8 x 72.4 cm), framed. Condition: Not examined out of frame. $3,000-5,000

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428 William Zorach (American, 1887-1966)

428

Head of a Girl Signed “Zorach” along the lower back of the head. Bronze with brown/gold patina, height 5 3/4 in. (14.5 cm), on a black metal plinth. Condition: Areas of oxidation, small loss to the patina under the figure’s chin, dust and dirt to interstices. Provenance: Christie’s Interiors, New York, February 7–8, 2012, Sale 2536, Lot 194; ...; Skinner, Inc., American & European Works of Art, September 7, 2012, Sale 2609B, Lot 692; to a private Massachusetts collection; through to the current owner. $1,000-1,500 429 Rolf Stoll (German/American, 1892-1978) Ecstasy Signed “R. Stoll” u.r., signed and titled on a label from The Cleveland Museum of Art 7th Annual Exhibition of Cleveland Artists and Craftsmen, 1925, on the frame backing paper. Gouache on paper, 14 1/4 x 10 1/2 in. (36.2 x 26.5 cm), framed. Condition: Not examined out of frame. Exhibitions: Seventh Annual Exhibition by Cleveland Artists and Craftsmen, May 4–June 7, 1925. N.B. Inscribed by the artist “After my death this painting is to be given to Paul Riba as a token of my esteem and friendship. I trust that this wish will be conscientiously carried out/Rolf Stoll/Oct. 10th-1976” and “1st Prize/ Mural + Decorative Painting” in pencil on the frame backing paper. $700-900

429

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430

430 Max Keuhne (American, 1880-1968) Trifold Floor Screen with Deer and Flowers Signed “Max Keuhne� l.r. Gilded and polychrome decorated carved wood including silver leaf on panel, 73 1/2 x 72 in. (186.7 x 182.9 cm), unframed. Condition: Some oxidization of silver, scattered staining, minor losses to paint, craquelure.

Provenance: Laura Catherine Cooney and Elmer (Tom) Barrows Thomas 3rd, Rockport, Massachusetts, then by family descent. N.B. The consignors believe the screen was acquired directly from the artist, whom Laura Cooney knew from the Sandy Bay Yacht Club and the Rockport Art Association. $8,000-12,000

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187


431 Jean Jansem (French/Armenian, 19202013) Dancer Signed “Jansem” l.l. Oil on canvas, 18 1/4 x 15 in. (46.4 x 38.1 cm), framed. Condition: Craquelure, minor surface grime. $4,000-5,000 432 Jean Jansem (French/Armenian, 19202013)

431

Two Girls Signed “Jansem” u.r., inscribed “2726 Le Mende” in pencil on the reverse. Oil on canvas, 18 1/4 x 15 in. (46.4 x 38.1 cm), framed. Condition: Craquelure, minor surface grime. $4,000-5,000 433 George Aarons (American, 1896-1980) Duo Incised with signature and date “George Aarons 1962” on the base at right, titled on a sticker affixed to the base at center. Bronze, height 19 1/2 in. (49.5 cm). Condition: Dust and dirt to the interstices, areas of oxidation and uneven patina. $1,000-1,500 434 Pavel Tchelitchew (Russian/American, 1898-1957) Studies of Lovers Signed and dated “P. Tchelitchew/1941” in pencil l.l. Ink on paper, sight size 10 3/4 x 8 in. (27.3 x 20.3 cm), framed. Condition: Uneven toning, cockling, handling creases, mat burn, scattered accretions. Provenance: The estate of Robert Wynne, Massachusetts. $600-800

432

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433

434

435 Moses Soyer (American, 1899-1974) Two Girls Signed “M SOYER� l.r. Oil on canvas, 18 x 14 in. (45.7 x 35.6 cm), framed. Condition: Rubs with minor paint losses to l.l. corner, possible surface imperfection u.c. $1,500-2,000

435

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189


437 436

436 Russian School, 20th Century Woman and Cactus Monogrammed and dated “TR70” l.l., titled in Russian on the reverse. Oil on canvas, 39 x 52 in. (99.1 x 132.1 cm), framed. Condition: Craquelure, minor surface grime. $800-1,200 437 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 to the interstices. N.B. We would like to thank the Estate of Leonard Baskin and Galerie St. Etienne for their kind assistance with cataloging this work. $2,000-3,000 438 François Gall (French/Hungarian, 1912-1987) Girl at a Cafe Signed “F. Gall” l.l. Oil on canvas, 18 x 15 in. (45.7 x 38.1 cm), framed. Condition: Varnish inconsistencies, surface grime. $4,000-5,000 438

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439

439 Marianna Pineda (American, 1925-1996) Looking Down from Pali Signed, dated, and numbered “© M.PINEDA. 1982.../10” in the bronze base. Bronze with light brown patina, height 12 1/2 in. (31.5 cm), on a wood plinth. Condition: Dust and dirt to the interstices. $1,000-1,500 440 Ann Chernow (American, b. 1936) The Last Time I Saw Paris Signed “Ann Chernow” l.r., accompanied by a note from the artist in an envelope affixed to the stretcher certifying the work and providing the title and date, identified on an unattributed label on the reverse. Oil on canvas, 50 x 40 in. (127 x 101.6 cm), framed. Condition: Some craquelure to edges. $1,000-1,500

440

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191


441

443

441 David Aronson (American, 1923-2015) Virtuoso Signed “Aronson” and stamped “28/250” in the bronze at the back lower edge, dated to 1969 in Aronson Sculpture catalogue raisonné (see below). Bronze with dark brown patina, height 10 1/4 in. (26.0 cm), on a wood plinth. Condition: Minor area of oxidation and scattered wear to the patina. N.B. The lot is accompanied by a copy of Aronson/David Aronson, Paintings, Drawings, Sculpture, published by Pucker Art Publications, Boston, 2004. The book includes a catalogue raisonné of his sculpture; Virtuoso is listed on page 163. $600-800 442 Byron Browne (American, 1907-1961) Guitarist Signed “Byron Browne” l.r., signed, titled, and dated “...1958” on the reverse. Oil on canvas, 20 x 16 in. (50.5 x 40.5 cm), framed. Condition: Craquelure. $700-900 442

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443 Kahlil George Gibran (American, 19222008) Annie Stamped “K. GIBRAN” under the figure’s right leg. Bronze with a black patina, height 12 1/2 in. (31.7 cm). Condition: Holes to underside of arms (possibly inherent to the casting), dust and dirt. $1,000-1,500 444 Rex Jesse Ashlock (American, 1918-1999) Cellist (Margaret Jane 1952) Signed “Ashlock” l.l., signed, inscribed, and titled on the reverse. Oil on canvas, 25 7/8 x 17 3/4 in. (65.0 x 45.0 cm), unframed. Condition: Minor paint loss to back of chair, minor scuffs and surface grime. $1,200-1,800 445 Xavier Bueno (Italian, 1915-1979)

444

Ragazzo con Violino Signed “Xavier Bueno” u.l., identified and titled on a presentation plaque. Oil on canvas, 36 x 28 in. (91.4 x 71.1 cm), framed. Condition: Minor surface grime, minor craquelure. $4,000-6,000

445

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447

446 Nicholas Vasilieff (American/Russian, 1892-1970) Girl in Red Signed “N. Vasilieff/1949” l.r., titled on a label from the William Benton Museum of Art at the University of Connecticut on the reverse. Oil on canvas, 42 x 28 in. (106.7 x 71.1 cm), framed. Condition: Lined, prominent craquelure, minor surface grime.

446

Provenance: From the artist to Chinese Gallery Ltd., New York, to the current owner, according to Vasilieff’s ledger. Exhibitions: The Chinese Gallery Ltd., 1949; Nicholas Vasilieff: A Retrospective Exhibition, the William Benton Museum of Art, University of Connecticut, Storrs, Connecticut, March 21–29, 1977, and Kennedy Galleries, Inc., New York, July 6–29, 1977, published as #48 in exhibit catalog. $3,000-5,000 447 David Davidovich Burliuk (Ukrainian/American, 1882-1967) Farm Landscape with Three Peasant Women Signed and dated “BURLiUK./1946.” l.l. Oil on canvas, 12 1/8 x 16 1/4 in. (30.5 x 41.0 cm), framed. Condition: Small areas of craquelure, minor surface grime. N.B. This work has been accepted for the David Burliuk catalogue raisonné. $2,000-2,500 448 Bruno Krauskopf (German, 1892-1960) Mother and Child Signed “B. Krauskopf” l.r. Oil on canvas, 36 x 25 7/8 in. (91.5 x 65.5 cm), framed. Condition: Craquelure, lifting, flaking, scattered canvas bulges, two tears u.l., minor surface grime. $3,000-5,000

448

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451 449

449 Nicholas Vasilieff (American/Russian, 1892-1970) Girl with Pink Bonnet Signed “N. Vasilieff” l.l., titled on a label from the William Benton Museum of Art at the University of Connecticut affixed to the reverse, a label from John Heller Gallery, New York, affixed to the reverse. Oil on canvas, 34 x 28 in. (86.4 x 71.1 cm), framed. Condition: Wax lined, prominent craquelure. Provenance: Purchased from the artist by the current owner in 1951, according to Vasilieff’s ledger. Exhibitions: Nicholas Vasilieff: A Retrospective Exhibition, the William Benton Museum of Art, University of Connecticut, Storrs, Connecticut, March 21–29, 1977, and Kennedy Galleries, Inc., New York, July 6–29, 1977, published as #53 in exhibit catalog. $2,000-3,000 450 Bruno Zupan (Slovenian/American, b. 1939) Bouquet Signed “ZUPAN” u.r., inscribed “3515” on the reverse, and inscribed “CP5820” on the stretcher. Oil and gold leaf on canvas, 39 1/2 x 32 in. (100.3 x 81.3 cm), framed. Condition: Craquelure to some areas of impasto, possible minor losses to some areas of gold leaf, minor surface grime. $800-1,200 451 Bruno Zupan (Slovenian/American, b. 1939)

450

Fountain Near the Orangerie in the Parc de Bagatelle, Paris Signed “ZUPAN” u.r., inscribed “3401” on the reverse, and inscribed indistinctly “...5781” on the stretcher. Oil on canvas, 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm), framed. Condition: Minor surface grime. $2,000-3,000

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195


452 Robert Laurent (American, 1890-1970) Seated Figure Signed “LAURENT” on the bottom edge, dated to 1953 in the exhibition catalog The Robert Laurent Memorial Exhibition (see below). Alabaster, height 12 in. (30.3 cm). Condition: Small chip at the lower edge of the base beneath the figure’s right toes, minor dust and grime, drilled on the underside to accept a rod for a plinth. Provenance: From the artist to John Laurent, through to the current owner. Exhibitions: The Robert Laurent Memorial Exhibition, 1972–1973, University of New Hampshire, Durham, New Hampshire; The Weatherspoon Art Gallery, University of North Carolina at Greensboro; Delaware Art Museum, Wilmington; Indianapolis Museum of Art, Indianapolis, Indiana; cat. no. 73.

452

N.B. As a youth in Brittany, Robert Laurent loved the abundance of granite sculpture found in the region. His latent artistic talent had been recognized by Hamilton Easter Field, the American artist and patron who became his teacher and mentor. Seeing the work of Aristide Maillot in Paris in 1905, Laurent was inspired to become a sculptor. Subsequently studying in Rome, he was introduced to carving in wood. He soon developed a talent for carving fine frames, which he supplied to many leading artists of the day. Laurent’s earliest sculptures were decorative panels and figural work inspired by African art and European Modernists. He did not care for modeling in clay but found inspiration in direct carving. His first one-man sculpture exhibition at the Bourgeois Gallery in New York in 1922 included works in wood, stone, and alabaster. Alabaster became his preferred medium, admired for its transparency which he said gave it life and vibration. At this period also he found focus in his preferred subject, the female figure, in part guided by the works of Gaston Lachaise. By the 1950s, Laurent developed a new style characterized by flatter, more angular forms inspired by Cubism and, more specifically, by the work of Georges Braque.1 1. The paragraph above was based upon information in the essay by Peter V. Moak in The Robert Laurent Memorial Exhibition, exhibition catalog, published by the University of New Hampshire, 1972-73. A copy of the catalog accompanies the lot.

$10,000-15,000 453 Frank Gallo (American, 1933-2019) Female Bust Stamped “70/GALLO” on the back of hair and “GALLO” throughout the back of hair, Christie’s sticker inscribed “Ref# EY683-1/Line# 1/Dept. CAP/up” affixed to underside of plinth. Polyester resin and pigment, height 26 in. (66.0 cm), on a plastic plinth. Condition: Dust and dirt to interstices, minor surface imperfection to left side of neck. Provenance: Purchased by the current owner from Christie’s New York, Contemporary Paintings—Drawings and Sculpture, November 14, 1989, Lot 490 (ill. p. 79 of the catalog). $1,500-2,000 453

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455

454

454 Carlos Quintana (Cuban, b. 1966)

455 Robert Henri (American, 1865-1929)

La Novia de Mr. Perro Enfermo Signed, titled, numbered, and dated “...0511 . 1996” u.l. Oil on canvas, 77 x 51 1/4 in. (195.6 x 130.2 cm), unframed. Condition: Good. $8,000-12,000

Study of Salome Embossed initials “RH” l.l. Charcoal on paper, sight size 19 x 11 in. (48.2 x 27.9 cm), framed. Condition: Toned, creasing to l.l. corner, small tear to u.r. corner, not examined out of frame. Provenance: From the artist’s estate to Hirschl & Adler Gallery, through to the current owner. $800-1,200

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197


456

457

198

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458

456 Ralph Eugene Cahoon Jr. (American, 19101982)

457 Elizabeth Mumford (American, 20th/21st Century)

458 Ralph Eugene Cahoon Jr. (American, 19101982)

Jump Rope Signed “© R. CAHOON” l.r. Oil on Masonite, 22 x 27 1/2 in. (55.9 x 69.9 cm), framed. Condition: Surface grime with area of scattered spots, possibly mold, to u.c. in sky. $15,000-20,000

The Drunken Sailor Signed “Elizabeth Mumford 86” l.r., inscribed with title and with artist’s business card on the reverse. Oil on door panel, panel size 25 1/4 x 30 1/2 in. (64.8 x 77.5 cm), surrounding panel acts as frame. Condition: Horizontal crack in the wood stretching from the center of panel to right edge, raised cracking to panel surface at u.r. corner and l.l. quadrant near edge, a few abrasions with varnish loss to lower half.

A View of Provincetown, Mass. Signed “R. CAHOON” l.r., titled within the painting. Oil on Masonite, 24 x 30 in. (61.0 x 76.2 cm), framed. Condition: Minor surface grime. $35,000-55,000

N.B. The panel inscription notes the door was from a church in Hyannis, Massachusetts. $1,500-2,000

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199


459

459 Aaron Fink (American, b. 1955) Double Grapes Signed and dated “AARON/FINK/1988” on the reverse, titled on a label from Obelisk Gallery, Boston, on the reverse. Oil on canvas, 30 x 40 in. (76.2 x 101.6 cm), framed. Condition: Good. $700-900 460 Anne Packard (American, b. 1933) Still Life with Apples Signed “A. PACKARD” l.l. Oil on canvas, 9 x 11 in. (22.9 x 27.9 cm), framed. Condition: Minor surface grime. $800-1,200

460

200

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461

461 Claude Venard (French, 1913-1999) Still Life Signed “C. VENARD” l.c., inscribed “Still Life” on an unattributed label on the reverse of the frame. Oil on canvas, 13 x 16 in. (33.0 x 40.6 cm), framed. Condition: Surface grime. $5,000-7,000

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201


462

462 Alexander Minewski (American, 1917-1979) White Cliffs, Monhegan Signed “Minewski” l.r., artist’s name and title inscribed on the reverse. Casein on paper/board, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Gentle cockling, not examined out of frame. $1,000-1,500 463 German/Swiss School, 20th Century Herbstwald Signed “Ack” l.l., signed indistinctly, dated, and inscribed “...1966/Basel” on the reverse, signed indistinctly and titled on an unattributed handwritten label affixed to the frame backing. Mixed media including tempera on paper, 27 x 31 1/2 in. (68.6 x 80.0 cm), framed. Condition: Tape remnants near corners and l.c., rippling, scattered minor handling creases. $800-1,200

463

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464 Jacob Smits (Belgian, 1856-1928)

464

Landscape with Houses No visible signature, identified on a handwritten label on the reverse, with a printed label from Galerie Helios Art, Brussels, on the reverse. Oil on panel, 12 x 10 in. (30.5 x 25.4 cm), framed. Condition: Surface grime, very minor loss to panel at l.c. edge. Provenance: The estate of Russell Veit, Connecticut. $2,000-3,000 465 Vernon B. Smith (American, 1894-1969) Two Works: Abstract Fish and Abstract Boats Fish signed “Vernon Smith” l.l. and signed and dated “Vernon Smith 1951” l.r., Boats signed “Vernon Smith” l.r. Ink and gouache on paper, sizes to 16 1/2 x 23 in. (41.9 x 58.4 cm), framed. Condition: Gentle rippling, Boats affixed to window mat with brown tape to edges on the reverse, Fish not examined out of frame. $800-1,200

465 partial

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466

466 Nicholas Vasilieff (American/Russian, 18921970) Farmer and Barn Signed “N. Vasilieff” l.r., inscribed “Landscape with Yellow Barn 1952” and “1760 UConn Museum” on the stretcher, titled on a label from the William Benton Museum of Art at the University of Connecticut on the reverse. Oil on canvas, 28 x 36 in. (71.1 x 91.4 cm), framed. Condition: Wax lined, craquelure, small scattered accretions. Provenance: Purchased from the artist in 1969 by the current owner. Exhibitions: Nicholas Vasilieff: A Retrospective Exhibition, the William Benton Museum of Art, University of Connecticut, Storrs, Connecticut, March 21–29, 1977, and Kennedy Galleries, Inc., New York, July 6–29, 1977, published as #69 in exhibit catalog. $1,000-1,500

467

467 Nicholas Vasilieff (American/Russian, 18921970) Artist Sketching a Nude Model Signed “N. Vasilieff” l.l. Oil on canvas, 24 x 30 1/8 in. (61.0 x 76.5 cm), framed. Condition: Lined, surface grime, craquelure. $2,000-3,000

204

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468 Walter Kuhlman (American, 1918-2009) Modernist Coastal View Signed and dated “Walter Kuhlman/1940” l.r., inscribed “A mon ami, Joan./Walter Kuhlman 1940.” on the reverse. Oil on thick pressed paperboard, 18 x 23 7/8 in. (45.8 x 60.7 cm), in the presumed original hand-carved frame. Condition: Scattered minor paint losses and abrasions, varnish inconsistencies, surface grime. $1,500-2,500

468

469 Nicholas Vasilieff (American/Russian, 1892–1970) Nude Signed “N. Vasilieff” l.r., titled, signed, and inscribed “...Nicholas Vasilieff 36 Union Sq” on the stretcher. Oil on canvas, 33 x 39 in. (83.8 x 99.1 cm), unframed. Condition: Wear to edges, drying cracks, minor surface grime. $2,500-3,500 470 Charles Movali (American, 1945-2016) Ship in Harbor Signed “C Movali” l.l. Oil on board, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Small accretions to l.r. corner, a few very minute areas of loss to lower edge. $800-1,200

469

470

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471

471 Henry Moore (British, 1898-1986) Skeleton Figure Incised signature “Moore” and stamped “2/9” on the back edge of the base. Bronze with a yellow-orange patina, height 5 1/4 in. (13.3 cm). Condition: Scattered minor scratches to the base, dust and dirt to the interstices. Provenance: Christie’s New York, October 9, 1986, Lot 177. $10,000-15,000

206

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472

472 Henry Moore (British, 1898-1986) Mother and Child: Skirt Incised signature “Moore” and stamped “3/9” on the back edge of the base. Bronze with a brown patina, height 4 in. (10.2 cm). Condition: Scattered areas of oxidation or minor inconsistencies in the patina. Provenance: Christie’s New York, October 9, 1986, Lot 172. $12,000-18,000

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207


474

473

473 Laxman Pai (Indian, b. 1926) Vision Signed, inscribed, and dated “...[in Sanskrit]/Laxman Pai/ Paris 6/60” l.r., inscribed, titled, and dated “Sadhu/-Holy/ Man/.../LAXMAN PAI/.../Painted in/Paris; brought/in Calcutta/1962” on the stretcher. Oil on canvas, 21 3/4 x 18 in. (55.3 x 45.7 cm), framed. Condition: Gentle canvas rippling, scattered areas of fine craquelure, small paint losses to some areas of impasto, retouch l.r., minor surface grime. Provenance: Purchased in Calcutta, India, 1962, by the current private collector, Pennsylvania. $2,000-3,000 474 Edward John Stevens Jr. (American, 1923-1988) Portrait Head of a Woman Signed and dated “Edward John Stevens JR. 1944” l.c. Gouache and ink on paper, image size 20 1/2 x 16 1/2 in. (52.0 x 42.0 cm), framed. Condition: Rippling, craquelure with areas of paint loss to bottom band of the composition, not examined out of frame. $250-350

475

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475 Rasik Durgashanker Raval (Indian, 19281980)

476

Group of Eleven Signed “RAVAL” u.r. Acrylic on paper mounted to board, 30 x 25 in. (76.2 x 63.5 cm), framed (without glass). Condition: Scattered stains, creases, and losses (with repairs), staining or soiling to edges, gentle rippling. Provenance: Purchased in Calcutta, India, in 1962, by the current private collector, Pennsylvania. $2,000-3,000 476 Charles Samuel Addams (American, 19121988) Late for an Appointment with Death Signed “Chas Addams/RPH” l.r. Ink, pencil, and colored pencil on paper, sight size 11 1/2 x 15 1/2 in. (29.2 x 39.4 cm), framed. Condition: Scattered areas of mold, rippling, toned, 1/2 inch tear to c.l. quadrant, minute tear to l.r. quadrant near edge, creasing, not examined out of frame. $1,000-1,500 477 Chris Hammerlein (American, b. 1962)

477

Hail Nike Identified and titled on a label from Phillips, New York, affixed to the reverse of the frame (see below). Ink and graphite on paper, 38 x 50 in. (96.5 x 127.0 cm), framed. Condition: Gentle cockling, deckled edges to top and bottom, floated within the frame, not examined out of frame. Provenance: Phillips de Pury & Co., New York, Under the Influence, September 23, 2011, Lot 267. $800-1,200

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209


478

478 Oliver Newberry Chaffee (American, 18811944) Snake Charmer Signed “Chaffee” l.r., titled and signed “...O.N. Chaffee” on the stretcher, with labels from the Taft Museum, Cincinnati, Ohio, and Acme Fine Art, Boston, affixed to the back of the frame. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Craquelure, scattered minor accretions, minor surface grime. $2,000-3,000 479 Eugène de Kermadec (French, 1899-1976) Appelants Signed “E de Kermadec” l.r., titled and dated to 1955 on labels from Galerie Louise Leiris, Paris, and Galerie Europe, Brussels, affixed to the stretcher. Oil on canvas, 13 x 16 in. (33.0 x 40.6 cm), framed. Condition: Minor surface grime, minor wear to corners.

479

Provenance: The estate of Russell Veit, Connecticut. $1,200-1,800

210

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480

480 Cao Li (Chinese, b. 1954) Life Signed (in Chinese) l.r., titled (in Chinese), dated, and signed (in Chinese) “.../2002/...” on the reverse, identified on a printed label affixed to the back of the frame. Oil on canvas, 15 3/4 x 19 3/4 in. (40.0 x 50.0 cm), framed. Condition: Good. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $1,000-1,500 481 Oliver Newberry Chaffee (American, 18811944) Two Grasshoppers Signed “Chaffee” l.l., titled in pencil on the reverse, a label from Acme Fine Art, Boston, affixed to the frame. Oil on canvas mounted to board, 20 1/2 x 15 3/8 in. (52.0 x 39.0 cm), framed Condition: Craquelure. Exhibitions: Return of the Native, Cahoon Museum of American Art, Cotuit, Massachusetts, October 8–November 30, 2002. $700-900 481

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211


484

482

482 John von Wicht (German/American, 1888-1970) Power, alternatively titled Force Signed “V. WICHT” l.c., titled “Power” on a label from Kleeman Galleries, New York, titled and dated “Force, 1946” on a label from David Findlay Jr. Fine Art, New York, both affixed to the frame backing. Tempera on paper, 31 1/2 x 21 3/4 in. (80.0 x 55.0 cm), framed. Condition: Small areas of craquelure, minor paint losses, subtle rippling, affixed to backing paper at intervals around the perimeter of the reverse. Provenance: Private collection, Connecticut and Florida. N.B. The work has been framed as a horizontal, but the placement of the signature seems to suggest the artist first intended the composition format to be vertical. $1,500-2,500 483 Arthur Emptage (American, 1903-1982) Abstract Signed “Emptage” u.l. Oil on canvas, 30 x 22 1/8 in. (76.2 x 56.2 cm), framed. Condition: Surface grime, craquelure, wear to edges with small paint loss to u.r. corner. $1,000-1,500 483

212

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485

484 Anton Rooskens (Dutch, 1906-1976) Abstract Signed “Rooskens4” l.r. Gouache, crayon, ink, and watercolor on paper, 11 5/8 x 8 1/8 in. (29.5 x 20.6 cm), unmatted, unframed. Condition: Two small tears to u.l. edge, gentle staining to the perimeter of the paper, crease to l.r. corner. $700-900

485 Norman Wilfred Lewis (American, 19091979) Abstract Signed and dated “NORMAN LEWIS. 66” l.l. Oil on canvas, 38 x 56 in. (96.5 x 142.2 cm), unstretched, unframed. Condition: Prominent craquelure and flaking with losses, rippling resulting from being rolled. N.B. By the mid-1940s, New York painter Norman Lewis had abandoned the figurative, social realist style that he had pursued earlier in his career for abstraction. He employed broad, gestural brushstrokes and looked to diverse sources for inspiration, including music, nature, the work of other modern and contemporary artists, and issues of social justice and equality.

By the early 1960s, his paintings had lost most representational associations, though his rhythmic arrangements of straight and curvilinear lines certainly hint at the figural. This painting is a splendid example of the artist’s mature style, characterized by calligraphic brushstrokes and brilliant color. In 1963, Lewis helped to form Spiral, a group of African American artists including Romare Bearden, Felrath Hines, and Hale Woodruff, that was concerned with their roles in the civil rights movement and the art world in general. The collective had disbanded by 1966, the year Lewis painted this work; however, he remained concerned with his position as an African American artist associated with Abstract Expressionist art. $8,000-10,000

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213


486 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way ‘68” u.r. Oil on paper, 19 x 24 in. (48.5 x 61.0 cm), unmatted, unframed. Condition: Clear tape reinforcements to the corners of the reverse. Provenance: Through the family of the artist. $1,500-2,500 487 Kahlil George Gibran (American, 19222008) 486

Seeded Ground Signed and dated “K. Gibran ‘52” l.r., titled on a label from the Margaret Brown Gallery, Boston, on the reverse. Oil on canvas, 24 x 35 1/2 in. (61.0 x 90.2 cm), framed. Condition: Surface grime, scattered small surface accretions to upper half, craquelure. $1,500-2,500 488 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Signed and dated “John Way ‘68” l.l. Oil on paper, 19 x 24 in. (48.5 x 61.0 cm), unmatted, unframed. Condition: Good.

487

Provenance: Through the family of the artist. $1,500-2,500 489 Martin Disler (Swiss, 1949-1996) Untitled Signed and dated “disler 82” in pencil u.r., inventoried as #5226 on a label from Obelisk Galleries, Boston, affixed to the backing. Oil wash on paper, sight size 34 x 22 1/2 in. (86.4 x 57.2 cm), framed. Condition: Gentle cockling, tack holes to u.r. and u.l. corners, light soiling or similar to lower edge, not examined out of frame. Provenance: Obelisk Gallery, Boston, to a private Massachusetts collection, 1989. $2,000-3,000

488

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491

489

490 Chen Chi (Chinese/American, 1912-2005) Autumn Landscape Signed and dated “Chen Chi 1960” in ink l.l. and above in Chinese with stamp. Watercolor and gouache on paper, sight size 26 1/4 x 8 1/2 in. (66.7 x 21.6 cm), framed. Condition: Not examined out of frame. $4,000-6,000 491 Martin Disler (Swiss, 1949-1996) Untitled Signed and dated “disler 82” in pencil u.r., inventoried as #5227 on a label from Obelisk Gallery, Boston, affixed to the backing. Oil wash on paper, sight size 34 x 22 1/2 in. (86.4 x 57.2 cm), framed. Condition: Gentle cockling, light soiling or similar to left edge, tack holes to u.r. and u.l. corners, not examined out of frame. Provenance: Obelisk Gallery, Boston; to a private Massachusetts collection, 1989. $2,000-3,000

490

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215


492 partial

492 Joseph Dudley Downing (American, 1925-2007) Two Works: Abstract in Orange and Abstract in Yellow Each signed “DOWNING” l.r. Watercolor and gouache on Lana watermarked paper, 10 x 13 in. (25.4 x 35.6 cm), framed. Condition: Mounted to back mats, deckled edges, toning/soiling to edges, Orange with gentle rippling, Yellow with small abrasions c.l. and foxing, floated within the frames, not examined out of frames. $600-800 493 Beatrice Riese (American, 1917-2004)

493

Asmat Signed, titled, and dated “...1998” on the reverse, inscribed with accession number “2002.110” from the Detroit Institute of Arts on the stretcher, and with four Sotheby’s stickers affixed to stretcher. Oil, ink, and pencil on canvas, 42 1/2 x 49 in. (108.0 x 124.5 cm), unframed. Condition: Minor surface grime. Provenance: Ex-collection Detroit Institute of Arts (deaccessioned in 2011); Sotheby’s New York, Contemporary Art, September 22, 2011, Lot 302. $800-1,200 494 Piero Dorazio (Italian, 1927-2005) Abstract Composition Signed and dated “Piero Dorazio 62” l.r., Galleria Gissi, Torino, Italy, stamp on the backing. Crayon on paper, sight size 13 1/4 x 19 1/4 in. (33.7 x 48.9 cm), framed. Condition: Cockling, gently light-struck, creasing or similar to u.r. quadrant near edge, not examined out of frame. $1,200-1,800

494

216

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495

496 partial

495 Robert Natkin (American, 1930-2010)

496 Antonio Calderara (Italian, 1903-1978)

Abstract Signed “Natkin” l.r. Oil on board, sight size 38 x 29 3/4 in. (96.5 x 75.6 cm), framed. Condition: Minute scattered accretions, a few minor marks at edges. $3,000-5,000

Two Abstract Compositions: Lavender Square and Yellow and Lavender Rectangles Both initialed and dated “A.C. 1972” l.l., and inscribed indistinctly on the verso. Watercolors on paper, 6 1/4 x 6 in. (16.0 x 15.3 cm), framed. Condition: Floated within the frames, not examined out of frames. $400-600

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217


497

497 Ronald Wesley Hayes (American, 19352017) Raking Light Titled, signed, and dated “.../Ronald Hayes/72” on the reverse. Oil and mixed media on canvas, 26 x 42 in. (66.0 x 106.7 cm), framed. Condition: Minor surface grime. Provenance: Estate of Brigitte Graneau, Concord, Massachusetts. $700-900 498 Bill Thompson (American, b. 1957) Rocket Titled, dated, signed, and inscribed “.../5/92/ BILL THOMPSON/92-23” on the reverse. Acrylic on wood, 30 x 20 3/4 in. (76.2 x 52.7 cm), unframed. Condition: Scattered abrasions, small pigment loss u.c., varnish inconsistencies, minor surface grime. Provenance: Collection of Maria Lopez and Stephen Mindich, Massachusetts. $500-700

498

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499 Sergio Castillo (Chilean, 1925-2010)

499

Abstract Form with Sphere Incised signature “Castillo” l.c. Bronze with a golden patina, 4 x 8 in. (10.2 x 20.3 cm), on a marble base. Condition: Scattered areas of oxidation, scratch l.c., dust and dirt to the interstices, scattered small chips to base. Provenance: Gift from the artist to Jennifer Canizares Wilder, Massachusetts, circa 1991. N.B. In 1985, Sergio Castillo began a residency at Boston University where he met Jennifer Canizares Wilder, university writer, when she authored the catalog for an exhibition of his work at the BU Art Gallery, Sergio Castillo Sculpture: Energy Made Visible (1990). Castillo gave this small sculpture as a gift to Wilder after their collaboration. BU’s campus is now home to three of the artist’s large-scale sculptures. $600-800 500 Sarah Plimpton (American, b. 1936)

500

Is it Just to See Initialed “SP” l.r., signed and titled on the reverse, with a sticker from June Kelly Gallery, New York, on the stretcher, dated to 2005 on unattributed labels affixed to the stretcher. Oil on canvas, 30 x 40 in. (76.2 x 101.6 cm), unframed. Condition: Good. $700-900

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219


501

502

503

501 John Verling (Irish, 1943-2009)

502 Pat de Groot (British/American, 1930-2018)

503 John Verling (Irish, 1943-2009)

Farmyard, from the Tabor Suite Signed and dated “J. Verling 96.” l.r., titled on a label from the artist’s studio affixed to the reverse. Egg tempera on board, 20 x 19 3/4 in. (50.8 x 50.2 cm), framed. Condition: Scattered abrasions with small paint losses, minor surface grime. $500-700

Grasses by the Sea Signed and dated “de Groot/1962” l.r. Oil on canvas, 32 1/2 x 16 1/8 in. (82.6 x 41.0 cm), framed. Condition: Craquelure, minor surface grime. $2,500-3,500

Red Door and Sprong Signed and dated “J. Verling 1992.” l.l., titled, signed, and inscribed “.../.../J. Verling/West Cork.” on the reverse. Egg tempera on board, 31 3/4 x 23 3/4 in. (80.7 x 60.3 cm), framed. Condition: Scattered abrasions with small paint losses, frame abrasions, surface grime. $500-700

220

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504 Michael Mazur (American, 1935-2009) 504

Neighbor’s Houses, Late Afternoon Signed “Mazur” in charcoal l.r., titled on a label from Harcus Krakow Gallery, Boston, on the backing. Pastel on paper, 36 3/4 x 41 in. (93.3 x 104.1 cm), framed. Condition: Cockling, not examined out of frame. $2,500-3,500 505 Patricia Tobacco Forrester (American, 1940-2011)

505

Mountain Farm Signed “Patricia Tobacco Forrester” l.r., titled and dated “.../2001” in an inscription on the reverse, inscribed “4 [within a circle]” on the reverse. Watercolor on Arches watermarked paper, 39 3/4 x 60 in. (101.0 x 152.3 cm), unmatted, unframed. Condition: Gentle rippling, scattered areas of fine craquelure, tack holes near corners, small tear to upper edge, deckled edges (inherent to paper). N.B. Forrester painted her lush and intricate watercolor landscapes almost exclusively à plein air, and with little or no preparatory drawing. A resident of Washington, DC, she brought large sheets of watercolor paper, sometimes reaching six feet in size, to city parks and gardens, and with her on her frequent travels to Costa Rica, Vietnam, and Singapore. Mountain Farm displays her skill in capturing the brilliant colors and bright light of tropical landscapes. $800-1,200

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221


506

506 Christiane Kubrick (German/British, b. 1932) Lily Pond Signed and dated “Christiane Kubrick 69” l.r., signed and dated “Christiane Kubrick 1968” on the reverse. Oil on canvas, 48 x 60 in. (121.9 x 152.3 cm), framed. Condition: Craquelure, two tears u.r. and one tear l.c. (all with patch repairs to the reverse), retouch, surface grime. $800-1,200 507 Jason Berger (American, 1924-2010) St. Dominics Signed “J. Berger” l.r., signed and titled on the reverse. Oil on canvas, 59 1/4 x 46 in. (150.5 x 116.8 cm), framed. Condition: Good. $1,000-1,500

507

222

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508

508 Wolf Kahn (German/American, b. 1927) Purple Tree Screen Signed “W Kahn” l.l., inscribed and titled “#2002/192...” on the stretcher, inscribed “#2002/192” on the reverse, dated “2002” on a label from Ameringer Yohe Fine Art, New York, affixed to the stretcher. Oil on canvas, 26 x 30 in. (66.0 x 76.2 cm), framed. Condition: Good. $20,000-30,000

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223


509 James Wilson Rayen (American, 19352013) Untitled Diptych Each signed “rayen” on the tacking edge, with a label from Fountain Street Fine Art, Framingham, affixed to the reverse of the right-hand canvas. Oil on canvas, each canvas 22 1/4 x 22 1/4 in. (56.5 x 56.5 cm), unframed. Condition: Very small scattered accretions to l.l. corner of the left canvas. $600-800 510 David Little (American, b. 1951)

509

Approaching Storm (French Hill, Solon, Maine) Signed and dated “David Little ‘82” l.r., titled in inscriptions on the stretcher and on the frame backing, with a label from Gallery 52, Boston, affixed to the frame backing. Oil on canvas, 16 x 22 in. (40.6 x 55.9 cm), framed. Condition: Minor surface grime. $600-800 511 Edward Francis Rook (American, 18701960) Autumn Landscape Signed “Edward F. Rook” l.r., stenciled “E.F.ROOK” on the reverse. Oil on canvas, 20 1/2 x 36 in. (52.1 x 91.5 cm), framed (under glass). Condition: Possible retouch, craquelure, scattered small paint losses, gentle canvas rippling. $3,500-4,500

510

511

224

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512

514

513

512 Sarah Supplee (American, 1941-1997)

513 John Beerman (American, b. 1958)

514 Sarah Supplee (American, 1941-1997)

Warning Arrow Signed and dated “Sarah Supplee 1976” in pencil l.l., signed and titled on the reverse. Pastel on paper, sight size 22 x 14 in. (55.9 x 35.6 cm), framed. Condition: Cockling, not examined out of frame. $800-1,200

Restored Vision/A Diptych Signed and dated “JTB ‘87” l.l. on the larger panel, titled on labels from Lawrence Monk Gallery, New York, affixed to the reverse of each panel. Acrylic and oil on two Plexiglas and wood panels, sizes to 14 x 26 in. (35.5 x 66.0 cm), framed. Condition: Varnish inconsistencies, surface grime. $2,000-3,000

Approach Rt. 495, Littleton, Massachusetts Signed and dated “S. Supplee 1981 ©” l.r., identified and titled in an inscription and on labels, including one from OK Harris, New York, and OK Harris West, Scottsdale, Arizona, affixed to the reverse. Gouache on paper, sight size 22 3/4 x 38 in. (57.8 x 96.5 cm), framed. Condition: Not examined out of frame. $1,000-1,500

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225


515

516

515 Will Barnet (American, 1911-2012) Parrot and Company Signed and dated “Will Barnet ‘96” in pencil u.r., titled on a label from Harmon-Meek Gallery, Naples, Florida, on the reverse. Mixed media including watercolor and charcoal on paper, paper size 18 x 12 in. (45.7 x 30.5 cm), framed. Condition: Not examined out of frame. $5,000-7,000

226

516 Angelo Di Benedetto (American, 19131992) Miners, Colorado Signed and dated “Angelo di Benedetto 49” l.r. Oil on panel, 16 x 11 3/4 in. (40.6 x 29.8 cm), framed. Condition: Craquelure, rubbing from frame to right edge resulting in varnish and paint losses. $1,200-1,800

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517

517 Nino Caffè (Italian, 1908-1975)

518

Vento Invernale Signed “N. Caffè” l.l., artist identified on a presentation plaque. Oil on panel, 8 3/4 x 17 1/2 in. (22.2 x 44.5 cm), framed. Condition: Very narrow horizontal crack in panel to u.l. quadrant, scattered small abrasions with some minor losses to left, right, and bottom edges, small gold accretion to u.c. $800-1,200 518 Tammy Ricker (American, 20th/21st Century) Sheep Dead on Rocks Signed “T. Ricker” l.r. Oil on Masonite, 36 x 48 in. (91.4 x 121.9 cm), framed. Condition: Scattered minor accretions. $800-1,200 519 Randall Deihl (American, b. 1946) Self Portrait Inscribed and signed “To Marty/Randall L. Deihl” on the reverse, with a note from the artist affixed to the stretcher. Oil on canvas, 12 x 12 in. (30.5 x 30.5 cm), unframed. Condition: Good. $500-700

519

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227


520

520 Fernand Renard (French, 1912-1990) Still Life with Fruit, Flowers, and Butterflies Signed “Renard” l.r., inscribed “No. 4” on the stretcher. Oil on canvas, 19 5/8 x 24 in. (50.0 x 61.0 cm), framed. Condition: Minor old retouch to background, craquelure, surface grime. Provenance: Skinner, Inc., American & European Works of Art, September 19, 2014, Sale 2750B, Lot 599. $3,000-5,000

228

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521

521 Fernand Renard (French, 1912-1990) Still Life with Flowers Signed “Renard” l.r. Oil on canvas, 25 x 19 in. (63.5 x 48.3 cm), framed. Condition: Minor surface grime, two small dents: one u.l. and one l.l. $1,500-2,000 522 Gustavo Montoya (Mexican, 1905-2003) Niña Sentada en Amarillo con Guitarra Signed “Gustavo Montoya” l.r., identified and titled on a label from Galeria Arte de Coleccionistas, Paseo de la Reforma, Mexico, affixed to the back of the frame, inscribed “GAND-1A” on the back of the frame. Oil on canvas, 22 x 17 3/4 in. (55.9 x 45.1 cm), framed. Condition: Good. $4,000-6,000

522

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229


523

523 James Deering (American, 20th Century) Out of Order Signed “JAMES DEERING” l.l. Oil on Masonite, 41 1/4 x 39 in. (104.8 x 99.1 cm), floated within the frame. Condition: Scattered areas of uneven surface texture, similar to bubbling, minor accretion to u.r. corner, abrasion with minor paint loss to l.r. edge. $2,000-3,000 524 James Deering (American, 20th Century) Route 93 North + South, North Station Signed “JAMES DEERING” l.r., titled on a label on the reverse. Oil on Masonite, 38 x 44 1/2 in. (96.5 x 113.0 cm), framed. Condition: Scattered accretions, surface grime. $1,500-2,000 524

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525

525 Scott Prior (American, b. 1949) Northampton Landscape III Signed and dated “Scott Prior 1974� on the reverse, titled on a label from Terry Dintenfass Inc., New York, affixed to the frame backing. Oil and collage on panel, 17 1/4 x 15 in. (43.8 x 38.1 cm), framed. Condition: Drying cracks or similar, scattered minor abrasions, surface grime. $1,000-1,500

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231


526 Gary Bolding (American, b. 1950) The Bride Stripped Bare by Her Bachelors, Even the Bridesmaids Signed and dated “Bolding 2002” u.c., titled, signed, and dated on the stretcher. Oil on canvas, 34 x 40 in. (86.4 x 101.6 cm), framed. Condition: Good. $4,000-6,000 527 Robert Vickrey (American, 1926-2011) Skater Coasting Signed “Robert Vickrey” l.l., titled in an inscription on the back of the frame, with a partial label from Midtown Galleries, New York, affixed to the back of the frame. Egg tempera on Masonite, 14 1/4 x 22 1/2 in. (36.2 x 57.1 cm), framed. Condition: Abrasions with small paint losses l.l. and l.r. Provenance: Bonhams & Butterfields, Brookline Estates Auction - The Marine Sale, May 1, 2005, Lot 4128. $5,000-7,000

526

527

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528 Bo Bartlett (American, b. 1955)

528

Bo on Wheaton Inscribed and signed “IGN [within a circle]/S.P./Bo/EY01/Bo Bartlett Wheaton Island Maine” on the reverse, titled and dated “...2001” on a label from P·P·O·W/ Pilkington · Olsoff Fine Arts, New York, affixed to the reverse. Oil on panel, 18 x 24 in. (45.7 x 61.0 cm), framed. Condition: Minor surface grime. N.B. A native of Georgia, Bo Bartlett began spending summers on remote Matinicus Island, off the coast of Maine, in 1995. In 1999, he purchased tiny Wheaton Island, just next to Matinicus. Most known for his large-scale, light-filled narrative paintings, Bartlett also paints intimate renderings of family and friends, and self-portraits such as this example. $8,000-10,000 529 Thomas Darsney (American, b. 1965) Iris Apfel Titled, signed, and dated “.../DARSNEY/ 2019” on the reverse. Oil on canvas, 48 x 60 in. (121.9 x 152.3 cm), unframed. Condition: Good. $1,500-2,500

529

End of Sale 3293B

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233


Artist Index Aarons, George................................................. 433 Adams, Ansel............................................ 119, 120 Adams, Charles Partridge.................................. 277 Adamson, Sydney............................................. 270 Addams, Charles Samuel.................................. 476 Adriani, Camillo................................................. 339 Agam, Yaacov..................................................... 61 Albani, Francesco.............................................. 203 Albers, Josef................................................. 62, 63 Alken, Samuel Henry (Attributed to)................... 227 Allchin, Harry..................................................... 363 American School, 20th Century......................... 252 Appel, Charles P............................................... 298 Arbus, Diane..................................................... 121 Aronson, David.................................................. 441 Arp, Hans (Jean).................................................. 64 Ashley, Clifford.................................................. 329 Ashlock, Rex Jesse........................................... 444 Avedon, Richard................................................ 122 Balmer, George................................................. 228 Barbey, Maurice................................................ 384 Barchus, Eliza Rosanna Lamb........................... 255 Barnet, Will.............................................53-55, 515 Barragán, Luis Ramiro......................................... 65 Bartlett, Bo........................................................ 528 Bartlett, Gray Phineas........................................ 309 Baskin, Leonard................................................ 437 Bayes, Alfred Walter.......................................... 224 Beal, Reynolds.......................................... 354, 356 Beerman, John.................................................. 513 Benson, Frank Weston...................................22-26 Benton, Thomas Hart.....................................27-29 Berger, Jason.................................................... 507 Bernhard, Ruth.......................................... 123, 124 Bernstein, Theresa Ferber...403, 414, 415, 419, 421 Blakelock, Ralph Albert (Attributed to).....247, 248A Blenner, Carle John........................................... 404 Bolding, Gary.................................................... 526 Bolognese School, Late 17th Century............... 212 Bourdon, Sébastien........................................... 204 Boyd, John Rutherford..............420, 423, 425, 427 Braque, Georges................................................. 66 de Bréanski Jr., Alfred Fontville......................... 269 Bricher, Alfred Thompson................242A, 246, 257 British School, 20th Century.............................. 286 Brockhurst, Gerald Leslie...................................... 6 Brown, Harrison Bird......................................... 244 Browne, Byron.................................................. 442 Browne, George Elmer...................................... 274 Brownscombe, Jennie Augusta......................... 418 Bueno, Xavier.................................................... 445 Buffet, Bernard.................................................... 67 Burliuk, David Davidovich.................................. 447 Caffè, Nino........................................................ 517 Cahoon Jr., Ralph Eugene........................ 456, 458 Calder, Alexander................................................ 68 Calderara, Antonio............................................. 496 Calvi, Ercole...................................................... 271 Cao Li............................................................... 480 Cartier-Bresson, Henri............................... 125, 126 Casilear, John William........................................ 254 Cassatt, Mary...................................................... 30 Castillo, Sergio.................................................. 499 Chaffee, Oliver Newberry........................... 478, 481 Chagall, Marc.................................................69-73

234

Champney, Benjamin........................................ 284 Chen Chi........................................................... 490 Chernow, Ann................................................... 440 Chillida, Eduardo................................................. 74 Cirino, Antonio........................................... 342, 353 Close, Chuck............................................. 127, 128 Cole, Joseph Foxcroft....................................... 278 Colin, Gustave Henri.......................................... 222 Colman, Samuel........................................ 251, 268 Continental School, 18th Century.............. 202, 229 Continental School, 19th Century.............. 219, 236 Cooper, Thomas Sidney.................................... 230 Crane, Bruce............................................. 283, 299 Cunningham, Benjamin Frazier............................ 75 Curtis, Edward Sheriff........................................ 129 Dalí, Salvador...................................................... 76 Darsney, Thomas.............................................. 529 Dater, Judy........................................................ 130 Davis, Stuart...................................................... 114 de Haas, Alice Preble Tucker............................ 364 De Tirtoff, Romain..........................................16-18 Deering, James......................................... 523, 524 Degas, Edgar........................................................ 7 Deihl, Randall.................................................... 519 Deming, Edwin Willard....................................... 335 Di Benedetto, Angelo........................................ 516 Disler, Martin............................................. 489, 491 Dorazio, Piero.................................................... 494 Downing, Joseph Dudley................................... 492 Drew, Clement.................................................. 235 Drew, George W............................................... 296 Dumond, Frank Vincent..................................... 397 Dutch School.................................................... 216 Dyer, Jimmy...................................................... 308 Dyf, Marcel........................................................ 378 Dzigurski, Alexander........................................ 238A Eaton, Charles Warren.............................. 248, 297 Ehlinger, Maurice-Ambrose............................... 411 Elwell, D. Jerome............................................... 239 Emptage, Arthur................................................ 483 Emrich, Harvey.................................................. 409 Enneking, John Joseph.............231, 276, 279, 282 Erichsen, Nelly................................................... 261 Erté................................................................16-18 Faber, Johan Herman........................................ 213 Fall River School................................................ 392 Fiene, Ernest....................................................... 31 Fink, Aaron........................................................ 459 Fischer, Anton Otto............................331, 343-349 Fiske, Gertrude.................................................. 398 Fitzgerald, Edmond James................................ 355 Folinsbee, John................................................. 321 Fontana, Prospero (Attributed to)...................... 205 Forrester, Patricia Tobacco............................... 505 Foujita, Léonard Tsuguhara................................. 19 Fouquières, Jacques (School of)........................ 234 Francis, John F.................................................. 389 Frankenthaler, Helen....................................76A, 77 Frazier, Kenneth................................................ 400 Freeman, Mark.............................................. 32, 33 French or Italian School, 17th/18th Century.... 202A French School, 19th Century............................. 217 Freund, Gisèle................................................... 131 Furlong, Charles Wellington............................... 264

Gainsborough, Thomas (Attributed to)............... 226 Gall, François.................................................... 438 Gallo, Frank....................................................... 453 Gandolfi, Ubaldo............................................... 211 German/Swiss School, 20th Century................. 463 Giacometti, Alberto.............................................. 78 Gibran, Kahlil George................................ 443, 487 Giles, Horace P................................................. 291 Goldbeck, Walter D. (Attributed to).................... 424 Goltzius, Hendrik................................................... 1 Goodwin, Arthur Clifton..............292, 325-328, 361 Grant, Gordon Hope................................. 243, 351 Gray, Jack Lorimer............................................ 352 Gray, Mary........................................................ 396 Greene, Milton H............................................... 132 Greuze, Jean-Baptiste............................... 220, 221 Griggs, Samuel W............................................. 250 de Groot, Pat.................................................... 502 Gruppé, Emile Albert.........317, 341, 350, 357, 359 Guy, Seymour Joseph....................................... 417 Haapanen, John Nichols................................... 295 Haas, Ernst....................................................... 133 Hallett, Hendricks A. ......................................... 333 Hambourg, André.............................................. 387 Hammerlein, Chris............................................. 477 Hart, James McDougal...................................... 280 Hayes, Ronald Wesley....................................... 497 Hazelton, Mary Brewster........................... 323, 402 van der Helst, Bartholomeus (After)................... 208 Henri, Robert..................................................... 455 Hensche, Henry................................................. 394 Hibbard, Aldro Thompson................................. 340 Hills, Laura Coombs.......................................... 399 Hoffbauer, Charles............................................ 266 Hudson River School, 19th Century.................. 256 Indiana, Robert.................................................. 114 Italian School (Mantuan), 16th Century.............. 207 Italian School, 17th Century.............................. 206 Italian School, 18th Century.............................. 201 Jackson, Harry..................302, 304, 306, 310, 311 Jansem, Jean............................................ 431, 432 Jeaurat, Etienne (School of)............................... 215 Johns, Jasper...................................................... 79 Kahn, Wolf........................................................ 508 Kasimir, Luigi......................................................... 8 Kaula, William Jurian.......................................... 287 Kelly, Ellsworth............................................ 80, 114 Kelly, John Melville.............................................. 34 Kent, Rockwell...............................................35-37 Kermadec, Eugène de....................................... 479 Keuhne, Max..................................................... 430 King, Edward..................................................... 223 Kirmse, Marguerite............................................ 395 Knapp, Arthur C. .............................................. 360 Koch, John........................................................ 410 Koerner, William Henry Dethlef.......................... 422 Krauskopf, Bruno.............................................. 448 Kubrick, Christiane............................................ 506 Kuhlman, Walter................................................ 468 Kuniyoshi, Yasuo............................................... 37A Van Laer, Alexander Theobald........................... 289


La Farge, John.................................................. 267 Lamphere, Dale Claude..................................... 406 Landeck, Armin............................................. 56, 57 Landseer, Charles............................................. 225 Lane, Fitz Henry................................................ 241 Laurent, Robert................................................. 452 LaValley, Jonas Joseph..................................... 253 Lawson, Ernest................................................. 377 Lever, Richard Hayley........................................ 375 Lewis, Norman Wilfred................................ 83, 485 LeWitt, Sol........................................................... 84 Lichtenstein, Roy............................................... 114 Liebermann, Max................................................. 8A Little, David....................................................... 510 Lozowick, Louis................................................... 38 Léger, Fernand (After).................................... 81, 82 Maniatty, Stephen George................................. 371 Mantegna, Andrea................................................. 2 Marsh, Reginald............................................ 39, 40 Martí Alsina, Ramón.......................................... 272 Matisse, Henri (After)........................................... 85 Mazur, Michael.................................................. 504 McBride, Will............................................. 134, 135 McMullin, Jeannette.......................................... 366 Méheux, Félix.................................................... 136 Meryon, Charles.............................................. 9, 10 Milton, Peter........................................................ 58 Minewski, Alexander.......................................... 462 Miró, Joan......................................................86-94 Mittag, Bill......................................................... 312 Montoya, Gustavo............................................. 522 Moore, Henry.............................. 94A-97, 471, 472 Moran, Edward Percy........................................ 416 Moran, Thomas................................................... 41 Morrell, Wayne Beam........................................ 336 Motherwell, Robert............................................ 114 Movali, Charles.................................................. 470 Mulhaupt, Frederick........................................... 319 Mumford, Elizabeth........................................... 457 Murray, Elizabeth............................................... 97A Mygatt, Robertson K. ....................................... 288 Nadelman, Elie.................................................... 20 Natkin, Robert................................................... 495 Neyland, Harry.................................................. 337 Noyes, George Loftus....................................... 369 Ortman, George................................................ 114 Owen, Robert Emmett............................... 294, 324 Packard, Anne................................................... 460 Page, Edward A. .............................................. 245 Pai, Laxman...................................................... 473 Pape, Eric.......................................................... 426 Park, Madeleine Fish......................................... 316 Parkhurst, Thomas Shrewsbury......................... 372 Patterson, Margaret Jordan............................... 322 Pellew, Claughton............................................... 21 De Penne, Charles Olivier.................................. 314 Pepper, Beverly................................................... 98 Percy, Herbert Sidney....................................... 407 Peters, Carl William........................................... 334 Peterson, Jane.......................................... 379, 380 Picasso, Pablo.............................................99-104 Picasso, Pablo (After).................................105-107 Pineda, Marianna.............................................. 439

Pissarro, Camille................................................ 232 Pissarro, Paul-Émile.................................. 385, 388 van der Plas, Niek............................................. 376 Plimpton, Sarah......................................... 108, 500 Poliakov, Sergei................................................. 382 Poons, Larry...................................................... 114 Porter, Bonnie................................................... 137 Potthast, Edward Henry.................................... 373 Poulson, Ernest (Attributed to)........................... 237 Prior, Scott........................................................ 525 Pène du Bois, Guy............................................ 412 Quintana, Carlos................................................ 454 Rabinovitch, Ben Magid.................................... 138 Ramos, Mel............................................... 109, 110 Raval, Rasik Durgashanker ............................... 475 Rayen, James Wilson........................................ 509 Reinhardt, Ad............................................ 111, 114 Rembrandt van Rijn, Harmensz..........................3-5 Remington, Frederic..........300, 301, 303, 305, 307 Renard, Fernand....................................... 520, 521 Reynolds, Sir Joshua (School of)....................... 210 Richet, Léon...................................................... 233 Ricker, Tammy.................................................. 518 Riese, Beatrice.................................................. 493 Rook, Edward Francis....................................... 511 Rooskens, Anton............................................... 484 Rouault, Georges............................................ 111A Ruff, Thomas..................................................... 139 Russian School................................................. 436 Sainz y Saiz, Casimiro....................................... 273 Sala, Paolo........................................................ 262 Salinas, Porfirio.................................................. 265 Sheehan, Dennis............................................... 290 Sheppard, Warren............................................. 263 Sloan, John French............................................. 42 Smith, Vernon B. .............................................. 465 Smits, Jacob..................................................... 464 Snyder, Joan..................................................... 112 Southern Netherlands School, 17th Century..... 209 Soyer, Moses.................................................... 435 Soyer, Raphael.................................................. 401 Steinlen, Théophile Alexandre.............................. 11 Stella, Frank.............................................. 113, 114 Stevens Jr., Edward John................................. 474 Stevens, William Lester...................................... 320 Stoll, Rolf........................................................... 429 Stone, Don........................................................ 367 Sturges, Jock............................................ 141, 142 Supplee, Sarah.......................................... 512, 514 Sutton, Harry..................................................... 393

Vasilievich, Aleksei............................................. 238 Vedder, Elihu..................................... 218, 275, 405 Venard, Claude................................................. 461 Verling, John............................................. 501, 503 Verner, Elizabeth O’Neill............................ 390, 391 Vickrey, Robert.................................................. 527 Volkert, Edward Charles.................................... 383 Vuillard, Edouard................................................. 13 Warhol, Andy..................................... 114, 116, 117 Waters, George W............................................. 293 Waugh, Frederick Judd..................................... 370 Way, John................................................. 486, 488 Webb, Todd...................................................... 143 Webber, Wesley Elbridge.................................. 240 Webster Jr., Hutton........................................... 413 Wei Letang................................................ 486, 488 West, Peter B. .................................................. 214 Whistler, James Abbott McNeill......................43-52 Whorf, John...................................... 313, 315, 362 Wicht, John von................................................ 482 Wiegand, Gustave Adolph................................. 338 Wiles, Lemuel Maynard..................................... 281 Wilson, John....................................................... 59 Winogrand, Garry.............................................. 144 Woodbury, Charles Herbert............... 285, 365, 368 Woodward, Mabel May..................................... 318 Wyant, Alexander Helwig................................... 260 Zao Wou-Ki....................................................... 118 Zingg, Jules-Émile............................................. 386 Zorach, Marguerite Thompson............................ 60 Zorach, William.................................................. 428 Zorn, Anders................................................. 14, 15 Zupan, Bruno............................................ 450, 451

Tailleux, Francis................................................. 408 Tait, Arthur Fitzwilliam........................................ 259 Tait, John Robinson.......................................... 258 Tchelitchew, Pavel............................................. 434 Thieme, Anthony............................... 358, 374, 381 Thompson, Bill.................................................. 498 Toulouse-Lautrec, Henri de................................. 12 Tryon, Dwight William........................................ 249 Tyler, James Gale...................................... 242, 332 Valenkamph, Theodore Victor Carl.................... 330 Vasarely, Victor.................................................. 115 Vasilieff, Nicholas...............446, 449, 466, 467, 469

235


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.


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


Board of Directors

Departments

Chairman of the Board

20th Century Design

Discovery Auctions

Dan Ayer

Carly Babione

Jane D. Prentiss

Kyle Johnson

Bear Albright

20thcentury@skinnerinc.com

discovery@skinnerinc.com

John Deighton

508.970.3253

508.970.3202

American & European Paintings & Prints

European Furniture & Decorative Arts

Robin S.R. Starr

Stuart G. Slavid

Elizabeth C. Haff

Stephanie Opolski

Kathleen M. Leland

european@skinnerinc.com

Brianna Lovensheimer

508.970.3203

Stephen L. Fletcher

Karen M. Keane Andrew Payne Ruth Kennedy Sudduth

Executive Management President/Chief Executive Officer Karen M. Keane

Chief Financial Officer Kristina Sutton, CPA

Executive Vice President

paintings@skinnerinc.com 508.970.3206

Historic Arms & Militaria Joel Bohy

American Furniture & Decorative Arts

militaria@skinnerinc.com

Stephen L. Fletcher

508.970.3215

Chris Barber Christopher D. Fox americana@skinnerinc.com 508.970.3200

Jewelry Kaitlin Shinnick John Colasacco Gloria Liebermann

American Indian & Ethnographic Art

Selena Shabot

Michael Evans

jewelry@skinnerinc.com

indian@skinnerinc.com

617.874.4313

Stephen L. Fletcher

508.970.3254

Managing Director

Antique Motor Vehicles

Kerry Shrives

Jane D. Prentiss

judaica@skinnerinc.com

antiquemotorvehicles@skinnerinc.com

508.970.3256

Judaica

Marie Keep

508.970.3253

Senior Vice Presidents

Musical Instruments

Marie Keep

Asian Works of Art

Adam Tober

Kerry Shrives

Judith Dowling

music@skinnerinc.com

Stuart G. Slavid

Helen Eagles

508.970.3216

Suhyung Kim

Vice Presidents

asian@skinnerinc.com 508.970.3263

Eric Jones

Oriental Rugs & Carpets Lawrence Kearney rugs@skinnerinc.com

Gloria Lieberman

Books & Manuscripts

Jane D. Prentiss

Devon Eastland

Robin S.R. Starr

books@skinnerinc.com 508.970.3293

508.970.3247

Photographs photographs@skinnerinc.com 508.970.3264

Regional Offices New York: Katie Banser-Whittle 212.787.1114 kbanser-whittle@skinnerinc.com

Florida: 305.503.4423 florida@skinnerinc.com

Ceramics Stuart G. Slavid ceramics@skinnerinc.com 508.970.3203

Silver Stuart G. Slavid silver@skinnerinc.com 508.970.3203

Clocks, Watches & Scientific Instruments Jonathan Dowling clocks@skinnerinc.com 508.970.3201

Wines & Spirits Marie Keep Joseph Hyman Anna Ward

Coins & Currency Kyle Johnson coins@skinnerinc.com 508.970.3191

238

finewines@skinnerinc.com 508.970.3296


Auction Services Consignments

Marketing, Media & Communications

Appraisal & Auction Services

Exhibitions & Property Boston:

LaGina Austin

Jeffrey R. Antkowiak

Christine E. Finn

Mia Cesar

Rachel Kingsley

Kristina M. Harrison

Hannah Marks

Cheryl Richards Photography

508.970.3299

Penina Seigel Valerie Worth

Julia M. Dry Catherine Cawley Susan Janowsky

Receptionist Olivia Joy

Consignment Services

617.350.5400

Tara Lima

Skinner Online

Carol Zeigler 508.970.3204

Kerry Shrives

Marlborough:

Florentina Gutierrez

Accounting

Judie Ochsner

Warehouse

Nicole Nicas Rovner

Frederic Trottier

Valerie Worth

508.970.3209 Samantha Heighton

Denise Cheney online@skinnerinc.com

508.970.3269

508.970.3279

Esteffany Esparza

Receptionist William Debordes-Jackson

508.970.3283

508.970.3000

Catalog Sales

William Madden 508.970.3266

508.970.3000

Transportation Eric Jones 508.970.3229

Absentee & Telephone Bidding Boston: 617.874.4318

Auctioneers

Marlborough: 508.970.3211 Discovery: 508.970.3208

Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429

www.skinnerinc.com

274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100

Florida 305.503.4423 New York 212.787.1113

239


Absentee Bid Form Sale Title

Sale Date

First Time Bidder?

YES

NO

Customer #

Name (Please Print)

Business Name

Address City

Phone #

Alternate #

check if change in address

State

Zip Code email

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

Lot #

Date

Description

Bid confirmation via email?

YES

Bid Price

NO

FOR OFFICE USE Marlborough

240

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

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www.skinnerinc.com


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American & European Works of Art | Skinner Auction 3293B  

American & European Works of Art | Skinner Auction 3293B