Skinner American & European Paintings & Prints Auction 2507

SKINNER
American & European Paintings & Prints

Sale 2507 May 21, 2010 Boston
SPECIALISTS IN CHARGE
Robin S. R. Starr Kathy Wong Elizabeth C. Haff

Department Director 508.970.3297 508.970.3258
508.970.3259
American & European Paintings & Prints Department - 508.970.3206

General Inquiries: paintings@skinnerinc.com
AUCTION 2507
Friday, May 21, 2010

Prints & Photography at 12 noon
Paintings & Sculpture at 4 p.m.
63 Park Plaza
Boston, Massachusetts
PREVIEW
Wednesday, May 19, 2010 12 to 5 p.m.
Thursday, May 20, 2010 12 to 8 p.m.
Friday, May 21, 2010 9 to 10:30 a.m.
ABSENTEE BIDDING
Tel: 617.874.4318
Fax: 617.350.5429
Online: www.skinnerinc.com
GENERAL INQUIRIES
617.350.5400
COVER : 535 ( DETAIL ) ; FRONTISPIECE : 81 ( DETAIL ) ; BACK COVER : 548

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TABLE OF CONTENTS
1 Auction & Specialist Information
2 Web Site & Online Bidding
4-5 Event Announcements
6 Provenance
9 Prints & Photography - Lots 1-188
81 Paintings & Sculpture - Lots 200-580
310 Glossary of Terms
311 Artist Index
314 Conditions of Sale
315 Absentee Bid Form
316 Company Directors & Specialty Departments
317 Administrative Staff & Client Services
318 Map & Driving Directions
319 Catalogue Subscription Form
Please Note: All lots sold subject to our Conditions of Sale.

Please refer to page 314 of this catalogue for the full terms and conditions governing your purchase.
Copyright © Skinner, Inc. 2010

All rights reserved
SKINNER presents a
Fine Art Gallery Walk
Presented by Robin Starr, Director of Skinner’s
Paintings Department
Thursday, May 20, 2010
5:30 p.m. Reception/6:00 p.m. Gallery Walk
63 Park Plaza
Boston, MA
R.S.V.P. 617.350.5400
Reservations are Limited
Gallery Walk held in conjunction with a preview of Skinner’s

May 21st auction of American & European Paintings & Prints
Upcoming Auction
September 24th, 2010
Boston, MA
Laura Coombs Hills (American, 1859-1952), Rosy Morns Edward Hopper (American, 1882-1967), Night Shadows, 1921
Consignment Deadline:
June 30th, 2010
For more information please contact our

Paintings & Prints department at 508.970.3206
or email paintings@skinnerinc.com
www.skinnerinc.com
Dean Cornwell (American, 1892-1960), Portrait of a Young
Woman Reading
Provenance
Collection of Melvin B. Nessel, Boston, Massachusetts

Lots: 522, 534
Estate of Anne P. Owsley, Delray Beach, Florida, and Isleboro, Maine

Lot: 315
Estate of Sir Edwin A.G. Manton

Lot: 254A
Estate of Eleanor Kanegis Levin, East Gloucester, Massachusetts

Lots: 38, 107, 120, 134, 523
Estate of Joan E. Goody, Boston, Massachusetts

Lots: 527, 573, 574
Estate of Mary Lee Ingbar, Cambridge, Massachusetts

Lots: 8, 27, 28, 59, 63, 65-67, 75, 78, 81, 89, 98, 103, 117, 135, 140-144, 147-149, 154, 164,
490, 530, 535, 552, 554, 559, 566
Estate of N. David Scotti, Providence, Rhode Island

Lots: 201, 223, 243, 330
The Property of Samuel E. Codman, Charles G. Loring House, Prides Crossing, Massachusetts
Lot: 321
Through the Collection of Carl Augustus Weyerhaeuser, by family descent

Lot: 433
Through the Collection of Henry Lee Higginson, by Higginson family descent

Lots: 298, 323, 346, 348
Session I
Prints & Photography
Lots 1-188
to be sold Friday, May 21st, 2010 at 12 noon

1
1. 3.
Yaacov Agam (Israeli, b. 1928) Ivan Le Lorraine Albright (American, 1897-1983)
Untitled. Signed “Agam” in blue ink l.r., inscribed and numbered Fleeting Time Thou Hast Left Me Old, 1945, edition of 250,
“H.C. 7/25” in blue ink l.l. Color agamograph, sight size 13 1/2 x 13 published by Associated American Artists (Grayson, 11). Signed
3/4 in. (34.2 x 34.9 cm), framed. “Ivan Le Lorraine Albright” in pencil l.r., titled in pencil l.l., identified on
Condition: Not examined out of frame. a label from AAA affixed to the mat. Lithograph on paper, image size
$600-800 13 3/4 x 9 3/4 in. (34.8 x 24.7 cm), matted, unframed.
Condition: Margins 1 inch or more with three edges deckled,
unobtrusive toning.
2. $300-500
Anni Albers (German, 1899-1994)
Fox II, 1972, edition of 150. Signed and dated “Anni Albers 1972” in
pencil l.r., titled and numbered “...92/150” in pencil l.l. Screenprint in
brown and gray on paper, image size 13 1/4 x 14 3/4 in. (33.7 x 37.4
cm), framed.
Condition: Margins over 2 1/2 inches, not examined out of frame.
$400-600
2 3
4.
Niels Yde Andersen (Danish/American, 1888-1952)
Lot of Three Images: Steam Pipes and Cat Walks, lithograph;

Repairs, etching and aquatint; and The Crossing, etching.
Unsigned. Image/plate sizes to 11 7/8 x 9 7/8 in. (30.1 x 25.0 cm),
unmatted, unframed.
Condition: Most edges deckled, unobtrusive soiling, nicks, tears and
creases to some edges, additional handling marks and/or creases.
$200-250
5.
James Aponovich (American, b. 1948)
Still Life with Leeks, edition of 100. Signed “J Aponovich” in pencil

l.r., titled in pencil l.c., numbered “41/100” in pencil l.l. Lithograph on
paper, image size 18 x 24 in. (45.5 x 61.0 cm), framed.
Condition: Not examined out of frame.
$200-300
6.
Karel Appel (Dutch, 1921-2006)
Untitled (Figure), 1976, edition of 99. Signed and dated “appel 76”
in pencil l.r., numbered “97/99” in pencil l.l. Color lithograph on
4 cream paper, image size 23 1/4 x 14 1/2 in. (59.0 x 36.7 cm),
framed.
Condition: Margins over 1 1/2 inches, subtle toning/staining, not
examined out of frame.
$500-700
6
8
7. 8.
Karel Appel (Dutch, 1921-2006) Hans (Jean) Arp (French, 1886-1966)
Untitled (Two Figures), edition of 125. Signed “appel” in pencil l.r., Dreams and Projects, published in 1952 by Curt Valentin, New York,
numbered “41/125” in pencil l.l. Color lithograph on cream paper, edition of 320, unbound containing two sets of the twenty-eight
image size 28 3/8 x 20 7/8 in. (72.0 x 53.0 cm), framed. woodcuts (one printed on Arches, the other on Japan paper). Signed
Condition: Margins 2 inches or more with a deckled upper edge, “Arp-” in pencil and numbered “3” on the colophon, signed and
subtle toning/staining. numbered “Arp- Arp- 3/25” in pencil on the folder for the set on
$500-700 Japan paper. Sheet sizes 11 1/4 x 9 in. (28.5 x 22.8 cm), presented
in the original slipcover.
Condition: Extremely subtle toning, minor transfer staining to some of
the Arches sheets, ex libris label from Nelson A. Rockefeller to interior
folder of slipcase.
Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York;

purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee
Ingbar, Cambridge, Massachusetts.
$2,000-3,000
9.
Alexander Archipenko (Ukrainian/American, 1887-1964)
Stillleben, from the DIE SCHAFFENDEN Portfolio, 1922, total

edition of 125 (Karshan, 28). Signed “Archipenko” in pencil l.r., dry
stamped “DIE SCHAFFENDEN” u.l. Lithograph on paper, image size
11 1/2 x 15 in. (29.2 x 38.2 cm), unmatted, unframed.
Condition: Margins 1/4 inch or more with deckled edges,
unobtrusive toning and foxing.
$300-500
9
10
10. 11.
Alexander Archipenko (Ukrainian/American, 1887-1964) Georg Baselitz (German, b. 1938)
Torso in Space, 1952, edition of 50 (Karshan, 37). Numbered and Head, 1984, edition of 10. Numbered, signed, and dated “8/10 G
signed “11/50 Archipenko” in ink l.l. Color screenprint with Baselitz 84” in pencil l.r., identified on a label from The Alpha Gallery,
lithography and embossing on paper, image/sheet size 14 7/8 x 24 Boston, on the backing. Color woodcut on paper, image size 25 1/2
in. (37.8 x 61.0 cm), matted, unframed. x 19 5/8 in. (64.6 x 49.7 cm), framed.
Condition: Several small deformations to image, masking tape to Condition: Margins 1/2 inch or more, not examined out of frame.
some edges on the reverse. $3,500-4,500
$3,000-3,500
12.
Leonard Baskin (American, 1922-2000)
Lot of Eight Animal Images: Beetle, 1951, printed in red, for the
1961 edition (Fern & O’Sullivan, 100); Crows, 1951 (Fern &
O’Sullivan, 103); Flea, 1951, printed in red (Fern & O’Sullivan, 105);
Mandrill, 1951 (Fern & O’Sullivan, 111); Still Life/New Year’s
Greeting, 1953 (Fern & O’Sullivan, 227); Ex-Libris for Samuel D.
Lockshin, 1954, impression outside of the edition with letters, printed
in red-orange (Fern & O’Sullivan, 245); Boar, 1957 (Fern & O’Sullivan,
304); and Stag, 1957 (Fern & O’Sullivan, 306). Each signed “Baskin”
in pencil l.r. Wood engravings and linocuts on paper, sheet sizes
approximately 10 x 12 in. (25.0 x 30.5 cm), unmatted, unframed.
Condition: Good.
$500-700
12
11
14
13
13.
Lot of Three Images of Heads: Page Thirty-four, from A POEM

CALLED THE TUNING OF ELYNOUR RUMMYNGE, 1953 (Fern &
O’Sullivan, 239); Jacques Callot, 1958 (Fern & O’Sullivan, 724); and
Bartleby the Scrivener, 1959 (Fern & O’Sullivan, 378). Each signed
“Baskin” in pencil l.r. Woodcuts on paper, sheet sizes approximately
10 x 12 in. (25.0 x 30.5 cm), unmatted, unframed.
Condition: Good.
$250-350
14.
William Blake, from ETCHINGS OF TEN FAVORITE ARTISTS,

1962, edition of 50 (Fern & O’Sullivan, 425). Signed “Baskin” in
pencil l.r., inscribed “A.P.” in pencil l.l. Etching and aquatint on paper,
plate size 17 1/2 x 14 1/2 in. (44.4 x 36.7 cm), framed.
$300-500
15.
William Rimmer. Signed “Baskin” in pencil l.r., titled in pencil l.c.,

inscribed “Monotype - Touched” in pencil l.l. Color monotype with
graphite on paper, image size 4 7/8 x 3 7/8 in. (12.3 x 9.7 cm),
unmatted, unframed.
Condition: Deckled lower edge, hinging residue to upper corners on
the reverse.
$250-350
15
16 17
16.
Lot of Two Images: Torso, 1967, edition of 90 (Fern & O’Sullivan,

731), and Death Bearing Angel, 1968, edition of 90 (Fern &
O’Sullivan, 732). Both signed “Baskin” in pencil l.r., numbered “...90”
in pencil l.l., and signed and dated in the plate. Etchings on paper,
plate sizes to 17 3/4 x 11 3/4 in. (44.8 x 29.8 cm), unmatted,
unframed.
Condition: Very minor handling creases.
$250-350
17.
Lot of Two Classical Subjects: Aeneas Carrying his Father from

the Ruins of Troy, 1971, edition of 160 (Fern & O’Sullivan, 599); and
Patriarch/Oedipus at Colonus, 1971, edition of 160 (Fern &
O’Sullivan, 603). Both signed “Baskin” in pencil l.r. and numbered
“.../160” in pencil l.l. Lithographs on paper, sheet sizes 34 x 24 in.
(86.4 x 61.0 cm), unmatted, unframed.
Condition: Minor handling creases to edges.
$600-800
18.
Lot of Two Standing Figures: Olympus/The Athlete, 1974, edition

of 200 (Fern & O’Sullivan, 637); and Universal Man, 1974-1975,
edition of 200 (Fern & O’Sullivan, 656). Both signed “Baskin” in
pencil l.r. and numbered “.../200” in pencil l.l. Color lithographs on
paper, sheet sizes 42 x 29 3/4 in. (106.8 x 75.6 cm), unmatted,
unframed.
Condition: Deckled edges (some with subtle staining), minor handling
18 creases.
$800-1,200
19
20
19. 20.
Leonard Baskin (American, 1922-2000) Leonard Baskin (American, 1922-2000)
Indian Faces, 1974, edition of 100 (Fern & O’Sullivan, 642). Signed Isaiah, 1976, edition of 100 (Fern & O’Sullivan, 664). Signed
“Baskin” in pencil l.r., numbered “31/100” in pencil l.l., signed and “Baskin” in pencil l.r., numbered “89/100” in pencil l.l., signed and
dated in the matrix, dry stamp l.l. Color lithograph on paper, image dated in the matrix, dry stamp l.l. Color lithograph on paper,
size 26 1/2 x 34 3/4 in. (67.0 x 88.4 cm), unmatted, unframed. image/sheet size 41 3/4 x 29 1/4 in. (106.2 x 74.4 cm), unmatted,
Condition: Margins over 1 inch with deckled edges, subtle staining to unframed.
edges, very minor handling creases. Condition: Deckled edges to all but the right, very minor handling
$800-1,200 nicks and creases near edges.
$700-900
21.
Thomas Hart Benton (American, 1889-1975)
Jesse James, 1936, final state of two, edition of 100 (Fath, 13).
Signed “Benton” in pencil l.r. and in the matrix. Lithograph on paper,
image size 16 x 22 in. (40.7 x 56.0 cm), framed.
Condition: Unobtrusive toning, subtle mat burn, rippling, not
$1,500-2,500
21
22.
The Race, alternatively titled Homeward Bound, 1942,

edition of 250, published by Associated American Artists
(Fath, 56). Signed “Benton” in pencil l.r. and in the matrix,
identified on a label from AAA on the backing. Lithograph
on paper, image size 8 7/8 x 13 1/4 in. (22.5 x 33.5 cm),
framed.
Condition: Unobtrusive toning and mat burn, not
$1,000-1,500
22
23.
Night Firing, 1943, edition of 250, published by

Associated American Artists (Fath, 57). Signed “Benton”
in pencil l.r. and in the matrix. Lithograph on paper, image
size 8 5/8 x 13 1/4 in. (22.0 x 33.3 cm), matted,
unframed.
Condition: Laid down, margins 1 1/4 inches or more with
two deckled edges, unobtrusive toning and mat burn,
glue/paper residue to margins.
$700-900
23
24.
After the Blow, 1946, edition of 250, published by

Associated American Artists (Fath, 70). Signed “Benton”
in pencil l.r. and in the matrix. Lithograph on paper, image
size 9 7/8 x 13 7/8 in. (25.0 x 35.3 cm), matted,
unframed.
Condition: Margins over 1 inch, subtle toning and
rippling.
$1,000-1,500
24
25
25. 27.
Richard Bergere (American, b. 1912) Pierre Bonnard (French, 1867-1947)
Twilight Over Brooklyn Bridge, edition of 250, published by Dingo, by Octave Mirbeau, published in 1924 by Ambroise Vollard,
Associated American Artists. Signed “Richard Bergere” in pencil l.r., Paris, bound with fifty-five etchings, total edition of 370. Identified
identified on a label from AAA affixed to the frame. Lithograph on and numbered “318” on the justification page. Sheet sizes 14 3/4 x
paper, image size 9 x 12 5/8 in. (22.7 x 32.0 cm), matted, unframed. 10 3/4 in. (37.4 x 27.2 cm), presented in a brown leather (morocco)
Condition: Margins over 1 inch with deckled lower edge, subtle binding with stamped decoration signed “FRANZ” and with gilded
toning. edges to pages.
$200-250 Condition: Wear to slipcase, ex libris label from Nelson A. Rockefeller
to inside cover.
26. Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York;

Richard Evett Bishop (American, 1887-1975) purchased from Coleart, Inc., New York, 1977; the estate of Mary Lee
Getting Out, 1928. Signed “REBishop” in pencil l.r., titled in pencil $2,000-3,000
l.l., signed and dated within the plate. Etching on paper, plate size 8
3/4 x 14 7/8 in. (22.2 x 37.7 cm), framed.
Condition: Unobtrusive mat burn, subtle toning, not examined out of
frame.
$200-300
26
27
28.
Georges Braque, illustrator (French, 1882-1963)
La Théogonie d’Hésiode, published in 1955 by Maeght,

Paris, edition of 150, unbound with twenty etchings.
Signed “G Braque” in pencil and numbered “38” on the
colophon page. Sheet sizes 17 1/4 x 13 in. (43.7 x 33.0
cm), presented in the artist’s original cover with wrapper
and within a collaged slipcase.
Condition: Wear to wrapper, ex libris label from Nelson A.
Rockefeller to inside cover.
Provenance: Ex-collection of Nelson Aldrich Rockefeller,

New York; purchased from Coleart, Inc., New York, 1977;
the estate of Mary Lee Ingbar, Cambridge, Massachusetts.
N.B. A copy of Derrière le Miroir regarding Théogonie

(number 71-72, December 1954-January 1955)
accompanies the lot.
$7,000-9,000
28
29.
George Elbert Burr (American, 1859-1939)
High Street, Oxford (Seeber, 82). Signed “George Elbert

Burr” in pencil l.l., monogrammed within the plate, titled in
pencil l.r. Etching and drypoint on paper, plate size 9 7/8 x
11 7/8 in. (25.0 x 30.0 cm), framed.
$300-500
29
30
30. 32.
Alexander Calder (American, 1898-1976) Alexander Calder (American, 1898-1976)
Untitled (Black Sun), 1968. Signed and dated in the matrix. Untitled (Lines and Circles), 1973. Signed and dated in the matrix.
Lithograph in black and red on paper, image size 23 1/4 x 32 in. Color lithograph on paper, sight size 30 x 22 1/2 in. (76.0 x 57.0 cm),
(59.2 x 81.3 cm), unmatted, unframed. framed.
Condition: Nicks and minor tears to edges, handling creases. Condition: Subtle toning, not examined out of frame.
$400-600 $600-800
31.
Alexander Calder (American, 1898-1976)
Lot of Two Images: Untitled (Balloon Forms), 1968; and Untitled

(Circles and Lines). The former signed and dated in the matrix, the
latter signed “Calder” in pencil l.r. and inscribed “EA” in pencil l.l.
Lithographs in black and red (Balloon with orange) on paper,
sheet/image sizes to 31 1/4 x 45 in. (79.3 x 114.0 cm), unmatted,
unframed.
Condition: Staining, toning, nicks to edges, handling marks and
creases, Circles with puncture to image l.l.
$500-700
31
32
33
34
33. 34.
Alexander Calder (American, 1898-1976) Alexander Calder (American, 1898-1976)
Untitled (Amorphous Shapes), edition of 100. Signed “Calder” in Untitled (Pyramid and Disks), edition of 100. Signed “Calder” in
pencil l.r., numbered “68/100” in pencil l.l. Color lithograph on paper, pencil l.r., numbered “62/100” in pencil l.l. Color lithograph on paper,
sight size 22 1/2 x 30 3/4 in. (57.0 x 78.0 cm), framed. sight size 30 x 22 1/2 in. (76.0 x 57.0 cm), framed.
Condition: Staining to lower edge, subtle rippling, unobtrusive toning, Condition: Staining to lower edge, subtle toning, not examined out of
not examined out of frame. frame.
$600-800 $600-800
35.
Alexander Calder (American, 1898-1976)
Untitled (Spades, Hearts, Diamond and Club). Signed “Calder” in

pencil l.r., inscribed “E.A.” in pencil l.l. Color lithograph on cream
paper, image size 22 1/2 x 29 3/4 in. (57.0 x 75.5 cm), framed.
Condition: Deckled edges, not examined out of frame.
$800-1,200
35
36 37
36. 37.
Leonetto Cappiello (French, 1875-1942) Clarence Holbrook Carter (American, 1904-2000)
Maurin Quina, 1906. Signed and identified within the matrix. Color Lot of Two Images: Standing Nude, 1978, edition of 200; and
lithographic poster, sight size 63 x 46 1/2 in. (160.0 x 118.0 cm), Doorway, 1978, edition of 200. Both signed and dated “Clarence H.
framed. Carter 1978” in pencil l.r. and numbered in pencil l.l. Color
Condition: Subtle toning, pale staining, not examined out of frame. screenprints on paper, image sizes to 35 3/4 x 23 in. (90.7 x 58.0
$1,500-2,000 cm), unmatted, unframed.
Condition: Margins 1 1/2 inches or more.
$500-700
38.
Marc Chagall (Russian/French, 1887-1985)
David Before Saul, plate 64 from BIBLE, 1956, total edition of 295
(Cramer, 29). Unsigned, identified on a label from the Retina Gallery,
Boston, on the backing. Etching on paper, plate size 12 1/4 x 9 1/4
in. (31.0 x 23.4 cm), framed.
Condition: Subtle rippling, margins 1/2 inch or more, not examined
out of frame.
$400-600
38
39 40
39. 41.
Samuel V. Chamberlain (American, 1895-1975) Samuel V. Chamberlain (American, 1895-1975)
Lot of Three Views of Boston: Mount Vernon Street, Boston, c. Lot of Two Proof Impressions of The Transept of the Cathedral of
1940, proof of the first state of three (Chamberlain & Kingsland, 262); Notre Dame, Paris, c. 1940, a first and a fourth state impression
The Tontine Crescent, Franklin Place, Boston, 1928, edition of 100 (Chamberlain & Kingsland, 266). Unsigned, both inscribed with state
(Chamberlain & Kingsland, 270); and Doorway of the Harvard Club, and numbered in pencil l.l. Drypoint on paper, plate sizes 6 3/4 x 4
Boston, c. 1948, edition of 100 (Chamberlain & Kingsland, 278). The 1/2 in. (17.0 x 11.3 cm), in a common mat, unframed.
third signed “Samuel Chamberlain” in pencil l.r., each numbered or Condition: Margins approximately 1 1/4 inches.
inscribed in pencil l.l. Drypoints on paper, plate sizes to 8 1/2 x 5 1/2
in. (21.5 x 13.8 cm), matted, unframed. Provenance: Through the family of the artist.
Condition: Margins over 1 inch, Crescent with tear to right margin, $200-250
tape and losses to corners, and annotations.
Provenance: Through the family of the artist.

$200-250
40.
Samuel V. Chamberlain (American, 1895-1975)
Lot of Two Views of Chartres: Porch of the Virgin of Chartres, A

Vista, c. 1940, proof edition (Chamberlain & Kingsland, 263); and
The Town of Chartres, c. 1940, proof of the second state
(Chamberlain & Kingsland, 265). Unsigned, both inscribed in pencil
l.l. Drypoints on paper, plate sizes approximately 6 3/4 x 4 1/2 in.
(17.0 x 11.3 cm), matted, unframed.
Condition: Margins 1 inch or more.

$150-200
41
43
42
42. 43.
Samuel V. Chamberlain (American, 1895-1975) Samuel V. Chamberlain (American, 1895-1975)
Lot of Two Proof Impressions of Winter Evening on Beacon Mediterranean Village, Villefranche-sur-Mer, 1939, edition of
Street, Boston, c. 1940, both proofs of the third state (Chamberlain approximately 300 (Chamberlain & Kingsland, 272). Signed “Samuel
& Kingsland, 269). Unsigned, both inscribed “Third State.../VII” in Chamberlain” in pencil l.r. Drypoint on paper, plate size 8 1/4 x 11
pencil l.l. Drypoint with aquatint on paper, plate sizes 6 5/8 x 4 1/2 1/2 in. (20.8 x 29.2 cm), matted, unframed.
in. (16.8 x 11.4 cm), in a common mat, unframed. Condition: Margins over 1 1/4 inches with deckled edges,
Condition: Margins approximately 1 1/4 inches, annotations to lower annotations to lower margin.
margins.
Provenance: Through the family of the artist. $150-200
$200-250
44.
Samuel V. Chamberlain (American, 1895-1975)
Early Morning Market, Senlis, 1939, edition of 300 (Chamberlain &

Kingsland, 273). Signed “Samuel Chamberlain” in pencil l.r.,
inscribed “...WORKING PROOF” on the mat. Drypoint on paper,
plate size 9 1/8 x 6 3/4 in. (23.0 x 17.0 cm), matted, unframed.
Condition: Margins over 1 1/2 inches, annotations to lower margin.

$150-200
44
45
45.
Asa Cheffetz (American, 1897-1965)
Lot of Three Landscape Views: Winter in Southampton; Bucolic

Farm; and Deserted Farm. Each signed “Asa Cheffetz-” in pencil
l.r., the first and last identified on a label from AAA affixed to the mat.
Wood engravings on paper, image sizes to 4 3/4 x 10 in. (12.0 x 25.5
cm), matted, unframed.
Condition: Margins over 1 inch, subtle toning.
$200-300
46.
James Coignard (French, 1925-2008)
Team, 1986, edition of 75 (Bergström et al., 656). Signed “J.

Coignard” in pencil l.r., numbered “59/75” in pencil l.l., identified on a
label on the reverse. Color carborundum with collage on heavy
paper, plate size 21 x 16 1/2 in. (53.3 x 41.8 cm), framed.
Condition: Subtle rippling, not examined out of frame.
N.B. James Coignard lived and worked near Nice, where in 1950 he
became friendly with Braque, Matisse, and Chagall. He later
befriended the modernist painter, Henri Goetz, who in 1967 invented
the carborundum print (silicon carbide engraving). Goetz immediately
46 taught this medium to Coignard, Joan Miró, and Antoni Clavé. Miró
had a solo exhibition of his carborundum prints at MoMA in 1970.
Coignard, however, was the most compulsive of this group of early
experimenters with carborundum, and achieved critical acclaim for
creating prints that possessed all of the texture of a painting with
heavy impasto. Their painting-like appearance, marked by the deep,
heavy texture of a bas-relief was owed, in part, to his thick,
handmade papers. Coignard worked in vibrant primary colors—
dramatic swashes of blue, red, yellow, green, and black—which are
the signature accents of his abstract compositions.
$300-350
47.
Lot of Two Works: Etude masse bleue, 1988, edition of 95; and
Vecteur rouge, 1989, edition of 95. Numbered and signed “65/95 J.
Coignard” in pencil l.l. and l.r., respectively, identified on labels on the
reverse. Color carborundum on heavy paper, sheet sizes
approximately 19 x 26 in. (66.0 x 48.3 cm), framed.
Condition: Subtle rippling, not examined out of frames.
$500-700
47
48 49
48.
Lot of Two Works: Lumiere, 1990, edition of 95; and L’axe blanc,
1994, edition of 95. Both signed “...J. Coignard” in pencil l.r.,
numbered in pencil l.r. and l.l., respectively, identified on labels on the
reverse. Color carborundum on heavy paper, sheet sizes
$500-700
49.
Espaces rouges 58, 1994, edition of 95. Signed “J. Coignard” in

pencil l.r., numbered “5/95” in pencil l.l., identified on labels on the
reverse. Color carborundum on paper, sheet size 26 3/4 x 19 1/2 in.
(67.8 x 49.5 cm), framed.
$300-350
50.
Corneille (Belgian, b. 1922)
Le Soleil rouge, 1963, edition of 200 plus proofs. Inscribed, signed,

and dated “Epreuve d’essai Corneille 1963 5 couleurs jaune rose gris
rouge noir” in pencil l.l., titled in pencil l.r. Color lithograph on BFK
Rives paper with partial watermark, image size 25 7/8 x 19 5/8 in.
50 (65.5 x 49.8 cm), framed.
Condition: Margins over 2 inches with deckled right edges, toning,
staining to edges, handling creases, crease to corner of margin u.l.,
annotations verso.
$250-350
51 52
51.
Miguel Covarrubias (Mexican, 1904-1957)
Tehuantepec River, 1951, edition of 250, published by Associated

American Artists. Signed “COVARRUBIAS” in pencil l.r., identified on
a label from AAA affixed to the mat. Lithograph on paper, image size
12 1/4 x 9 1/4 in. (31.0 x 23.4 cm), matted, unframed.
Condition: Margins over 1 1/4 inches with two deckled edges,
unobtrusive toning.
$500-700
52.
Robert Cottingham (American, b. 1935)
Art at the Palace/A Poster, 1984. Identified within the matrix.

Color screenprint on paper, sheet size 26 1/4 x 21 1/2 in. (66.5 x
54.5 cm), unmatted, unframed.
Condition: Minor handling creases.
$250-300
53.
John Steuart Curry (American, 1897-1946)
John Brown, 1939, edition of 250, published by Associated

American Artists (Czestochowski, C35). Signed “John Steuart Curry”
in pencil l.r., initialed and dated within the matrix, identified on a label
from AAA accompanying the lot. Lithograph on paper, image size 14
3/4 x 11 in. (37.4 x 27.9 cm), matted, unframed.
Condition: Toning, brown paper tape to edges on the reverse.
$1,200-1,800
53
55
54
54.
Salvador Dalí (Spanish, 1904-1989)
Statue of Liberty, from the NEW YORK CITY Suite, 1964, edition of
155 plus proofs (Field, 64-3D). Signed and dated “Dalí/1964” in
pencil l.r., numbered “21/125” in pencil l.l. Etching and engraving in
red and brown on paper, plate size 25 x 17 in. (63.4 x 43.1 cm),
framed.
$1,000-1,500
55.
Frontispiece for TRISTAN ET ISEULT, 1970 (Field, 70-10A). Signed

“Dalí” in pencil l.r., inscribed “E.A.” in pencil l.l. Color etching on
Japan paper, plate size 15 5/8 x 10 5/8 in. (39.7 x 27.0 cm), framed.
Condition: Several fox marks, not examined out of frame.
$300-500
56.
The Menorah, 1980. Signed “Salvador Dalí” within the matrix on the
base, stamped “160/250...ISRAEL 50 c VAP” on the base. Gilt
metal, approximately 17 1/4 x 12 x 2 1/4 in. (43.8 x 30.5 x 5.7 cm),
mounted to a marble plinth.
Condition: Minor corrosion/oxidation.
Literature: Descharnes, Robert and Nicholas, Dali: The Hard and the
Soft, Spells for the Magic of Form, Sculptures & Objects (Azay-le-
Rideau: Eccart, 2004), p. 268, no. 688.
$5,000-7,000
56
57
57.
Ten Works + Ten Painters/A Portfolio
Stuart Davis (American, 1892-1964), Robert Indiana (American, b.

1928), Ellsworth Kelly (American, b. 1923), Roy Lichtenstein
(American, 1923-1997), Robert Motherwell (American, 1915-
1991), George Earl Ortman (American, b. 1926), Larry (Lawrence)
Poons (American, b. 1937), Ad Reinhardt (American, 1913-1967),
Frank Stella (American, b. 1936), and Andy Warhol (American,
1928-1987), 1964, edition of 500, published by the Wadsworth
Atheneum, Hartford, Connecticut. Identified and numbered “36/500”
on the colophon page, each print with dry stamp l.r. Screenprints
(most in color) on paper, sheet sizes 24 x 20 in. (60.9 x 50.8 cm),
presented in their original folders in the original cloth-bound portfolio
case.
Condition: Minor soiling (primarily to folders and to Motherwell print),
Motherwell folder with annotations, soiling and rubs to case.
Provenance: A private Massachusetts collection.

$15,000-20,000
58.
Lot of Two Prints:
Edgar Degas (French, 1834-1917), Danseuse mettant son

chausson, c. 1892, second (after cancellation) state of two (Delteil,
36); and Pierre-Auguste Renoir (French, 1841-1919), Le chapeau
épinglé (la fille de Berthe Morisot et sa cousine), 1894, final state
of two (Delteil, 8). Both signed in the plate. Etchings on paper, plate
sizes to 7 x 4 1/2 in. (17.7 x 11.3 cm), framed.
Condition: Not examined out of frames.
$200-300
58
59.
Jim Dine, illustrator (American, b. 1935)
The Picture of Dorian Gray, written by Oscar Wilde, published in

1968 by Petersburg Press, New York & London, bound book
containing twelve lithographs, plus a portfolio of ten prints (six
lithograph and four etchings). Signed and numbered “Edition C Jim
Dine 40/100” in blue pencil on the colophon page, signed, dated,
and numbered “Jim Dine 1968 40/100” in ink on a label affixed to the
case, the extra prints each signed in pencil l.r. and stamped and
numbered on the reverse. Sheet sizes 17 3/8 x 12 1/4 in. (44.0 x
31.0 cm), in red leather binding and portfolio within cover with raised
heart design.
Condition: Extremely subtle toning to sheets.
Provenance: Purchased from the publisher, 1977; the estate of Mary

Lee Ingbar, Cambridge, Massachusetts.
$4,000-6,000
59
60.
Jim Dine (American, b. 1935)
Nancy Outside in July X: Young and Blue, 1980, edition of 25 plus

proofs (D’Oench & Feinberg, 71). Numbered, signed, and dated
“17/25 Jim Dine 1980” in pencil l.l., identified on a label from the
Barbara Krakow Gallery, Boston, on the backing. Etching and
aquatint in colors on cream paper, plate size 23 1/2 x 19 3/8 in. (59.6
x 49.2 cm), framed.
Condition: Margins over 1 inch with deckled edges, not examined
out of frame.
$1,000-1,500
60
62
61
61.
Francisco Dosamantes (Mexican, b. 1911)
Women of Oaxaca, 1946, published by Associated American Artists.

Signed and dated “F 2Amantes 9/46.” in pencil l.r. Lithograph on
paper, image size 12 1/2 x 8 in. (31.7 x 20.3 cm), matted, unframed.
Condition: Subtle toning.
$200-250
62.
Arthur Wesley Dow (American, 1857-1922)
Barberries Sketch from Nature, from IPSWICH PRINTS, 1902.

Monogrammed and identified in the matrix. Lithograph in three colors
on paper, image size 7 1/2 x 6 3/8 in. (19.0 x 16.0 cm), framed.
Condition: Unobtrusive toning, not examined out of frame.
$300-500
63.
Raoul Dufy (French, 1877-1953)
La Belle-Enfant ou L’Amour à Quarante Ans, by Eugene Monfort,

published in 1930 by Ambroise Vollard, Paris, total edition of 390,
unbound, containing sixteen etchings and seventy-eight plates within
the text. Numbered “EXEMPLAIRE No 161” opposite title page,
labeled “Nelson A. Rockefeller EX LIBRIS” on the inside front cover.
Printed on Arches paper, sheet sizes 13 x 10 in. (33.0 x 25.4 cm), in
original paper folder, presented in a (later) linen portfolio box.

N.B. The lot is accompanied by a copy of Monroe Wheeler’s Modern

Painters and Sculptors as Illustrators (The Museum of Modern Art:
New York, 1936).
63 $2,000-3,000
64.
Albrecht Dürer (German, 1471-1528)
The Angel with the Key to the Bottomless Pit, from the
Apocalypse, Latin edition, 1511 (Meder, 178; Bartsch, 75; Hollstein,
178). Monogrammed in the block. Woodcut on laid paper with six-
petal flower with pendant triangle watermark (Meder, 127), image size
15 1/2 x 11 1/8 in. (39.3 x 28.2 cm), partially matted, unframed.
Condition: Thread margins.
$1,000-1,500
64
65.
Max Ernst (German, 1891-1976)
Histoire Naturelle, with an introduction by Hans Arp, published in

1926 by J. Bucher, Paris, total edition of 306, unbound portfolio of
thirty-four collotypes. Signed “Max Ernst” in ink and numbered “293”
in pencil on the colophon page. Sheet sizes 19 5/8 x 12 3/4 in. (49.7
x 32.4 cm), in the original portfolio with a (later) portfolio box.
Condition: Unobtrusive toning, wear to portfolio.
Provenance: Purchased from Lucien Goldschmidt, Inc., New York,

1979; the estate of Mary Lee Ingbar, Cambridge, Massachusetts.
$3,000-5,000
65
66.
Max Ernst, illustrator (German, 1891-1976)
La Brebis Galante, by Benjamin Peret, published in 1949 by

Editions Premieres, Paris, edition of 300, containing three
etchings plus twenty-one pochoir illustrations. Signed “Max
Ernst” in ink and numbered “74” opposite the title page.
Sheet sizes 9 1/4 x 7 1/2 in. (23.4 x 19.0 cm), paper bound
with cloth covered slipcase.
Condition: Very minor wear, staining to edges of pages.
Provenance: From the estate of Mary Lee Ingbar, Cambridge,

Massachusetts.
$2,000-3,000
67.
Max Ernst (German, 1891-1976), Joan Miró (Spanish,
1893-1983), and Yves Tanguy (French/American, 1900-
1955), illustrators
66
L’Antitête, by Tristan Tzara, published in three volumes in
1949 by Bordas, Paris, total edition of 200, each volume
unbound, one with eight hand-colored etchings by Ernst, one
with eight hand-colored etchings by Miró, and one with six
hand-colored etchings by Tanguy plus the same number of
etchings en suite plus a single cancelled plate by Ernst. Each
volume signed by the artist and the author in ink, the Ernst
volume with an inscription to Nelson A. Rockefeller in the
author’s hand and an inscription in the artist’s hand, each
numbered “11” on the justification page. Approximately 5 3/4
x 4 1/2 in. (14.5 x 11.5 cm), in vellum covers and together in
a single slipcase.
Condition: Wear to slipcase, each inscribed “ex libris Nelson
A. Rockefeller” to inside cover.
Provenance: Ex-collection of Nelson Aldrich Rockefeller, New

York; purchased from Coleart, Inc., New York, 1977; the
estate of Mary Lee Ingbar, Cambridge, Massachusetts.
N.B. Tzara was a member of the Dada movement and later

joined the Surrealists. L’Antitête was written as three
anthologies, and in this second edition of the work, each artist
illustrated one volume - Ernst the first, Tanguy the second,
and Miró the last. The first edition had a frontispiece by
Picasso, but this illustration had only a cursory relationship to
the text. In the edition presented here, not only do the
illustrations relate directly to the text, but the scale of the
publication makes for close reading, both literally and
figuratively, allowing for a very intimate relationship between
reader and volume.
The lot is accompanied by a copy of Eleanor M. Garvey’s The

Artist and the Book: 1860-1960 in Western Europe and the
United States (Museum of Fine Arts, Boston & Harvard
College Library: Cambridge, 1961).
$40,000-60,000
67
68.
Richard E. Filipowski (American, 1923-2008)
Chicago 49, 1949. Signed and dated “Filipowski 49” in pencil

l.r., titled and inscribed “8.12...” in pencil l.l., two dry stamps l.l.
Lithograph on paper, image size 16 1/4 x 22 in. (41.3 x 55.7
cm), framed.
$400-600
68
69.
Lot of Two Abstract Images, 1949. Both signed and dated

“Filip. 49” in pencil l.r. Relief prints on fine paper, image sizes
6 7/8 x 8 in. (17.4 x 20.3 cm), framed.
Condition: Both with creases to corner of image l.l., one with
staining to right margin, not examined out of frames.
$600-800
69
70.
Antonio Frasconi (Argentine, b. 1919)
View from Brooklyn, edition of 25. Signed “Frasconi” in

pencil l.r., titled and inscribed “...ed 25” in pencil l.l. Color
woodcut on paper, image size 7 x 9 5/8 in. (17.7 x 24.3 cm),
unmatted, unframed.
Condition: Margins 2 1/4 inches or more.
$300-500
70
71
71. 73.
Antonio Frasconi (Argentine, b. 1919) Jose Francisco de Goya y Lucientes (Spanish, 1746-1828)
Alhambra II, 1962, edition of 18. Signed, dated, and inscribed Lot of Three Plates from LOS CAPRICHOS: A Caza de Dientes;
“Frasconi 62 imp” in pencil l.r., titled and numbered “14/18...” in Al Conde Palatino; and Obsequio a el Maestro; all probably from
pencil l.l., identified on a label from the Franklin Siden Gallery, Detroit, the eighth edition, 1905-1907 (Harris, 47, 68, and 82). Each titled
on the backing. Color woodcut on paper, image size 19 x 34 1/8 in. within the plate. Etchings with aquatint on paper, sight sizes 8 1/8 x
(48.3 x 86.5 cm), framed. 5 7/8 in. (20.5 x 14.8 cm), framed.
Condition: Subtle toning and rippling, not examined out of frame. Condition: Subtle toning, and mat burn, not examined out of frames.
$200-300 $300-500
72.
Michiel Theobald Gloeckner (American, 1915-1989)
Lot of Two Prints: Untitled (Circle in Square), 1974, edition of 100;

and Untitled (Geometric Bust Form), 1974, edition of 110. Both
signed and dated “Michiel Gloeckner 1974” in pencil l.r., and
numbered in pencil l.l. Color lithographs on paper, image sizes
approximately 20 1/2 x 17 in. (52.0 x 43.0 cm), unmatted, unframed.
Condition: Margins over 1 inch, subtle toning.
$400-600
72 73
73A
73A.
George Ehrenfried Grosz (German/American, 1893-1959)
Storm Clouds, Cape Cod, 1949, edition of 252 plus proofs, 74

published by the Print Club of Cleveland (Duckers, E110). Signed
“George GROSZ” in pencil l.r. Lithograph on paper, image size 8 3/4
x 13 in. (22.2 x 33.0 cm), framed.
Condition: Scattered foxing, not examined out of frame.
$250-300
74.
Riva Helfond (American, 1910-2002)
Santorini Street, edition of 50. Signed “Riva Helfond” in pencil l.r.,

titled and numbered “...24/50” in pencil l.l. Color screenprint on
$200-300
75.
David Hockney (British, b. 1937)
Six Fairy Tales from the Brothers Grimm, published in 1970 by

Petersburg Press, New York & London, total edition of 400, bound
book containing thirty-nine etchings plus six etchings in a portfolio.
Signed and numbered “David Hockney Ed D 17/100” in pencil on the
colophon page, each of the six unbound prints signed in pencil l.r.
and numbered in ink on the reverse. 17 3/4 x 12 1/4 in. (45.0 x 31.0
cm), in a blue leather binding with slipcase.
Condition: Minor wear to case.

N.B. The lot is accompanied by a miniature facsimile of the book and

by a copy of Donna Stein’s Contemporary Illustrated Books: Words
and Images 1967-1988, (Independent Curators Incorporated: New
York, 1989).
$7,000-9,000
75
76.
David Hockney (British, b. 1937)
Olympic Games, Munich, 1970, edition of 200 (before full text).

Numbered, signed, and dated “181/200 David Hockney 70” in pencil
l.r., Olympic Rings logo l.l. Color lithographic poster on paper, image
size 34 1/2 x 25 1/2 in. (87.5 x 64.8 cm), framed.
Condition: Deckled edges, staining (primarily to the right side of the
composition), subtle toning.
$2,000-3,000
76
77.
Masuo Ikeda (Japanese, 1934-1997)
Untitled, edition of 55. Signed “Masuo Ikeda” in pencil l.r., numbered

“23/55” in pencil l.l., dry stamps to lower corners. Color lithograph
on paper, image/sheet size 26 x 21 in. (66.0 x 53.4 cm), framed.
Condition: Unobtrusive creasing along upper edge, not examined out
of frame.
$400-600
77
78
78.
Ilia Zdanevich, called Iliazd (Russian, 1894-1975)
Ledentu le Phare, published in 1923 by Editions du 41°, Paris, total

edition of 530. Identified on title page (in Cyrillic), and in
accompanying French pamphlet. Sheet sizes 7 1/2 x 5 1/2 in., paper
binding with collaged cover, book and pamphlet presented in a
portfolio box.
Condition: Very minor wear.

$4,000-6,000
79.
Bill Jensen (American, b. 1945)
Babylon, 1985-1988, edition of 50, published by Universal Limited

Art Editions, Bay Shore, New York. Signed, titled, dated, and
numbered “Bill Jensen...25/50” in pencil on the reverse, publisher’s
dry stamp l.l. Color etching and aquatint on paper, plate size 10 3/4
x 7 1/2 in. (27.2 x 18.9 cm), framed.
Condition: Margins over 3 1/2 inches with deckled edges, hinged at
upper corners.
$300-500
79
80.
Jasper Johns (American, b. 1930)
Cup 2 Picasso, 1973, from the larger edition published for XXe
SIECLE. Signed and dated in the matrix. Color offset lithograph on
$300-500
81.
Jasper Johns, illustrator (American, b. 1930)
Foirades/Fizzles, by Samuel Beckett, published in 1976 by

Petersburg Press, London & New York, total edition of 300,
containing thirty-three etchings. Signed “Samuel Beckett” and “J
Johns” in pencil, numbered “175/250” on page before colophon. 13
x 10 in. (33.0 x 25.4 cm), original paper binding and linen case lined
with a Johns lithograph.
Condition: Good.

N.B. The lot is accompanied by a copy of Christian Geelhaar’s

Jasper Johns Working Proofs (Petersburg Press: London & New
York, 1980), and a copy of Riva Castleman’s A Century of Artists
Books (Harry N. Abrams, Inc.: New York, 1994).
$12,000-18,000
80
81
82
82. 83.
Mervin Jules (American, b. 1912) Luigi Kasimir (Austrian, 1881-1962)
Octipus [sic]. Signed “JULES” in pencil l.r., titled in pencil l.l. Color Lot of Two Views: Boston, State Capital, 1936 (Weiss, 519); and
screenprint on paper, image size 12 1/8 x 18 1/8 in. (30.7 x 46.0 cm), Philadelphia, Independence Hall (Weiss, 522), both possibly later
framed. impressions. Both signed “Luigi Kasimir” in pencil l.c. and identified
Condition: Not examined out of frame. in the plates. Color etchings with aquatint on paper, plate sizes
$200-300 approximately 18 1/4 x 12 1/4 in. (46.3 x 31.1 cm), framed.
$300-500
82A.
Wassily Kandinsky (Russian, 1866-1944)
La tache noire, 1924, probably published by Maeght.

Monogrammed and dated within the matrix. Color lithograph on
paper, image size 11 3/8 x 11 in. (28.9 x 27.7 cm), framed.
Condition: Trimmed to image, laid down.
$200-250
82A
83
84
85
84.
Luigi Kasimir (Austrian, 1881-1962)
New York, Queensborough Bridge, 1936, possibly a later

impression (Weiss, 528). Signed “Luigi Kasimir” in pencil l.c. and
identified in the plate. Color etching with aquatint on paper, plate size
11 1/2 x 16 7/8 in. (29.2 x 42.9 cm), framed.
$300-350
85.
Tanna Kasimir-Hoernes (Austrian, 1887-1972)
Lot of Two New York Views: New York, Montaque [sic] Terrace,
1936 (Weiss, 551); and New York, Central Park (Weiss, 554), both
possibly later impressions. Both signed “T. K. Hoernes” in pencil l.c.
Color etchings with aquatint on paper, plate sizes approximately 15
1/2 x 11 1/2 in. (39.4 x 29.2 cm), framed.
$300-500
86.
Kaoru Kawano (Japanese, 1916-1965)
Lot of Three Images of Girls: Girls with Doves, Girl with Hair
Bow, and Girl with Four Cranes. The first two signed “Kaoru
Kawano” in pencil l.l., all three signed with red chop mark l.l. Color
woodcuts on paper, sight sizes to 14 3/4 x 9 1/4 in. (37.4 x 23.4 cm),
framed.
$500-700
86
88
87
87.
Ellsworth Kelly (American, b. 1923)
Orange with Blue, 1964-1965, edition of 75 plus proofs (Axsom, 12).

Signed “Kelly” in pencil l.r., numbered “19/75” in pencil l.l. Color
lithograph on BFK Rives paper with watermark, image size 19 x 15 in.
Condition: Deckled edges to three sides, subtle toning, staining near
edges, minor nicks to edges, hinging residue to verso.
$1,200-1,800
88.
Marguerite Kirmse (American, 1885-1954)
Tiny Tim. Titled and signed “...Marguerite Kirmse” in pencil beneath

the image. Etching on paper, plate size 3 1/2 x 2 3/8 in. (8.8 x 5.9
cm), framed.
Condition: Scattered foxing, unobtrusive toning, subtle rippling, not
$200-250
89.
Oskar Kokoschka, illustrator (Austrian, 1886-1980)
Das Chinessische Mauer, written by Karl Kraus, published in 1914

by Karl Wolff Verlag, Leipzig, bound and containing eight lithographs,
edition of 200. Identified in the text and numbered “107” in ink.
Sheet sizes 19 1/8 x 15 in. (48.5 x 38.0 cm), in a (later) portfolio box.
Condition: Unobtrusive toning, minor wear to cover, ex libris label
from Nelson A. Rockefeller to first sheet.

89 Ingbar, Cambridge, Massachusetts.
$1,000-1,500
90.
Max Kuehne (American, 1880-1968)
Lower New York from Weehawken. Signed “Max Kuehne”

in pencil l.r., titled in pencil l.l., stamped “Kuehne” on the
reverse. Etching on paper, plate size 9 5/8 x 14 in. (24.3 x
35.5 cm), framed.
Condition: Margins 3/4 inches or more with deckled edges,
subtle soiling to margins, not examined out of frame.
$200-250
90
91.
Lot of Three Views of Spain: The Old Town Cuenca,

Cuenca, Spain, and Street Scene with Donkeys - Toledo.
The first two signed “Max Kuehne” in pencil l.r., the last
stamped “Kuehne” in red on the reverse, each titled in pencil
l.l. Etchings on laid paper, plate sizes to 6 7/8 x 9 7/8 in.
(17.5 x 25.0 cm), the first two matted, all unframed.
Condition: Margins over 2 inches, subtle staining/soiling to
edges.
$300-500
91
92.
Street in Marblehead. Unsigned, titled in pencil l.l. Etching

on paper, plate size 8 7/8 x 12 in. (22.5 x 30.4 cm), framed.
Condition: Margin over 1 inch with two deckled edges,
unobtrusive soiling, not examined out of frame.
$150-200
92
93
93. 95.
Max Kuehne (American, 1880-1968) Jean-Emile Laboureur (French, 1877-1943)
Lot of Three Views of Spain: Basque Fishing Port, Ondarroa, La Promenade sur le port, 1933, total edition of 250, published by
Spain, Street in Toledo, and Puenta San Martin - Toledo. Each the Print Club of Cleveland (Loyer, 482). Signed “laboureur” in pencil
unsigned, stamped “Kuehne” in red on the reverse, and titled in l.l., monogrammed in the plate. Etching and engraving on paper,
pencil l.l. Etchings on laid paper, plate sizes to 6 7/8 x 9 3/4 in. (17.5 plate size 8 1/4 x 8 3/4 in. (20.8 x 22.2 cm), framed.
x 24.8 cm), unmatted, unframed. Condition: Subtle toning, not examined out of frame.
Condition: Margins over 2 inches, subtle staining/soiling to edges. $200-300
$300-500
94.
Yasuo Kuniyoshi (Japanese/American, 1893-1953)
Dawn, 1934, edition of 30 (Archives of American Art, L-65; Davis,

65). Signed and dated “Yasuo Kuniyoshi - 34” in pencil l.r., inscribed
“30 p” in pencil l.l. Lithograph on paper, image size 9 3/4 x 14 in.
(24.9 x 35.5 cm), framed.
Condition: Toning, staining to image u.r., not examined out of frame.
$700-900
94 95
96A
95A
95A.
Carl Olof Larsson (Swedish, 1855-1919)
Le Modèle pres du poele, 1908, edition of 100, published in the

Gazette des Beaux-Arts, 1909 (Brummer, 59). Unsigned. Etching (in
sepia) on cream paper, plate size 6 1/2 x 4 5/8 in. (16.4 x 11.6 cm),
framed.
$700-900
96.
Marie Laurencin (French, 1883-1956)
Le Concert, 1926 (Marchesseau, 100). Signed “Marie Laurencin” in

pencil l.r., numbered “VI/XX” in pencil l.l. Color lithograph on paper,
image size 9 1/8 x 7 1/8 in. (23.0 x 18.0 cm), framed.
Condition: Scattered foxing, staining, creases, not examined out of
frame.
$250-350
96A.
After Marie Laurencin (French, 1883-1956)
Trois jeunes femmes en buste, edition of 200. Signed “Marie

Laurencin” in pencil l.r., numbered “26/200” in pencil l.l. Color
etching with aquatint on paper, plate size 13 5/8 x 22 1/4 in. (34.5 x
56.4 cm), framed.
Condition: Laid down, partially glued to facing mat (and with glue
residue to all margins), unobtrusive toning, horizontal area of fading or
cleaning, annotations to lower margin.
$1,500-2,000
96
98
97.
97 Le Corbusier (Swiss/French, 1887-1965)
Femme à la main levée, 1954. Initialed and dated within the matrix,
identified on a label from the Obelisk Gallery, Chestnut Hill, on the
backing. Color lithograph on paper, image size 42 1/2 x 26 5/8 in.
(107.8 x 67.5 cm), framed.
Condition: Pale staining to edges, possible subtle fading, not
$500-700
98.
Fernand Léger, illustrator (French, 1881-1955)
La Fin du monde, by Blaise Cendrars, published in 1919 by Éditions

de a Sirène, Paris, total edition of 1225, containing color lithographs.
Stamped “816” on colophon. Sheet sizes 12 1/2 x 10 in. (31.7 x
25.3 cm), lithographed paper cover, presented in a later portfolio box.
Condition: Toning (primarily to cover).

Massachusetts.
N.B. The lot is accompanied by a copy of Robert Flynn Johnson’s

Artists’ Books in the Modern Era 1870-2000: The Reva and David
Logan Collection of Illustrated Books (Fine Arts Museum of San
Francisco: San Francisco, California, 2001).
$2,000-3,000
99.
Clare Veronica Hope Leighton (Anglo/American, 1901-1989)
Corsican Washer Girl, alternatively titled Corsican Laundress,

1934, total edition of 150 (BPL, 257). Signed “Clare Leighton-” in
pencil l.r., numbered and titled “98/126...” in pencil l.l. Woodcut on
paper, image size 4 3/4 x 3 in. (12.0 x 7.5 cm), framed.
99 $200-250
100 101
100.
Lucas van Leyden (Dutch, 1494-1533)
Lot of Two Images from THE SMALL PASSION, 1521: Christ

Crowned with Thorns and The Harrowing of Hell. Both
monogrammed and dated in the plates. Engravings on paper, plate
sizes approximately 4 3/8 x 3 in. (11.0 x 7.4 cm), unmatted,
unframed.
Condition: Trimmed to or just within the images, minor toning, hinged
to a supporting mat.
$400-600
101.
Jack Levine, illustrator (American, b. 1915)
Facing East, by James A. Michener, published in 1970 by Maecenas

Press, New York, unbound with four color lithographs, a woodcut
frontispiece plus illustrations within the text, and fifty-four collotypes
with pochoir. Numbered and signed “1659/2500 Jack Levine James
A. Michener” in ink on the colophon page. Sheet sizes 18 3/4 x 12
3/8 in. (47.5 x 31.3 cm), presented in the original portfolio box with
interior folders for the text and the collotype sketchbook.
Condition: Good.
$250-350
102.
Jack Levine (American, b. 1915)
Sacrifice of Isaac, 1974, edition of 100 plus proofs (Prescott, 60).

Signed “JLevine” in pencil l.r., numbered “13/100” in pencil l.l., dry
stamp l.r. Etching with drypoint and engraving on Arches cream
paper with watermark, image size 13 3/4 x 10 3/4 in. (34.8 x 27.3
cm), unmatted, unframed.
102 Condition: Margins 2 inches or more with deckled edges, subtle
toning.
$200-250
105
103
103. 104.
Alexander Liberman, illustrator (American, 1912-1999) Roy Lichtenstein (American, 1923-1997)
Nostalgia for the Present, by Andrei Voznesensky, published 1979 As I Opened Fire.../A Triptych, 1966 (Corlett, app. 5). Unsigned.
by Universal Limited Art Editions, West Islip, New York, edition of 28 Offset color lithographs on paper, each sheet approximately 25 x 20
plus proofs unbound. Each of the seventeen plates signed and 3/4 in. (63.5 x 52.7 cm), presented in a common frame.
numbered “Andrei Voznesensky (in Cyrillic) 3/28” in pencil l.l., signed Condition: Handling creases, not examined out of frame.
and dated “Alexander Liberman 1977-79” in pencil l.r., with $600-800
publisher’s dry stamp l.l., and with plate number printed on verso,
identified on the colophon page. Lithographs on paper, sheet sizes
41 x 28 in. (104.0 x 71.0 cm), presented in the original lacquered folio 105.
box. Jan Lievens (Dutch, 1607-1674)
Condition: Minor cockling to edges of sheets, minor soiling/staining
to edges of title page. Large Oriental Head, Bust to Right, an 18th century impression
(Rovinski, 13). Signed in the plate. Etching on laid paper, plate size
Provenance: Purchased from the publisher, 1981, to the estate of approximately 10 3/4 x 8 7/8 in. (27.0 x 22.3 cm), matted, unframed.
Mary Lee Ingbar, Cambridge, Massachusetts. Condition: Trimmed to or just within the plate mark, subtle staining
$700-900 (more visible to verso).
$250-300
104
106 108
106. 108.
Walter Ronald Locke (American, b. 1883) John Stockton De Martelly (American, 1903-1980)
Peace on the Amelote/A Florida View, 1937, edition of 250, Chore Boy, 1942, published by Associated American Artists, edition
published by Associated American Artists. Signed and dated “W.R. of 250. Signed “John S. de Martelly-” in pencil l.r., titled in pencil l.l.,
Locke ‘37” in pencil l.r., titled in pencil l.l., identified on a label from dedicated “To Miss Nellie Fletcher from the de Martellys - 42” in
AAA on the reverse. Etching on paper, plate size 8 7/8 x 11 7/8 in. pencil l.c. Lithograph on paper, image size 9 x 12 1/8 in. (22.8 x 30.7
(22.4 x 30.0 cm), framed. cm), framed.
Condition: Not examined out of frame. Condition: Subtle toning, not examined out of frame.
$400-600 $300-500
107.
Galerie Maeght, editor (French, 20th Century)
Lot of Ten Issues of DERRIERE LE MIROIR, featuring Calder, Kelly,

and Miró, spanning 1963 to 1968. Each measures 15 x 11 in. (38.1
x 27.9 cm).
Condition: Minor wear, soiling and/or handling nicks.
$300-500
107
110
109
111
109. 110.
Henri Matisse (French, 1869-1954) Michael Mazur (American, 1935-2009)
Nu au bracelet, published by Chalcographie du Louvre, Paris Tree, Norfolk, 1963 (Hansen, 116). Signed “Mazur” in pencil l.r.,
(Duthuit, 725). Unsigned, publisher’s dry stamp l.c. Linocut on titled and dated “Pines #1 Norfolk - 1963” in pencil l.l., numbered
paper, image size 9 5/8 x 7 in. (24.2 x 17.6 cm), framed. “1/50” in pencil l.c. Etching on heavy cream wove paper, plate size
Condition: Margins approximately 1 1/4 inches with two deckled 17 3/4 x 23 5/8 in. (45.1 x 60.2 cm), unmatted, unframed.
edges, masking tape to edges, soiling and annotations to lower Condition: Margins approximately 1 1/2 inches, scattered fox marks
margin. (primarily to margins and verso), tape residue to upper edge on the
$800-1,200 reverse, minor nicks and tears to upper edge.
$200-300
111.
Michael Mazur (American, 1935-2009)
Diptych #1 (The Artist), from THE ARTIST AND THE MODEL,

1968, edition of 50 (Hansen, 163). Signed “Mazur” in pencil l.r., titled
in pencil l.l., numbered “49/50” in pencil l.c. Etching on paper, image
size 22 3/4 x 21 in. (57.7 x 63.4 cm), unmatted, unframed.
Condition: Staining near left edge (visible almost exclusively on
verso).
$600-800
112.
Michael Mazur (American, 1935-2009)
Confrontation, from THE ARTIST AND THE MODEL, 1968, edition

of 50 (Hansen, 165). Signed “Mazur” in pencil l.r., titled in pencil l.l.,
numbered “46/50” in pencil l.c. Etching on paper, image size 22 7/8
x 18 7/8 in. (58.1 x 47.9 cm), unmatted, unframed.
Condition: Minor nicks to edges, subtle handling marks and creases.
$600-800
113.
Paul Raphael Meltsner (American, 1905-1966)
Man + Machinery. Signed “Paul R. Meltsner” in pencil l.r., titled in

pencil l.l., inscribed “COLLECTION OF BROOKLYN + BOSTON
MUSEUM” in pencil l.c. Lithograph on paper, image size 12 1/4 x 9
5/8 in. (31.2 x 24.5 cm), framed.
Condition: Subtle toning, scattered fox marks, not examined out of
frame.
$200-300
114.
Paul Raphael Meltsner (American, 1905-1966)
Industrial Landscape. Signed “Paul R. Meltsner” in pencil l.r., titled in

112 pencil l.l., inscribed “COLLECTIONS - BOSTON - BROOKLYN
MUSEUM” in pencil l.c. Lithograph on paper, image size 10 1/4 x 14
1/2 in. (26.0 x 36.5 cm), framed.
Condition: Subtle toning and mat burn, scattered fox marks, not
$200-300
114
113
115
115. 116.
Paul Raphael Meltsner (American, 1905-1966) Paul Raphael Meltsner (American, 1905-1966)
Lot of Three Images of Factory Workers: Death of a Striker, The Lot of Four Industrial and Train Yard Views: Tank Cars,
Lockout, and The Outcast. Each signed “Paul R. Meltsner” in pencil Excavation, The Iron Horse, and Industrial Center. Each signed
l.r. and titled in pencil l.l. Lithographs on paper, image sizes to 10 3/4 “Paul R. Meltsner” in pencil l.r. and titled in pencil l.l. Lithographs on
x 14 3/8 in. (27.3 x 36.5 cm), unmatted, unframed. paper, image sizes approximately 10 1/4 x 14 1/2 in. (26.0 x 37.0
Condition: Margins over 1/2 inch, some edges deckled, unobtrusive cm), unmatted, unframed.
soiling and toning, some margins with minor nicks to edges. Condition: Margins over 1/2 inch, some edges deckled, soiling,
$250-350 toning, some margins with tears or losses (none into the images).
$250-350
116
118
117 (2 views)
117. 118.
Joan Miró, illustrator (Spanish, 1893-1983) Joan Miró (Spanish, 1893-1983)
La Bague D’Aurore, by René Crevel, published in 1957 by Louis Ceramiques monumentales de Miró et Artigas, from DERRIERE
Broder, Paris, total edition of 130, with one drypoint and 5 color LE MIROIR, deluxe hard-cover edition, 13 Juin, 1963, number 84,
aquatints. Signed “Miró” in pencil and numbered “88” on the edition of 150. Signed “Miró” in pencil on the colophon page. Sheet
colophon. Sheet sizes 6 1/2 x 5 1/4 in. (16.5 x 13.4 cm), pages with sizes 15 x 11 in. (38.0 x 27.8 cm), with slip cover.
gilded edges, calf binding with multicolored inlaid panels, signed and Condition: Very minor wear to slip cover.
dated “P.L. MARTIN 1961,” presented in the binder’s chemise and $1,000-1,500
slipcase.

Massachusetts.
$8,000-12,000
119 121
119.
Joan Miró (Spanish, 1893-1983)
La Chasseresse, 1965, edition of 100 (Mourlot, 390). Signed “Miró”

in pencil l.r., numbered “28/100” in pencil l.l. Color lithograph on
Condition: Toning, subtle fading, not examined out of frame.
$1,000-1,500
120.
Midi le trèfle blanc, 1968, edition of 88 plus proofs (Dupin, 455).

Signed “Miró” in pencil l.r., inscribed “H.C.” in pencil l.l., identified on
a label from the Retina Gallery, Boston, on the backing. Color
aquatint with drypoint on paper, sheet size 13 1/4 x 11 7/8 in. (33.5 x
30.0 cm), framed.
Condition: Deckled right and lower edges, not examined out of
frame.
$1,000-1,500
121.
Image from Joan Miró I Catalunya, 1970, edition of 225 (Mourlot,

507). Signed “Miró” in pencil (within the image) l.r., numbered
“61/225” in pencil (within the image) l.l. Lithograph on paper,
image/sheet size 10 1/2 x 10 1/8 in. (26.5 x 25.5 cm), framed.
$500-700
120 122.
No lot.
123
123. 124.
Joan Miró (Spanish, 1893-1983) Henry Moore (British, 1898-1986)
Lot of Three Volumes: MIRO LITHOGRAPHS, volumes I, II, and III, Group of Reclining Figures from the RECLINING FIGURES
by Fernand Mourlot et al., various publishers, 1972, 1975, and 1977, Portfolio, 1973, total edition of 80 (Cramer et al., 241). Signed and
respectively, each with the original color lithographs intact. Sheet dated “Moore 73” in pencil l.r., numbered “23/50” in pencil l.l. Color
sizes 12 3/4 x 10 in. (32.5 x 25.4 cm), with jackets and slip covers, lithograph on paper, image size 18 1/8 x 15 1/2 in. (50.0 x 39.5 cm),
cloth bound. framed.
Condition: Wear and annotations to slip covers, soiling to bindings. Condition: Not examined out of frame.
$2,000-3,000 $1,000-1,500
125.
Lot of Two Horse Subjects:
George Ford Morris (American, 1873-1960), Green Pastures, and

Georges Schreiber (American, 1904-1977), Mare and Colt. Both
published by Associated American Artists. Both signed in pencil l.r.
and identified on a label from AAA affixed to the mat. Lithographs on
paper, image sizes approximately 9 x 13 in. (22.5 x 33.0 cm), matted,
unframed.
Condition: Unobtrusive toning.
$200-250
124 125
126.
Reuben Nakian (American, 1897-1986)
Leda and the Swan, edition of 75. Signed “NAKIAN.” in pencil

l.r., numbered “59/75” in pencil l.l., dry stamped “HMK” l.r.
Aquatint on chine collé, plate size 13 3/4 x 17 in. (34.9 x 43.1
Condition: Margins over 2 inches with deckled edges.
$250-350
126
127.
Jackson Lee Nesbitt (American, 1913-2008)
November Evening, 1946, edition of 250, published by

Associated American Artists (Retif & Salzer, 24). Signed “Jackson
Lee Nesbitt” in pencil l.r., titled in pencil l.l., identified on a label
from AAA affixed to the mat. Etching on paper, plate size 8 7/8 x
11 7/8 in. (22.4 x 30.2 cm), matted, unframed.
Condition: Toning (primarily to verso), margins over 1 1/4 inches
with two deckled edges.
$300-500
127
128.
Ernst Neumann (Canadian, 1907-1956)
Lot of Two Landscapes: Church in St. Agatha Ave, 1944 and

Stream at St. Agatha Run, 1944. Both signed “Ernst Neumann”
in pencil, signed and dated within the plate, and titled in pencil l.l.
Etchings on paper, plate sizes approximately 5 x 6 1/2 in. (12.5 x
16.5 cm), framed.
$300-500
128
129.
Jules Olitski (Russian/American, 1922-2007)
Untitled, edition of 60. Signed “Jules Olitski” in pencil l.r., numbered

“51/60” in pencil l.l., two dry stamps l.c. Color lithograph on paper,
image/sheet size 29 3/4 x 21 1/4 in. (75.5 x 54.0 cm), unmatted,
unframed.
Condition: Deckled edges, annotation to verso.
$300-500
130.
Roi Partridge (American, 1888-1984)
Stand of Pines, 1920. Signed “Roi Partridge.” in pencil l.c., signed

and dated in the plate. Etching on paper, plate size 14 7/8 x 11 7/8
in. (37.7 x 30.0 cm), matted, unframed.
Condition: Margins 3/4 inches or more with deckled edges, evenly
spaced pinholes to margins, scattered fox marks.
$400-600
131.
Gabor F. Peterdi (American, 1915-2001)
129 Arctic Night I, 1964, edition of 25. Signed, dated, and inscribed
“Peterdi 64 Imp” in pencil l.r., titled in pencil l.c., numbered “3-25” in
pencil l.l. Color etching and aquatint on paper, plate size 23 7/8 x 35
5/8 in. (60.5 x 90.4 cm), framed.
$200-300
131
130
133
132
132.
After Pablo Picasso (Spanish, 1881-1973)
Deux arlequins, c. 1920, edition of 100, published by Édition de la

Galerie Rosenberg. Signed “Picasso” in pencil l.c., numbered
“40/100” in pencil l.l. Color pochoir on paper, image size 10 3/4 x 8
1/2 in. (27.2 x 21.5 cm), framed.
Condition: Rippling, not examined out of frame.
$4,000-6,000
133.
Deux arlequins attablés, c. 1920, edition of 100, published by

Édition de la Galerie Rosenberg. Signed “Picasso” in pencil l.c.,
numbered “61/100” in pencil l.l. Color pochoir on paper, image size 8
3/8 x 10 1/2 in. (21.0 x 26.5 cm), framed.
$4,000-6,000
134.
Pablo Picasso (Spanish, 1881-1973)
Trois acteurs, 1933, from LA SUITE VOLLARD, published 1939

(Geiser, 296; Bloch, 145). Signed “Picasso” in pencil l.r., identified on
a label from the Retina Gallery, Boston, on the backing. Etching and
drypoint on paper, plate size 11 x 7 1/8 in. (27.8 x 18.0 cm), framed.
Condition: Margins 1 inch or more, not examined out of frame.
$3,000-5,000
134
135.
Pablo Picasso, illustrator (Spanish, 1881-1973)
Lysistrata, by Aristophanes, published 1934 by The Limited Editions

Club, New York, edition of 1500, including six original etchings.
Signed “Picasso” in pencil and numbered “1276” in crayon on the
colophon. Sheet sizes 11 1/2 x 9 in. (29.3 x 23.0 cm), original boards
and slipcase.

$1,500-2,000
136.
Portrait de Madame Z from LES PEINTRES TÉMOINS DE LEUR

TEMPS, 1956, published by Mourlot. Identified in text beneath the
image, stamped “192” l.r. Color lithographic poster, sheet size 27 1/4
x 20 1/4 in. (69.1 x 51.4 cm), unmatted, unframed.
Condition: Deckled right edge, even toning, subtle staining.
$1,200-1,800
137.
Pablo Picasso (Spanish, 1881-1973)
La Pique I, 1959, edition of 50 (Bloch, 898). Signed “Picasso” in

135 pencil l.r., numbered “33/50” in pencil l.l., dated within the matrix.
Lithograph on cream Arches paper with watermark, image size 17 x
22 in. (43.2 x 55.8 cm), unmatted, unframed.
Condition: Deckled edges with minor creasing, nicks to edge l.l., loss
to u.l. corner, tears to left and right edges (each less than 3/4 inch),
subtle toning, hinging residue to the reverse.
$1,200-1,800
136 137
138
138. 140.
Pablo Picasso (Spanish, 1881-1973) Robert Rauschenberg, illustrator (American, 1925-2008)
Portrait de famille, six personnages, 1962, edition of 50 (Bloch, Traces suspectes en surface, by Alain Robbe-Grillet, published in
1031). Signed “Picasso” in green crayon, numbered “17/50” in pencil 1978 by Universal Limited Art Editions, Bay Shore, New York, edition
l.l. Lithograph on paper, image size 18 1/4 x 24 1/2 in. (46.3 x 62.3 of 36 plus proofs, unbound with forty-one color lithographs. Each
cm), framed. numbered, signed, and dated “15/36 Robbe-Grillet
Condition: Not examined out of frame. RAUSCHENBERG 72-78” in pencil l.c., and with publisher’s and
$5,000-7,000 pagination dry stamps. 26 1/2 x 20 1/2 in. (67.5 x 52.0 cm),
presented in the original cloth-covered folio box.
Condition: Good.
139.
Scott Prior (American, b. 1949) Lee Ingbar, Cambridge, Massachusetts.
$7,000-9,000
Tents, 1986, artist’s proof edition of 3. Signed and dated “Scott Prior
1986” in pencil l.r., titled in pencil l.c., inscribed “A.P.” in pencil l.l.,
identified on a label from The Alpha Gallery, Boston, on the backing.
Etching with hand-coloring on paper, plate size 6 x 6 in. (15.2 x 15.2
cm), framed.
$500-700
139
140
141.
Robert Rauschenberg (American, 1925-2008)
Howl, from the SEVEN CHARACTERS Series, 1982, a series of 70

unique collage pieces (Gemini, RR82-10; Old Gemini, 1035). Signed
and dated “RAUSCHENBERG 82” in pencil l.r., stamped with Chinese
character and “HOWL” on the reverse, stamped “© Gemini G.E.L.”
and inscribed “RR82-10” in pencil on the reverse. Cast paper, fabric
collage, and mixed media construction, 42 1/2 x 30 1/2 in. (107.8 x
77.4 cm), presented in a Plexiglas box.
Condition: Good.
Provenance: Purchased from Jacqueline Silverman, Beverly Hills,
California, 1983; to the estate of Mary Lee Ingbar, Cambridge,
Massachusetts.
N.B. Rauschenberg conceived of this series as a collaborative

project with China and its artists, using the working title of “China
Collage” series, at a time when China was far from open to
Westerners. Rauchenberg’s work is highly self-contextualized with
elements drawn from his immediate surroundings. While he came to
China with a plethora of materials to employ in the project, he found
inspiration in the elements he discovered around him. Rauschenberg
chose to visit the Anhui province where the famous “1,000 year
paper” or Xuan paper is produced. Here he also found the
calligraphic symbols - chosen for both their forms and meanings -
that would be the basis for the series. He was drawn to the silk
wedding bed cloths that would evolve into the hanging medallions,
and the Chinese propaganda posters that contained the paper
collage elements he would ultimately employ. Even the seals he
applied upon completion of the collages—those of the paper mill, the
artist, and the publisher—came from Chinese antecedents.
The result was a group of seventy unique compositions, each with

variations in the poster elements, the silk medallions, and the ribbons.
141 By removing these elements from their original contexts through their
cutting and reassembly, Rauschenberg created new relationships and
contexts.
$12,000-18,000
142.
Emmanuel Radensky, called Man Ray, illustrator
(French/American, 1890-1976)
Électro-Magie, by Gui Rosej, published in 1969 by Georges Visat,

Paris, total edition of 175, unbound, containing six color aquatints.
Each print signed “ManRay” in pencil l.r. and numbered “I/XXV” in
pencil l.l. Sheet sizes 11 x 9 in. (28.0 x 23.0 cm), presented in a
cloth-bound slipcase.
Provenance: Purchased from Sergio Tosi Stampatore, Viareggio, Italy,

$2,500-3,500
142
144
143.
143 Emmanuel Radensky, called Man Ray, illustrator (American,
1890-1976)
La Logique Assassine, written by Henry Miller, published in 1975 by

Luciano Anselmino, Paris, edition of 100 plus proofs, unbound
frontispiece plus a multiple titled Enigme III comprised of a flannel
blanket tied with twine and presented in a Plexiglas box.
Monogrammed “MR” in pencil and numbered “44/100” in pencil l.l.
on the frontispiece, identified on the colophon page, text signed
“Henry Miller” in ink. 20 5/8 x 14 3/4 in. (52.3 x 37.5 cm), presented
in a cloth-covered portfolio box with inset printed panels.
Condition: Wear to box.
Provenance: Purchased from Sergio Tosi Stampatore, Viareggio, Italy,

$1,000-1,500
144.
Rembrandt van Rijn (Dutch, 1606-1669)
The Tribute Money c. 1635, a posthumous printing (Bartsch, 68;

Hind, 124; Münz, 200; Hollstein/White & Boon, 68). Unsigned.
Etching on paper, sight size 2 3/4 x 4 in. (6.9 x 10.0 cm), framed.
Condition: Pale foxing, not examined out of frame.

Massachusetts.
$400-600
145.
Pierre Auguste Renoir (French, 1841-1919)
Louis Valtat, from L’ALBUM DES DOUZE LITHOGRAPHIES

ORIGINALES, c. 1904, from the edition of 950 (Stella, 38). Signed in
the matrix. Lithograph on paper, image size 11 5/8 x 9 3/8 in. (29.5 x
23.7 cm), framed.
145 Condition: Laid down, deckled edges, mat burn.
$1,500-2,000
146
146. 147.
Robert Riggs (American, 1896-1970) Larry Rivers, illustrator (American, 1923-2002)
Club Fighter, c. 1933-1934, edition of approximately 50 (Bassham, Stones, by Frank O’Hara, published in 1959 by Universal Limited Art
35). Signed “Robert Riggs-” in pencil l.r. and within the matrix, titled Editions, New York, total edition of 30, unbound with thirteen
in pencil l.l., identified on a label from the Discovery Gallery, Inc., lithographs. Each image signed and dated “Rivers ‘5...” in pencil l.r.,
Santa Fe, on the backing. Lithograph on paper, image size 14 x 18 numbered and signed “XXIV O’HARA” in pencil l.l., and with
1/8 in. (35.5 x 46.0 cm), framed. publisher’s dry stamp, identified and numbered on colophon page
Condition: Scattered fox marks, rippling, not examined out of frame. and numbered on wrapper. Sheet sizes 18 1/2 x 23 1/2 in. (47.0 x
$3,000-5,000 59.5 cm), in the original folder with interior blue paper wrapper.
Condition: Wear to folder.

Massachusetts.
$15,000-20,000
147
148
148.
Larry Rivers, illustrator (American, 1923-2002)
The Donkey and the Darling, by Terry Southern, published in 1977

by Universal Limited Art Editions, Bay Shore, New York, total edition
of 44, unbound with fifty-two color lithographs. Each image signed
and dated “Larry Rivers ‘68-’77” in pencil l.r., and numbered and
signed “Terry Southern XI/XXXV” in pencil l.l. Sheet sizes 17 1/2 x 20
3/4 in. (44.4 x 52.5 cm), presented in the publisher’s green lacquered
wood case inset with mirror-backed title under hand-blown glass.
Condition: Good.

$4,000-6,000
149.
Georges Rouault (French, 1871-1958)
Réincarnations Du Père Ubu, published in 1932 by Ambroise

Vollard, Paris, from the edition of 55 published on Montval paper,
unbound, containing twenty-two etchings plus 104 wood engravings
after Rouault. Signed “Vollard” and “Georges Rouault” in ink on the
colophon page, and numbered “44.” Sheet sizes 17 1/4 x 13 1/4 in.
(43.7 x 33.5 cm), presented in a (later) portfolio box.
Condition: Very minor wear, ex libris label from Nelson A. Rockefeller
to first sheet.

$8,000-12,000
149
151
150
150. 151.
Georges Rouault (French, 1871-1958) Ed Ruscha (American, b. 1937)
Lot of Two Images: Dors, mon amour, 1935, from CIRQUE DE Kansas/Oklahoma, 1978, edition of 35 plus proofs, published by the
L’ETOILE FILANTE (Wofsy, 335); and Aide-Borreau portant un des Hartford Art School (Engberg & Phillpot, 101). Signed and dated
bois de la Croix, ves la gauche, 1936, from PASSION (Wofsy, 353). “Edward Ruscha 1978” in pencil l.r., inscribed “B.A.T.” in pencil l.l.,
Both initialed and dated within the plates. Color etchings with dry stamps to both of the lower corners, titled within the matrix.
aquatint on paper, plate sizes approximately 12 x 8 1/2 in. (30.4 x Color lithograph on paper, image size 3 1/2 x 27 5/8 in. (8.8 x 70.0
21.5 cm), framed. cm), framed.
Condition: Unobtrusive toning, scattered foxing (primarily to the Condition: Minor crease to lower corners, gentle rippling, not
latter), not examined out of frames. examined out of frame.
$1,000-1,500 $800-1,200
152.
Ed Ruscha (American, b. 1937)
Little Connecticut Sleeping House, 1978, edition of 16 plus proofs,

published by the Hartford Art School (Engberg & Phillpot, 102).
Signed and dated “Edward Ruscha 1978” in pencil l.r., inscribed
“B.A.T.” in pencil l.l., two dry stamps l.l., titled within the matrix.
Lithograph in blue on paper, image size 6 1/2 x 8 1/8 in. (16.4 x 20.5
cm), framed.
Condition: Wide margins, gentle rippling, not examined out of frame.
$1,000-1,500
152
153
154
153. 154.
Ed Ruscha (American, b. 1937) Toko Shinoda (Japanese, b. 1913)
Kay-Eye-Double-S, 1978, edition of 35 plus proofs, published by the Voice of the Moon, edition of 30. Numbered, titled, signed and
Hartford Art School (Engberg & Phillpot, 103). Signed and dated inscribed “4/30...Toko Shinoda...” in pencil l.l. Color lithograph on
“Edward Ruscha 1978” in pencil l.r., inscribed “B.A.T.” in pencil l.l., paper, image size 22 1/2 x 16 in. (57.0 x 40.5 cm), framed.
dry stamps to both of the lower corners, titled within the matrix. Condition: Not examined out of frame.
Color lithograph on paper, image size 6 x 27 1/4 in. (15.2 x 69.1 cm),
framed. Provenance: From the estate of Mary Lee Ingbar, Cambridge,
Condition: Minor handling creases, gentle rippling, not examined out Massachusetts.
of frame. $700-900
$800-1,200
155.
John French Sloan (American, 1871-1951)
The Donkey Ride, alternatively titled Her Mount Decided to Take to

a Gallop..., the frontispiece to THE WORKS OF CHARLES PAUL
DE KOCK, published 1903, final state of three editions of 1,000
(Morse, 71). Signed and identified in the plate and on labels on the
reverse. Etching on paper, plate size 3 3/4 x 5 1/2 in. (9.4 x 14.0
cm), framed.
$150-200
155
156 156A
156.
Raphael Soyer (American, 1899-1987)
My Studio, alternatively titled In the Studio, 1944, edition of 250

(Cole, 63). Signed “Raphael Soyer” in pencil l.r. and in the matrix.
Lithograph on paper, image size 12 1/8 x 9 1/2 in. (30.7 x 24.0 cm),
framed.
Condition: Margins 1/2 inch or more, staining, toning, not examined
out of frame.
$300-500
156A.
Benton Murdoch Spruance (American, 1904-1967)
Young Lincoln, 1940, edition of 50 (Fine & Looney, 183). Signed

“Spruance” in pencil l.r., initialed in the matrix, titled in pencil l.c.,
inscribed “Ed 50” in pencil l.l. Lithograph in black and tan on paper,
image size 18 1/4 x 11 3/8 in. (46.3 x 28.8 cm), framed.
Condition: Toning, unobtrusive mat burn, not examined out of frame.
$300-500
157.
Harry Sternberg (American, 1904-2002)
Steel Workers. Signed and dedicated “for Nancy from Harry

Sternberg” in pencil l.r., titled and signed within the matrix.
Lithograph on paper, image size 11 5/8 x 8 1/8 in. (29.4 x 20.5 cm),
unmatted, unframed.
Condition: Margins 1 inch or more, soiling.
$300-500
157
160
158
158. 160.
Andrew Stevovich (American, b. 1948) Andrew Stevovich (American, b. 1948)
Lot of Two Images: Smoker #1, 1981, edition of 25; and Woman with Suitors #1, 1984, edition of 45. Signed and dated
Handsome Eddie, 1990, edition of 75. Both signed and dated “Andrew Stevovich 1984” in pencil l.r., titled in pencil l.c., numbered
“Andrew Stevovich 19...” in pencil l.r., titled in pencil l.c., and “2/45” in pencil l.l. Etching on paper, plate size 11 7/8 x 15 7/8 in.
numbered in pencil l.l. Etchings, the latter with aquatint, on paper, (30.0 x 40.0 cm), unmatted, unframed.
plate sizes to 8 x 9 1/4 in. (20.3 x 23.4 cm), unmatted, unframed. Condition: Margins over 3 inches with deckled edges, minute
Condition: Margins 2 1/2 inches or more. handling marks/creases at upper corners.
$200-250 $200-250
159.
Andrew Stevovich (American, b. 1948)
Lot of Three Images: Smokers #1, 1981, edition of 25, etching; A

Kiss for Nadine, 1989, edition of 100, etching on chine collé; and
Annie Smoking, 1989, edition of 50, woodcut. Each signed and
dated “Andrew Stevovich...” in pencil l.r., titled in pencil l.c., and
numbered in pencil l.l. Image/plate sizes to 8 x 9 1/2 in. (20.3 x 24.0
Condition: Margins over 2 inches with deckled edges.
$200-250
159
161.
Carnival, 1985, edition of 70. Signed and dated

“Andrew. Stevovich 1985” in pencil l.r., titled in pencil l.c.,
numbered “69/70” in pencil l.l., dry stamp l.r. Color
woodcut on cream paper, image size 9 1/4 x 14 7/8 in.
Condition: Margins 1 1/4 inches or more with two
deckled edges, unobtrusive handling creases to margins,
nicks/creases to deckling.
$250-300
161
162.
Lot of Two Portrait Images: Susan, 1985, edition of 50;

and Betty, 1985, edition of 50. Both signed and dated
“Andrew Stevovich 19...” in pencil l.r., titled in pencil l.c.,
and numbered in pencil l.l. Etchings with plate tone on
paper, plate sizes 7 x 7 in. (17.7 x 17.7 cm), unmatted,
unframed.
Condition: Margins approximately 2 1/2 inches with
deckled edges.
$200-250
162
163.
Rufino Tamayo (Mexican, 1899-1991)
Observador de Pajaros, 1950, total edition of 277

(Pereda, 31). Signed “R. Tamayo” in pencil l.l., numbered
“LV/LX” in pencil l.r., and identified on a label on the
backing. Lithograph in colors on paper, image size 12
3/4 x 19 3/8 in. (32.3 x 49.1 cm), framed.
Condition: Toning, not examined out of frame.
$500-700
163
164
164.
Yves Tanguy, illustrator (French/American, 1900-1955)
Le Grand Passage, by Jean Laude, published in 1954 by Max

Clarac-Serou, Paris, total edition of 41, containing three etchings (one
with color monotype). Each print signed “YVES TANGUY” in pencil
l.r. and numbered l.l., numbered “E” and identified on the title page
and its verso, a collage of blue, black, and white paper bound within.
Sheet sizes 10 3/4 x 8 1/4 in. (27.3 x 20.8 cm), binding by Leroux,
1958, of white calfskin with inlay of gray wood veneer and black
leather, presented with binder’s chemise and slipcase.
Condition: Very minor wear.

$8,000-12,000
165.
Albert Urban (German, 1909-1959)
Lot of Three Images, 1948. Each signed and dated “Albert Urban
48” in ink beneath the image and with artist’s estate stamp verso.
Screenprints in black and tan on paper, image sizes 11 7/8 x 8 1/4 in.
(30.0 x 20.8 cm), framed.
Condition: Margins over 3 inches, estate stamp visible on recto, not
examined out of frames.
$400-600
165
166
166. 168.
Albert Urban (German, 1909-1959) Victor Vasarely (French, 1908-1997)
Lot of Three Images, 1953. Each signed, dated, and numbered Erebus, edition of 2000. Etched signature “Vasarely-” on the reverse
“Albert Urban 53...” in ink within the image. Color screenprints on l.r., identified and numbered “...2000/1649” on a label from Rosenthal
paper, image sizes 24 1/4 x 30 3/4 in. (61.5 x 78.0 cm), framed. Studio-linie, Germany, beneath the plinth. Molded crystal, 13 x 9 1/2
Condition: Not examined out of frames. x 1 in. (33.0 x 24.1 x 2.5 cm), set in a slotted chrome and wood
$600-800 plinth.
Condition: Good.
167. Provenance: Purchased from Circle Gallery, New York, 1989.

Victor Vasarely (French/Hungarian, 1908-1997) $400-600
Untitled (Red, Green, Violet), edition of 125. Signed “Vasarely-” in

pencil l.r., numbered “121/125” in pencil l.l., dry stamp l.l. Color
screenprint on paper, image size 18 x 18 in. (45.7 x 45.7 cm),
unmatted, unframed.
Condition: Two edges deckled.
$400-600
167
168
169.
Esteban Vicente (American, 1903-2001)
Untitled, edition of 75. Signed “Esteban Vicente” in pencil l.r.,

numbered “68/75” in pencil l.l. Color etching and aquatint on paper,
plate size 16 3/4 x 12 in. (42.5 x 30.4 cm), framed.
Condition: Margins 3/4 inches or more, not examined out of frame.
$300-500
170.
Jacques Villon (French, 1875-1963)
René à bicyclette, alternatively titled Un début, 1906, edition of 50,

published by Sagot, Paris (Ginestet & Pouillon, E152). Signed
“Jacques Villon” in pencil l.r., signed and dated in the plate,
numbered “14/50” in pencil l.l., publisher’s dry stamp l.r. Drypoint
and aquatint on paper, plate size 15 3/4 x 11 5/8 in. (39.9 x 29.4
cm), matted, unframed.
Condition: Margins 2 inches or more with deckled edges to three
sides, even toning, cockling, annotations to margins (recto and
verso), hinge and tape residue to some edges.
$500-700
171.
169 Maurice de Vlaminck (French, 1876-1958)
Marine, l’Eglise, c. 1925, first state of two (Walterkirchen, 182).

Signed “Vlaminck” in pencil l.r. Lithograph on paper, image size 8 3/4
x 12 in. (22.2 x 30.4 cm), framed.
$500-700
171
170
172
172. 172A.
Maurice de Vlaminck (French, 1876-1958) Andy Warhol (American, 1928-1987)
Le pont sur l’Oise à Méry (I), c. 1925 (Walterkirchen, 187 [I]). Lincoln Center Ticket, 1967, edition of 500 (Feldman & Schellmann,
Signed “Vlaminck” in pencil l.r., inscribed “Essai” in pencil l.l. II.19). Unsigned, identified within the matrix. Color screenprint on
Lithograph on paper, image size 9 1/2 x 13 1/2 in. (24.0 x 34.2 cm), paper, sight size 44 x 23 3/8 in. (111.8 x 59.4 cm), framed.
framed. Condition: Not examined out of frame.
Condition: Not examined out of frame. $1,000-1,500
$500-700
173.
James Abbott McNeill Whistler (American, 1834-1903)
Billingsgate, 1859, final state of eight (Kennedy, 47). Signed and

dated in the plate. Etching with drypoint on paper, plate size 6 x 8
7/8 in. (15.2 x 22.5 cm), framed (without glass).
Condition: Mat burn, unobtrusive toning and staining.
$1,000-1,500
173
172A
174
175
174.
Samuel Johnson Woolf (American, 1880-1948)
Lot of Two Images: At the Counter and Pushcart Peddler. Both

signed “S.J. Woolf.” in pencil l.l. Etchings on paper, plate sizes
$250-350
175.
Ossip Zadkine (Russian/French, 1890-1967)
Girl with Dove, edition of 200. Signed “O.ZADKINE” in pencil l.r.,

numbered “179/200” in pencil l.l. Color screenprint on paper, image
size 22 1/2 x 16 5/8 in. (57.0 x 42.2 cm), unmatted, unframed.
Condition: Margins over 2 1/4 inches with deckled edges, minor
nicks/creases to deckles.
$200-250
176.
Anders Zorn (Swedish, 1860-1920)
Colonel Lamont III, 1904, final state of four (Asplund, 178). Signed
“Zorn” in pencil l.r., signed and dated in the plate. Etching on paper,
plate size 7 7/8 x 6 in. (20.0 x 15.0 cm), framed.
Condition: Margins 1/2 inch or more, toning, not examined out of
frame.
$300-500
176
177
179
177.
Self Portrait 1916, 1916, final state of three (Asplund, 270). Signed
“Zorn” in pencil l.r., signed and dated in the plate, label from M.
Knoedler & Co., New York, on the backing. Etching on laid paper,
plate size 6 7/8 x 4 3/4 in. (17.5 x 12.0 cm), framed.
Condition: Margins 1 inch or more, toning, not examined out of
frame.
$300-500
178.
Gulli II, 1919, final state of three (Asplund, 280). Signed “Zorn” in
pencil l.r., signed and dated in the plate. Etching on paper, plate size
7 3/4 x 5 3/4 in. (19.6 x 14.6 cm), framed.
Condition: Margins 1/2 inch or more, toning, unobtrusive mat burn
and fox marks, not examined out of frame.
$250-350
Photography
178
179.
Harold Eugene Edgerton (American, 1903-1990)
Basketball Player. Unsigned. Silver gelatin print, sheet size 8 1/8 x

10 in. (20.5 x 25.4 cm), unmatted, unframed.
Condition: Minute nicks to edges.
$700-900
180
182
181
180. 182.
Harold Eugene Edgerton (American, 1903-1990) Sandi Fellman (American, b. 1952)
Basketball Player Dribbling. Unsigned. Silver gelatin print, sheet Peonies. Unsigned on recto. Color photograph, sight size 23 3/4 x
size 8 1/8 x 10 in. (20.5 x 25.4 cm), unmatted, unframed. 20 1/2 in. (60.2 x 52.0 cm), framed.
Condition: Minute nicks to edges, staining to corner l.l. Condition: Not examined out of frame.
$700-900 $600-800
181.
Harold Eugene Edgerton (American, 1903-1990)
Grand jeté. Unsigned. Silver gelatin print, sheet size 8 x 10 1/8 in.
Condition: Minute nicks to edges.
$700-900
184
183
185
183. 184.
Sandi Fellman (American, b. 1952) John S. Johnston (British/American, born c. 1839-1899)
Flowers and Hands. Unsigned on recto. Color photograph, sight Lot of Five Yachting Images: Carmita, Tomahawk, Dungeness,
size 23 3/4 x 20 1/2 in. (60.2 x 52.0 cm), framed. Utowana, and Two-Masted Steam Screw, Possibly the Narwhal.
Condition: Not examined out of frame. Unsigned, three titled within the image, one identified in an inscription
$600-800 on the reverse. Albumen prints on paper, approximate sizes 6 1/2 x
8 1/4 in. (16.5 x 21.0 cm), unframed.
Condition: Minor wear/nicks to edges, subtle toning, mild rippling.
$600-800
185.
John S. Johnston (British/American, born c. 1839-1899)
Lot of Five Yachting Images: Royal, Ilderim, Neaira, Alicia, and

Kanawha. Unsigned, each titled within the image. Albumen prints
on paper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm),
unframed.
Condition: Minor wear/nicks to edges, subtle toning, mild rippling.
$600-800
186
186. 188.
John S. Johnston (British/American, born c. 1839-1899) O. Winston Link (American, 1914-2001)
Lot of Five Yachting Images: Colonia, Columbia, Jubilee, Alert, Train 1241 Coming Through the Westbound Montgomery
and Helen. Each vessel identified within the matrix, Jubilee inscribed Tunnels, c. 1957, probably a later printing. Purportedly signed on
“COPYRIGHT 1893, BY J.S. JOHNSTON, N.Y.” l.r. Albumen prints the reverse. Silver gelatin print, sight size 19 1/8 x 15 in. (48.5 x 38.0
on paper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm), cm), framed.
unframed. Condition: Not examined out of frame.
Condition: Minor wear/nicks to edges, unobtrusive toning, mild $4,000-6,000
rippling and handling creases.
$700-900
End of Session I
187.
O. Winston Link (American, 1914-2001)
Main Street, Stanley, Virginia, 1957, probably a later printing.

Purportedly signed on the reverse. Silver gelatin print, sight size 15 x
19 in. (38.0 x 48.5 cm), framed.
N.B. The lot is accompanied by an autographed 1998 calendar,

Night Train, by O. Winston Link.
$4,000-6,000
187 188
Session II
Paintings & Sculpture
Lots 200-580
to be sold Friday, May 21st, 2010 at 4 p.m.

200
200.
Flemish School, 16th Century Style
Madonna and Child

Unsigned.
Oil and gold leaf on panel in an arched format, 14 1/2 x 10 5/8 in.
(36.5 x 27.0 cm), framed.
Condition: Craquelure with lifting u.l., small loss of gold leaf in the
arch l.c., surface grime.
$3,000-4,000
201
201.
Italian School, 18th Century
Lot of Two Works: Christ at the Marriage at Cana and Christ

Healing the Paralytic at the Pool of Bethesda
Cana inscribed and dated “NIC DE/FATIO/P/1772” l.l., Pool unsigned.
Oil on canvas mounted to Masonite, sizes 14 1/2 x 29 1/2 in. (36.8 x
74.9 cm), framed.
Condition: Craquelure, surface grime, retouch.
Provenance: Estate of N. David Scotti, Providence, Rhode Island.

$300-500
202.
Attributed to Cherubino Alberti (Italian, 1553-1615)
Seated Figure Under a Baldacchino

Unsigned, inscribed “Cherubino Alberti ?/Giovanni ?” in pencil on the
back of the mount.
Ink with wash and sanguine on paper, sheet size 11 x 6 7/8 in. (28.0
x 17.5 cm), unframed.
Condition: Toning, small loss l.r. corner, unobtrusive soiling, mounted
to a larger sheet decorated in the manner of a French mat.
$500-700
202
203
203.
Flemish School, 16th Century
The Holy Family with the Infant St. John the Baptist and St.
Elizabeth
Initialed “AvD I fc...” l.r.
Graphite and whiting on laid paper, sight size 14 3/4 x 18 in. (37.5 x
45.7 cm), framed.
Condition: Laid onto panel, foxing, small tear l.l. corner, restored tear
in u.r. quadrant, acid burn.
$4,000-6,000
204.
Italian School, 16th Century Style
Mystic Marriage of Saint Catherine

Unsigned.
Oil on copper, 6 1/8 x 4 5/8 in. (15.6 x 11.7 cm), framed.
Condition: Losses, surface grime.
$800-1,200
204
205
205.
School of Leonardo Coccorante (Italian, 1700-1750)
Landscape with Classical Ruins and Figures

Unsigned.
Oil on canvas, 29 1/2 x 49 5/8 in. (75.0 x 126.0 cm), unframed.
Condition: Lined, canvas deformations in the corners, retouch,
yellowed varnish, surface grime, craquelure.
$4,000-6,000
206
206. 207.
School of Francesco Lazzaro Guardi (Italian, 1712-1793) School of Francesco Lazzaro Guardi (Italian, 1712-1793)
View of the Grand Canal Ponte di Rialto and The Grand Canal
Unsigned. Unsigned.
Oil on canvas, 23 1/4 x 29 1/4 in. (59.1 x 74.5 cm), framed. Oil on canvas, 23 5/16 x 29 3/8 in. (59.5 x 74.5 cm), framed.
Condition: Surface grime, craquelure. Condition: Retouch, possible skinning, craquelure.
$2,000-3,000 $2,000-3,000
207
208
208. 209.
Dutch School, 17th Century Dutch School, 19th Century
Panoramic River Valley with Wayfarers and Villagers Animated Shore View with Figures and Windmill
Unsigned. Unsigned, inscribed “25 - Ap 6th” in a period hand on the reverse.
Oil on canvas, 12 7/8 x 17 in. (32.8 x 43.4 cm), framed. Watercolor on paper, 7 3/4 x 9 5/8 in. (19.5 x 24.4 cm), framed.
Condition: Lined, retouch, craquelure, surface grime. Condition: Toning, scattered fox marks, affixed to mat at edges on
$1,500-2,000 the reverse.
$300-500
209
210
210.
Follower of Jacob van Ruisdael (Dutch, c. 1628-1682)
Landscape with Dunes and Figures on a Path

Unsigned, red wax seals on the reverse.
Oil on panel, 20 5/8 x 26 3/4 in. (52.4 x 67.9 cm), framed.
Condition: Minor lifting/flaking, abrasions, surface grime, partial split
to panel, fine craquelure.
Provenance: The estate of Barbara Green, by descent through the

family of William Morris Green.
N.B. This painting is closely related to Hilly Dunescape, an

untraceable painting known only through photographs, attributed to
Ruisdael, and included as No. 625 in the Jacob van Ruisdael
catalogue raisonné. The two landscapes have differing provenances,
suggesting that this painting may be a copy or another version made
by a follower of Jacob van Ruisdael.
$5,000-7,000
211
211.
Continental School, 19th Century
Dogs Bringing Down a Boar

Unsigned.
Oil on canvas mounted to a rigid support, 14 7/16 x 16 9/16 in. (36.6
x 42.1 cm), framed.
Condition: Lined, retouch, unobtrusive surface grime, craquelure.
$1,500-3,000
212.
Dutch/Flemish School, 17th Century Style
Still Life with Flowers, Fruit, Insects, and Acorns

Unsigned.
Oil on canvas, 28 x 21 3/8 in. (71.3 x 54.4 cm), framed.
Condition: Lined, scattered paint loss, retouch.
$1,500-2,500
212
213
213.
Manner of Melchior de Hondecoeter (Dutch, 1636-1695)
Roosters and Chicks

Unsigned.
Condition: Lined, retouch, craquelure, surface grime.
$1,500-2,500
214.
No lot.
215.
Spanish Colonial School, 19th Century
Por Altos Juicios de Dios Soi Condenanado

Unsigned, identified within the image and on a label affixed to the
frame backing.
Oil on canvas mounted on Masonite, 18 7/8 x 14 3/8 in. (48.0 x 36.5
cm), framed.
Condition: Retouch, paint losses u.r. and l.l., wear at the corners,
surface grime, craquelure.
$400-600
215
216.
Spanish Colonial School, 19th Century
The Scourging of Christ

Unsigned.
Oil on canvas, 31 x 22 7/8 in. (78.5 x 58.0 cm), unframed.
Condition: Lined, losses, retouch, surface grime, craquelure.
$800-1,200
216
217
217.
Spanish Colonial School, 19th/20th Century
Lot of Two Retablos: San Pascual Bailon and San Camilo de

Lelis
Unsigned.
Oil on tin, sizes to 10 x 7 in. (25.4 x 17.8 cm), unframed.
Condition: Minor abrasions, losses, rust/corrosion, fine craquelure.
N.B. San Camilo de Lelis, the patron saint of the infirm and
infirmaries, is also known as the “Red Cross Saint.” His iconography
typically includes devils, angels, and a skeleton, as the scene depicts
the dying man’s last hour. San Pascual Bailon, the patron saint of
cooks and the kitchen, is typically depicted with his cooking
accoutrements and cat.
$600-800
218
218.
William Alexander (British, 1767-1816)
Chinese Barges of the Embassy Preparing to Pass Under a Bridge, plate XL from Sir
George Staunton’s An Authentic Account of An Embassy from the King of Great
Britain to the Emperor of China…
Signed and dated “Wm. Alexander f 1793.” l.l., identified on a label on the reverse.
Watercolor on paper/board, sight size 11 x 17 3/4 in. (27.9 x 45.1 cm), framed.
Condition: Toning, staining, foxing, not examined out of frame.
N.B. William Alexander traveled in the first English embassy to China, which was led by
George Lord Viscount Macartney. It sailed out of Portsmouth on September 26th, 1792.
The secretary to the embassy was Sir George Staunton, who wrote a careful account of
the journey that was illustrated by engravings created after Alexander's watercolors. The
first version of the Account was published in 1797 in two volumes plus a folio of plates by
W. Bulmer & Co. in London. Alexander documented the people, architecture, and
customs of all of the cultures encountered during the voyage, although the published
plates pertain solely to the Chinese. His drawings, as can be seen here and in lot 219,
are highly detailed and his observations of both the Chinese and British in these settings
are carefully rendered.
$1,000-1,500
219
219.
William Alexander (British, 1767-1816)
A View of Part of the Great Wall of China, Called by the Natives Van-lee-ching, or Wall of Ten
Thousand Lee, Taken Near the Pass of ‘Cou-Pe-Koo,’ plate XXIV from Sir George Staunton’s An
Authentic Account of An Embassy...
Signed and inscribed “Alexander/delr.” l.r., identified on labels affixed to the reverse.
Watercolor on paper/board, sight size 11 x 17 3/4 in. (27.9 x 45.1 cm), framed.
Condition: Toning, foxing, light abrasion l.c., not examined out of frame.
N.B. The watercolor presented here shows several differences from the published engraving: the horse in
the right foreground lacks a rider in the engraved version, and the figures by the base of the near tower
are removed in the plate. The description for the plate in Staunton’s Account indicates how amazed the
British were with the wall. The folio describes the wall as follows: “At this place the wall is carried over the
summits of the highest mountains, some of which are not less than three thousand feet in perpendicular
height, and appear to be almost inaccessible... This wall, according to the charts of the empire made from
actual surveys, is more the fifteen hundred miles in length, and in many places it is double, and even triple,
for the better defence of the passes. The masonry and brickwork in the towers alone exceed those of all
London.” (volume I, page xxii).
$1,000-1,500
220.
Dutch School, 19th Century
Portrait of a Young Woman, Possibly a Sea Captain’s Wife

Unsigned.
Oil on canvas, 43 3/4 x 33 3/4 in. (111.2 x 85.6 cm), unframed.
Condition: Abrasions and paint losses, lined, canvas deformation to
the corners.
$1,500-2,000
220
221.
Attributed to Thomas Rowlandson (British, 1756-1827)
The Proctor Outwitted

Unsigned, titled and identified on labels affixed to the backing.
Ink, graphite, and wash on paper, sheet size 7 1/2 x 6 1/4 in. (19.1 x
15.9 cm), framed.
$1,000-1,500
221
222.
Attributed to Philippe Tidemann (German, 1657-1705), After
Gérard de Lairesse (Flemish, 1641-1711)
Blindfolded Artist with Muses/Maquette for a Title Page

Signed, dated, and inscribed in ink within the composition “...van G.
Lairesse/anno 1702” u.r., inscribed on verso in pencil.
Ink on paper, 6 1/2 x 5 1/4 in. (16.5 x 13.3 cm), matted, unframed.
Condition: Toning, sheet trimmed to the image, staining to the
reverse.
N.B. This drawing is probably a study for an engraving that was used
on the title page of Groot Schilderboek, published in 1712.
$500-700
222
223.
Anglo/American School, 18/19th Century
Portrait of a Young Man in Floral Waistcoat

Unsigned.
Oil on canvas, 29 1/8 x 24 1/2 in. (74.0 x 62.3 cm), framed.
Condition: Retouch, craquelure, surface grime.

$300-500
223
224.
Evening Prayers (possibly Marie Antoinette)

Unsigned.
Condition: Lined, retouch.
$1,500-2,000
224
225.
Arthur David McCormick (British, 1860-1943)
The Visitor/Lacy Middleton and Lord Nelson

Signed “A.D. McCormick” l.r., identified on a label from H. & P.
De Casseres, London, on the backing.
Oil on canvas, 23 7/8 x 19 in. (60.8 x 48.0 cm), framed.
Condition: Lined, retouch, craquelure.
$1,800-2,200
225
226
226.
Henry Herbert La Thangue, R.A. (British, 1859-1929)
Portrait of a Seated Woman

Signed “HLa Thangue” u.r., with a canvas stencil from Lechertier
Barbe & Co., London, on the reverse.
Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed.
Condition: Retouch, craquelure, alligatoring, surface grime.
N.B. The British art materials supplier Lechertier Barbe & Co.
operated under this name between 1859-1897.1
1. National Portrait Gallery, “British Artist’s Suppliers, 1650-91950-L,”

http://www.npg.org.uk/research/programmes/directory-of-suppliers/l.php
$7,000-9,000
227.
Heinrich Hasselhorst (German, 1825-1904)
Steep Carriage Ride

Unsigned, identified on a partial label “..1872...von Professor
Hasselhorst...” affixed to the stretcher, partial label from
“GALLERIE GSELL/Wein” on the reverse.
Condition: Retouch, craquelure, surface grime.
Provenance: Purchased in 1969 from Dora Prowig,

Antiquarian, Munich, Germany by Dr. Friedman, Ridgewood,
New Jersey.
N.B. An envelope containing the purchase receipt, a letter,

and a photograph accompanies this lot.
$1,500-2,000
228.
Jean-Antoine-Simeon Fort (French, 1793-1861)
View of the Valley

Signed “Simeon Fort.” l.r.
Condition: Repair with patch reinforcement, retouch, mild
varnish inconsistencies, surface grime.
$800-1,200
227
228
229
229.
Johannes Josephus Destrée (Belgian/Dutch, 1827-1888)
View of the Hofvijver, The Hague

Signed, inscribed, and dated “J J Destrée Fct 1841” l.l.
Condition: Minor abrasions, minor surface grime, alligatoring, subtle
craquelure.
$2,000-3,000
230
230.
Henry Hillier Parker (British, 1858-1930)
The Thames Looking Toward Henley

Signed “Henry H. Parker” l.r., titled, signed, and inscribed “...Henry H.
Parker... 5689” and with a canvas stencil from G. Robertson & Co.
Ltd., London, on the reverse.
Condition: Craquelure, surface grime.
$6,000-8,000
231
231.
Constant Troyon (French, 1810-1865)
Le Canal, alternatively titled La Petite Écluse

Signed and dated “TROYON.1860.” l.l., with a wax seal from Collection Sedelmeyer, Paris, on the stretcher, inscribed “N.
103” on the stretcher, identified in a label from Arthur Tooth and Sons Ltd., London, on the back of the frame.
Condition: Lined, scattered retouch, craquelure.
Provenance: Sedelmeyer, Paris; Weeks, Brookline, Massachusetts; Walter P. Chrysler, Jun..; Hazlitt Gallery, London; Leggatt
Brothers, London; The Earl of Inchcape; Artemis Fine Arts (UK) Ltd., London; Edward J. Searles, Toledo, Ohio; by descent
in the family to the current owner.
Exhibitions: London, Hazlitt Gallery, Barbizon exhibition, 1956, no. 2.
N.B. Constant Troyon was born in Sèvres and began his career as a painter of porcelain, following family tradition. By the
1830s he had abandoned this path for a life as a landscape painter, making his debut at the Salon of 1833. Troyon became
one of the central artists of the Barbizon school. By 1840 he was painting with Théodore Rousseau and Jules Dupré, and in
1844 he submitted two views of Fontainebleau to the Salon. Troyon enjoyed great success as a painter, winning acceptance
into many expositions in France and abroad. In 1847 Troyon made a seminal trip to Holland, which would change the
course of his art. Inspired by the Dutch artists, Troyon refocused his work on animals painted in the natural landscape, and
he earned renown as an animalier. He was awarded the French Legion of Honor in 1849. He lived mostly in Normandy and
Paris, except for short trips to England and the Low Countries, where this scene is located. The painting Le Canal is also
described as La Petite Écluse. Constant Troyon died unexpectedly in 1865, and the Salon of 1866 paid tribute to his career.
A Certificate of Authenticity from Cabinet Michel Rodrigue accompanies this lot.

$20,000-30,000
232.
Hendricus Jacobus Burgers (Dutch, 1834-1899)
Prayer at the Refugium Peccatorum, Venice, Italy

Signed “Burgers” l.r., with a canvas stencil from Lefranc & Cie., Paris,
on the reverse.
Oil on canvas, 18 1/4 x 12 3/4 in. (46.3 x 32.4 cm), framed (under
glass).
Condition: Fine craquelure.
$1,500-2,500
232
233.
Ernest De Nagy (American, 1881-1952)
The Young Violinists

Signed “Ernest de Nagy” l.l.
Condition: Scattered retouch, minor canvas deformation u.r.
$800-1,200
233
234.
Leon Jean Basile Perrault (French, 1832-1908)
Boy with a Violin

Signed and dated “- L - Perrault/75” l.l., identified on a
presentation plaque.
Condition: Surface grime, craquelure.
$15,000-25,000
234
235.
Luigi Bechi (Italian, 1830-1919)
Peasant Couple with Donkey on Dirt Road

Signed and dated “L. Bechi/1870” l.r., with a label from “Studio
di R.W. Spranger... Casa Fauveau” affixed to the frame.
Condition: Surface grime and accretions.
$4,000-6,000
235
236
236.
Alfred Arthur Brunel de Neuville (French, 1851-1941)
Kittens with a Canary

Signed “Brunel Neuville” l.r.
Condition: Minor surface grime.
$800-1,200
237.
Portrait of a Girl with Her Dog

Unsigned, inscribed “No. 12/John Kendall Esqr.” on a label affixed to
the strainer, with a label from Le Garde Meuble Public, Bedel & Cie,
Paris, affixed to the frame on the reverse.
Condition: Lined, craquelure.
$600-800
237
238
238.
Philipp Arons (German, 1821-1902)
Berry Picking/Portrait of a Mother and Daughter

Signed and dated “Ph. Arons/1864” l.r.
Oil on panel, 24 x 20 in. (61.0 x 50.8 cm), framed.
Condition: Losses/lifting, craquelure, skinning, varnish
inconsistencies.
$1,500-2,000
239
240
239. 240.
Hendrick Savry (Dutch, 1823-1907) British School, 19th/20th Century
Cattle Watering View with Cattle Grazing

Signed “H. Savry” l.l. Unsigned.
Oil on canvas, 24 5/8 x 41 7/8 in. (62.5 x 106.3 cm), framed. Oil on panel, 8 x 16 in. (20.3 x 40.6 cm), framed.
Condition: Canvas rippling, minor craquelure, surface grime. Condition: Retouch, surface grime, abrasions, subtle varnish
$1,200-1,800 inconsistencies.
$1,000-1,500
241
241.
Albert Babb Insley (American, 1842-1937)
Lady on a Riverbank
Signed “ALBERT INSLEY.” l.l.
Oil on board, 10 x 14 in. (25.4 x 35.6 cm), framed.
Condition: Signature reinforced, scattered surface rubs/losses, break
to support l.c.
$800-1,200
242.
Manner of Jules Dupré (French, 1811-1889)
View of Cows at Rest

Signed or inscribed “Jules Dupré” l.r., inscribed “469” in pencil on the
reverse.
Oil on panel, 10 3/4 x 8 in. (27.3 x 20.3 cm), framed.
Condition: Retouch, varnish inconsistencies.
Provenance: Through a Wellesley, Massachusetts, private collection.

$1,000-1,500
242
243
243.
Georg Anton Rasmussen (Norwegian, 1842-1914)
Panoramic Lake View with Figures and Rowboat

Signed and dated “A. Rasmussen 71.” l.r.
Oil on panel, 11 x 16 in. (27.9 x 40.6 cm), framed.
Condition: Retouch, craquelure with scattered alligatoring, surface
grime.

$800-1,200
244
244.
Attributed to Andries Vermeulen (Dutch, 1763-1814)
Winter on the River

Signed “A Vermeule...” l.r.
Oil on panel, 22 x 27 1/2 in. (55.9 x 69.8 cm), framed.
Condition: Retouch, varnish inconsistencies, craquelure, scattered surface losses, surface grime.
N.B. Andries Vermeulen was born in Dordrecht. He was taught to paint by his father, Cornelis Vermeulen
(1732-1813), an art dealer and a painter specializing in copies of old masters. Andries was active in
Amsterdam. He painted landscapes emulating the style of 17th century Dutch models, and he is chiefly
known for his winter scenes, often based on the compositions of Isack van Ostade.
$3,000-5,000
245
245. 246.
British School, 19th Century Thomas Bush Hardy (British, 1842-1897)
View of a Fisherman by the Shore Shipping off a Pier

Unsigned, with a supplier’s label from G. Rowney & Co., London, on Signed “T.B. Hardy” l.l., identified on a label affixed to the reverse.
the reverse. Oil on panel, 6 x 8 1/8 in. (15.2 x 20.6 cm), framed.
Oil on artist board, 6 7/8 x 9 3/4 in. (17.5 x 24.8 cm), framed. Condition: Retouch, repaired crack to panel, surface grime,
Condition: Surface grime. abrasions.
$1,000-2,000
N.B. G. Rowney & Co. was operating at 51 Rathbone Place between
1817-1862.1
1. National Portrait Gallery. “British artist’s suppliers, 1650-1950 - R (Rob-Row).”

http://www.npg.org.uk/research/programmes/directory-of-suppliers/r/british-artists-suppliers-
1650-1950-r-ro-rz.php
$1,000-1,500
246
247
247.
William Bradford (American, 1823-1892)
The Coast of Labrador

Unsigned, identified on a label from William Vareika Fine Arts, Newport, Rhode Island, on the reverse.
Provenance: Skinner, Inc. auction #2387 of American & European Paintings & Prints, November 16, 2007, lot
76.
N.B. William Bradford, one of the preeminent Marine painters of the 19th century, was born and raised near the
harbor town of New Bedford, Massachusetts. Against the wishes of his strict Quaker parents, he pursued a
career in painting. Initially self-taught, Bradford began to study with Dutch painter Albert Van Beest in the late
1850s, and the two artists frequently collaborated. Starting in 1861, Bradford made a series of trips to Labrador
and the Arctic, where he was profoundly influenced by the bright light and vivid colors of the region. His
paintings of the Arctic contain rich detail in sailing vessels and fishermen while at the same time they capture the
expressiveness of the clouds, water, and ice formations. This rich scenery and atmospheric light remained a
constant source of inspiration for Bradford throughout his career.
We wish to thank Richard C. Kugler for his assistance in the cataloging of this work.
$25,000-35,000
248
248. 249.
Edmund Darch Lewis (American, 1835-1910) George Arthur Hays (American, 1854-1945)
Coastal View Lot of Two Landscapes: Lincoln Reservations and At the Maine
Signed and dated “Edmund D Lewis/1907” l.r. Coast
Watercolor with whiting on paper/board, sight size 19 1/2 x 23 1/2 in. Both signed “G A HAYS” l.r. or l.l., both titled in a later hand on labels
(49.5 x 59.7 cm), framed. affixed to the reverse, Lincoln dated “July 5, 1923” in a later hand on
Condition: Toning, not examined out of frame. label affixed to the reverse.
$1,000-1,500 Gouaches on paper/board, approximate sight sizes to 9 1/2 x 13 1/2
in. (24.1 x 34.3 cm), framed.
Condition: Soiling/staining, craquelure, not examined out of frames.
$600-800
249
250
250.
William Trost Richards (American, 1833-1905)
Crashing Breakers
Signed and dated “Wm T. Richards.02.” l.l.
Watercolor on paper, 23 1/8 x 40 1/8 in. (58.8 x 101.8 cm), framed.
Condition: Scratches and old repairs, paper is reinforced with
another layer of paper, lined with canvas, and tacked to a wooden
stretcher.
$3,000-5,000
251
251.
William Formby Halsall (American, 1841-1919)
Figures on a Coast, Possibly Highland Lighthouse

Signed “W. F. Halsall” l.l.
Condition: Retouch, craquelure, abrasions, surface grime, varnish
inconsistencies.
$1,500-2,500
252
252.
American School, 19th Century
View of Boats Along a Rocky Coast/A New England View

Monogrammed and dated “18...73” l.l.
$800-1,200
253
253. 254.
William Frederick De Haas (American, 1830-1880) Attributed to Harrison Bird Brown (American, 1831-1915)
Stormy Coast, alternatively titled Rocky Shores View of Grand Manan

Signed and dated “William F. de Haas ‘74” l.l., identified on a Unsigned.
presentation plaque, inscribed “WILLIAM F. DE HAAS 1874 ROCKY Oil (en grisaille) on canvas, 12 x 20 in. (30.5 x 50.8 cm), framed.
SHORES” in a later hand on the stretcher. Condition: Patch reinforcement, retouch, tape to tacking edges,
Oil on canvas, 22 x 36 in. (55.9 x 91.5 cm), framed, with a surface rubs, fine scattered craquelure, surface grime.
Newcomb-Macklin Co. label affixed to the reverse. $600-800
Condition: Lined, varnish inconsistencies, minor scattered retouch,
minor scattered surface losses, light surface abrasions, signature and
date pentimento l.l., craquelure.
$1,000-1,500
254
254A
254A.
Gustave Courbet (French, 1819-1877)
Waves Crashing on a Rocky Shore/An Artist’s Palette

Dedicated and signed “Souvenir d’exil à mon ami Fuchs, G. Courbet” l.l.
Oil on panel, 14 1/2 x 26 1/4 in. (36.5 x 67.0 cm), framed (in a shadow box).
Condition: Minor retouch, craquelure, minor wear/losses to edges.
Literature: Abel Letalle, Palettes d’artistes, Paris, 1912, pp. 37-38 as Marine, executé sur une palette; Robert Fernier, La vie et l’oeuvre
de Gustave Courbet: catalogue raisonné, Geneva: Fondation Wildenstein; Lausanne: Bibliotèque des Arts, 1977-1978, v.2 peintures
1866-1877, no. 978.
Provenance: Galerie Georges Petit, Paris, 123 palettes d’artistes peintes, June 10, 1911, no. 29; The Estate of Sir Edwin A.G.
Manton.
N.B. “In the second half of the 19th century in Paris, a fashion appeared for artists to paint an image on a palette, intended as a gift
and often so inscribed. It might be said that the responsibility for this taste can be attributed at least in part to the activities of an
American man named George Lucas. Lucas lived for many years in Paris, acting as an agent for the many American collectors in the
city of that time. He was very successful in bringing artists and patrons together, and the artists often expressed their gratitude in the
form of the painted and dedicated palettes—no doubt often encouraged by Lucas to do so. Ultimately his collection held 71 works on
palette, now in the collection of the Baltimore Museum of Art.
Though Courbet did not have a special relationship to Lucas, he would have been fully aware of the fashion. The inscription on the
palette under review includes the phrase “souvenir d’exil.” When Courbet left France for Switzerland in mid-1873, to remain there until
his death in 1877, he considered himself to be in exile; not officially so, but self-exiled because he had to escape from the vengeance
of the government towards him in the aftermath of the Commune. Thus, though the identity of M. Fuchs is not known, we can be sure
that the palette was painted while Courbet was in Switzerland, and most probably given to a fellow exile of some kind, as Switzerland
was known at the time as a political haven.
The inscription and signature on this painting appear to me to be characteristic of the artist’s style. The painting itself shows under
magnification the kind of varied, energetic activity of paint handling that is characteristic of Courbet’s work. He chooses a familiar
subject, stormy waves racing in to a rocky shore, but he does not choose familiar composition. Rather than the typical straight-on
view which puts the viewer head-on to the waves, he invents a left-to-right composition dominated by high cliffs filling the larger left
side of the palette space, while waves and sky fill the narrower space at the right. In short, he used the vagaries of the palette shape
to create a new type of composition.” –Sarah Faunce, Courbet Critical Catalogue, New York, April 2010
We wish to thank Sarah Faunce for her assistance with cataloguing this lot.
$20,000-30,000
255
255. 256.
Frederick John Widgery (British, 1861-1942) Robert Douglas Hunter (American, b. 1928)
Lot of Two Views of Bigbury Bay, West Bantham Two Landscapes: BIRD SANCTUARY - WELLFLEET MASS. and
One signed “F J Widgery” in pencil l.l., the other signed “F. J. VIEW FROM THE BIRD SANCTUARY - WELLFLEET MASS.
WIDGERY” l.l., both identified in inscriptions on the reverse. Both signed “HUNTER” l.r., titled on the frame, and dedicated “TO
Watercolors on paper, sight sizes to 9 1/2 x 13 3/4 in. (24.1 x 34.9 GEORGE AND NANCY/FROM BOB CHRISTMAS 1963” on the
cm), framed. backing.
Condition: Foxing/staining, subtle rippling, one with repaired tear u.l., Graphite on paper, sight sizes to 3 1/2 x 9 1/4 in. (8.9 x 23.5 cm),
not examined out of frames. framed.
$600-800 Condition: Not examined out of frames.
$400-600
256
257
257.
William Trost Richards (American, 1833-1905)
Gathering Sea Weed

Signed and dated “Wm. T. Richards 188...” l.r., titled on the reverse.
Watercolor on paper mounted to board, sheet size 9 3/4 x 13 7/8 in.
(24.8 x 35.2 cm), framed.
Condition: Toning, subtle mat burn, minor skinning.
$1,500-2,500
258
258.
Alvan Fisher (American, 1792-1863)
Watching the Cattle

Unsigned, identified on a label from the Vose Galleries, Boston,
affixed to the backing.
$5,000-7,000
259
259.
Attributed to Thomas Hewes Hinckley (American, 1813-1896)
Cows Watering
Unsigned, identified on a label from the Vose Galleries, Boston, on
the backing.
Condition: Retouch.
$6,000-8,000
260.
Arthur Quartley (American, 1839-1886)
Punt Under the Moonlight

Signed “Quartley” l.r.
Condition: Minor scattered retouch.
$600-800
260
261.
Joseph Antonio Hekking (American, 1830-1903)
Fishing in a Marsh
Signed “J A Hekking” l.r.
Condition: Scattered retouch, scattered craquelure with
flaking and minor loss u.c., mild wear to edges, surface
grime.
$700-900
261
262.
Henry Ward Ranger (American, 1858-1916)
Summer Landscape
Signed and ciphered “RANGER NAD D13” l.l., identified on
a presentation plaque, inscribed “...REGISTERED BY
NATIONAL ACADEMY...” in pencil and identified on a label
from David David Inc., Philadelphia, Pennsylvania, on the
reverse.
Oil on canvas mounted to Masonite, 18 1/4 x 25 3/4 in.
(46.3 x 64.1 cm), framed.
Condition: Craquelure, retouch, varnish inconsistencies.
$2,200-2,800
262
263
263. 264.
George M. Hathaway (American, 1852-1903) Milton H. Lowell (American, 1848-1927)
Portrait of a Farm House Landscape with House by a Duck Pond

Signed “G.M. Hathaway” l.l. Monogrammed signature “MHLOWELL” l.l.
Oil on board, 6 1/4 x 10 1/2 in. (15.8 x 26.6 cm), framed (under Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed (under glass).
glass). Condition: Surface grime, not examined out of frame.
Condition: Subtle surface grime. $1,000-1,500
$700-900
264
265
265. 266.
James Fairman (American, 1826-1904) Edwin Graves Champney (American, 1842-1899)
Cows Along the Riverbank at Sunset, a Luminist Landscape View of Cows by a River, Possibly New Hampshire
Signed “J. FAIRMAN” l.r. Signed and dated “EG Champney.67” l.c.
Oil on canvas, 19 x 32 in. (48.3 x 81.3 cm), framed. Oil on canvas, 8 x 14 in. (20.3 x 35.6 cm), framed.
Condition: Retouch, scattered surface losses, craquelure with Condition: Surface grime, craquelure, subtle pigment fluorescence.
scattered separating and lifting, surface rubs. $800-1,200
$1,000-1,500
266
267
267. 268.
Samuel W. Griggs (American, 1827-1898) C. Myron Clark (American, 1858-1925)
Lake George Early Morning, Winnipoisett Lake (Long Pond)

Signed and dated “SWGriggs 1869” l.l., identified on a presentation Signed and dated “C. Myron Clark/07” l.l., titled, inscribed, signed,
plaque and on a label from the Vose Galleries, Boston, affixed to the and dated “Early Morning/.../near Lakeville, Plymouth Co Mass./C.
backing. Myron Clark/July 1907” on the reverse.
Oil on canvas, 22 1/4 x 36 in. (56.5 x 91.4 cm), framed. Oil on canvas, 12 1/8 x 16 in. (30.8 x 40.7 cm), framed.
Condition: Retouch, craquelure. Condition: Stretcher marks, old water stain to the reverse of the
$2,000-4,000 canvas.
$600-800
268
269
269. 270.
George Arthur Hays (American, 1854-1934) American School, 19th Century
Cows in a Landscape Figure on a Road Overlooking a Cow Pasture

Signed “G A Hays” l.l. Signed and dated “C. A. D. 1875” l.r.
Oil on canvas, 14 x 20 in. (35.6 x 50.8 cm), framed. Oil on canvas, 26 1/4 x 36 in. (66.2 x 91.2 cm), framed.
Condition: Retouch, varnish inconsistencies, surface rubs, scattered Condition: Lined, scattered retouch, surface grime, craquelure.
craquelure, surface grime. $800-1,200
$1,000-1,500
270
271
271. 272.
Thomas Hewes Hinckley (American, 1813-1896) Albert Thompson (American, b. 1853)
Pastoral View with Cows Cows Grazing By a River

Signed and dated “T. H. Hinckley. 1882” l.l., identified on a Signed “Albert Thompson” l.r.
presentation plaque. Oil on canvas, 10 x 14 in. (25.4 x 35.6 cm), framed.
Oil on canvas, 22 x 36 in. (55.9 x 91.4 cm), framed. Condition: Scattered losses, scattered retouch, fine scattered
Condition: Lined, retouch, fine craquelure, varnish inconsistencies. craquelure with areas of separating.
$2,500-3,500 $300-500
272
273
273. 274.
George Frank Higgins (American, b. 1850) Attributed to Richard William Hubbard (American, 1816-1888)
Summer on an Oxbow Lake Landscape with Lake and Distant Mountains, Possibly Lake
Signed “G.F. Higgins” l.r. George
Oil on canvas, 30 x 45 in. (76.2 x 114.3 cm), framed. Unsigned, inscribed “from Hubbard/1876.” in a period hand on the
Condition: Lined, retouch, craquelure. reverse.
$3,000-5,000 Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed.
Condition: Scattered retouch, fine scattered craquelure, surface
grime.
$800-1,200
274
275
275. 276.
John White Allen Scott (American, 1815-1907) John White Allen Scott (American, 1815-1907)
View from the top of Jackson Falls, N.H. October Morning Lake View at Sunset
Monogrammed signature “JWAScott.” l.l., artist’s label affixed to the Signed “...Scott” l.l.
reverse, titled on a label affixed to the reverse. Oil on canvas, 10 x 14 in. (25.4 x 35.6 cm), framed.
Oil on canvas, 14 x 20 in. (35.6 x 50.8 cm), framed. Condition: Craquelure, retouch, minor abrasions.
Condition: Retouch, minute punctures l.c., craquelure, surface grime. $700-900
$1,000-1,500
276
277.
John White Allen Scott (American, 1815-1907)
Mt. Washington N.H./An Autumn View

Initialed “J.W.S” l.l., titled in the artist’s hand on the reverse,
artist’s label affixed to the reverse.
Condition: Punctures c.l., fine craquelure with area of
separating l.r., surface grime.
$800-1,200
278.
Franklin Stanwood (American, 1852-1888)
Crawford Notch, New Hampshire

Signed and dated “Franklin Stanwood/1884” l.r. and identified
on a presentation plaque.
Condition: Lined, scattered retouch, craquelure, surface
grime.
$1,000-1,500
277
278
279
279.
Levi Wells Prentice (American, 1851-1935)
View of the Adirondacks

Signed and dated “L. W. Prentice 1877” l.r., identified on a label from
the Vose Galleries, Boston, on the reverse.
Oil on canvas mounted to Masonite, 30 x 48 in. (76.2 x 121.9 cm),
framed.
Condition: Retouch, skinning, craquelure, surface grime.
N.B. Prentice was a self-taught painter who grew up in the

Adirondack Mountain region, and was working in Syracuse as a
landscape painter by 1872. His work is characterized by small and
careful brushwork where, despite pictorial depth, the details of both
foreground and background are simultaneously in focus. The autumn
scene depicted is meditatively still, and this calm mood is reflected in
the stag poised in the foreground.
$15,000-25,000
280
280.
William Louis Sonntag (American, 1822-1900)
The composition contains several elements characteristic of
Eagle Rock on the Potomac Sonntag’s paintings in the 1850s. The spatial organization is typical
Signed and titled “W. L. Sonntag...” on the reverse, with a stenciled of the period, with the jutting rock filling the foreground and creating a
label from Edward Dechaux, New York, on the reverse. focal point, while the other side opens up to a wide landscape. Small
Oil on canvas, 11 1/8 x 18 in. (28.3 x 45.8 cm), framed. figures are included, often in pairs, with a touch of red in their jackets
Condition: Paint loss c.l., minor retouch. or hats. Sonntag typically did not include animals, only an occasional
flock of birds, as seen here on the left.
N.B. This landscape by William Louis Sonntag was probably painted
in the late 1850s. It is unusual insofar as Sonntag titled the painting We would like to thank Nancy Dustin Wall Moure for her assistance in
on the back of the canvas. In his early years, Sonntag painted in the cataloging this lot.
areas of Cincinnati, Ohio, northern Kentucky, and northern West $2,000-3,000
Virginia. There is an Eagle Rock in the Potomac State Forest in
western Maryland, which may be the site of this painting. Sonntag
was raised in Cincinnati, and, despite his family’s wishes to the 281.
contrary, began the study of art in 1842. His career in Cincinnati American School, 19th Century
reached its height in the 1850s, with frequent exhibitions and sales.
During this time Sonntag was commissioned by the director of the Plains Indian Encampment
Baltimore and Ohio railroad to paint the scenery along their new line Signed indistinctly l.l.
across the Alleghenies. It is possible that Eagle Rock was accessible Oil on panel, 14 1/2 x 20 7/16 in. (36.8 x 51.9 cm), framed.
to Sonntag via river travel or perhaps via railroad. Condition: Surface irregularities, scattered abrasions, small area of
lifting u.l., surface grime.
$1,000-1,500
281
282
282.
Alexander Francois Loemans (c. 1816-1898)
Lot of Two Landscapes: Vista with Native Americans on an

Outcropping and View of the Canadian Rockies at Dusk
Native with incised signature “Loemans” l.l., Dusk with incised
signature “-Loemans” l.r.
Oil on artist board, 17 x 11 in. (43.2 x 27.9 cm), framed (under glass).
Condition: Dusk with trimmed edges.
$1,200-1,800
283
283.
Arthur Fitzwilliam Tait (Anglo/American, 1819-1905)
Doe and Fawns in a Landscape

Signed “A F Tait” l.r.
Condition: Lined, tape to the tacking edge, slight wear to edges, retouch, signature
reinforced, craquelure, surface grime.
Provenance: By family descent to the present owner.
N.B. Arthur Fitzwilliam Tait was born in Liverpool, however, as a child moved to the
English countryside near Lancaster where he first became interested in nature,
animals, hunting, and fishing. By the 1840s Tait relocated to Manchester where he
worked at Agnew’s Repository for the Arts, and discovered the work of Edwin
Landseer and John Frederick Herring. Herring’s use of color, in particular, inspired
the young artist. In 1850, Tait, after viewing an exhibition of George Catlin’s
paintings of the American West, decided to move to America. He settled in New
York where he painted views of the surrounding Adirondacks. He purchased a farm
in Westchester Country, which offered the opportunity to paint animals in their
natural environment. Tait is best known for these realistic, narrative scenes, often
featuring animals and huntsmen, using rich natural colors.
$8,000-12,000
284.
The Autumn Harvest

Initialed “J.C.W” l.r.
Condition: Detached from tacking margins along left and
top edges, loss and tear to canvas u.l., subtle canvas
deformations, patch reinforcement, abrasions, surface
grime, craquelure.
$1,500-2,500
284
285.
Joseph H. Greenwood (American, 1857-1927)
Haystacks
Faintly signed “J H Greenwood” l.l.
Condition: Skinning/surface rubs, retouch.
$1,000-1,500
285
286.
American School, 19th/20th Century
River View, Possibly the Epte River Near Giverny

Unsigned.
Oil on canvas, 12 3/4 x 16 in. (32.4 x 40.6 cm), unframed.
Condition: Tack holes to corners, flaking, losses,
craquelure.
$800-1,200
286
288
287
287.
Lone Tree/A Southern View

Unsigned, light pencil sketch verso.
Oil on paperboard, 8 3/8 x 5 5/8 in. (21.3 x 14.3 cm), unframed.
Condition: Scattered retouch, toning, wear to edges, small tear l.c.
(not extending into image), fine scattered craquelure, mild surface
grime.
$300-500
288.
Study of a Rocky Ledge

Unsigned.
Oil on artist board, 6 1/4 x 8 1/2 in. (15.9 x 21.6 cm), framed.
Condition: Surface grime.
$1,000-1,500
289.
William Ongley (American, 1836-1890)
Lily Pond in Summer

Signed “W. Ongley” l.l.
Oil on canvas, 35 1/4 x 28 in. (89.5 x 71.1 cm), in a period frame.
Condition: Surface grime, puncture to l.l., minor abrasions.
$800-1,200
289
290
290. 291.
Harrison Bird Brown (American, 1831-1915) Attributed to Francis Seth (Shedd) Frost (American, 1825-1902)
View with Cows in a Valley, Possibly New Hampshire Valley

Initialed “H.B.B...” l.c. beneath frame liner. Unsigned.
Oil on canvas, 14 x 23 in. (35.6 x 58.2 cm), framed. Oil on board, oval format, 11 1/4 x 15 1/4 in. (28.7 x 38.7 cm),
Condition: Retouch, subtle canvas deformations, losses to tacking framed (under glass).
margin, patch reinforcement. Condition: Retouch, scattered losses, wear/losses to edges,
$1,500-2,500 craquelure with alligatoring, surface grime, hinged to backing mat at
u.r. and u.l.
$600-800
291
292.
Jonathan Bradley Morse (American, 1834-1898)
Woodland Stream
Signed “J. B. Morse” l.r., artist identified in a pencil
inscription in a later hand on the stretcher.
Condition: Flaking/losses, retouch, craquelure, subtle
canvas deformations, surface grime.
$700-900
292
293.
View with Cows by a Waterfall

Unsigned.
$800-1,200
293
294.
George Albert Frost (American, 1843-1907)
Woodland View
Incised signature and date “G.A. Frost/1894” l.l.
$300-500
294
295.
Ernest Walbourn (British, 1872-1927)
Dolgoth Falls, North Wales

Signed “Ernest Walbourn” l.r., titled on the stretcher, identified on a
presentation plaque.
Condition: Light retouch/varnish inconsistencies, subtle canvas
deformations, scattered craquelure, surface grime.
$1,000-1,500
295
296.
Charles Warren Eaton (American, 1857-1937)
Evening Glow
Signed “CHAS WARREN EATON” l.l., titled on the stretcher bar,
inscribed “EATON 12 x 16” on the tacking edge.
Condition: Craquelure, varnish inconsistencies, retouch, patch
reinforcements.
$3,000-5,000
297.
Edward Mitchell Bannister (American, 1828-1901)
Forest Interior
Unsigned, estate stamped on the reverse, incised “G.A. Foster”
beneath multiple estate stamps on the reverse.
Oil on artist board, 18 3/16 x 12 1/8 in. (46.1 x 31.0 cm), framed.
Condition: Wear to edges of artist board, tack hole in each upper
corner, minor paint losses along left edge at center, fine craquelure.
N.B. Anne Louise Avery, who is preparing the catalogue raisonné of

Edward Mitchell Bannister’s paintings and drawings, has written an
authentication analysis of Forest Interior. The following information is
drawn from her report.
The forest is a constant in E.M. Bannister’s artistic imagination. The

artist was endlessly and passionately inspired by the trees and deep
ancient woods of the East Coast. Tree-shaded paths, winding
296 through, entering, or skirting the forest interior, are familiar motifs in
Bannister’s work. Often, the pathways are punctuated by bucolic
figures, such as a woodcutter or cow herder. Others suggest man’s
presence more subtly through built structures such as fences.
However, some, such as this forest scene, suggest a human
presence only by a man-made path. The composition of Forest
Interior, with the strong vertical structure of the dominant oak tree and
the curving path drawing the eye into the spatial recesses of the
painting, represents a framework typical of Bannister. The small
opening of pale blue sky and white clouds, letting light and energy
into the work, is very idiosyncratic, both compositionally and
symbolically, as is the gently rising bank in the lower right foreground.
The distinctive treatment of the grasses is a hallmark of Bannister’s
wooded landscapes, and the loose, soft brushwork describing the
tree can also be positively matched with a number of Bannister’s
works. The execution of the clouds, in particular, is closely
comparable with finished oil works from the 1880s and 1890s, while
the muted Tonalist palette is typical of Bannister’s color choices in his
mature years as an artist.
This oil sketch was made on a 1/2 sheet of academy board that
bears a partial Frost & Adams label. The light, disposable academy
board was popular among professional artists in the late 19th century
for rapid oil sketch and studies, particularly for en plein air painting.
The majority of works on academy board within Bannister’s oeuvre
tend to be loose, compositionally less formal sketches and studies,
and the absence of a signature is unsurprising in the case of a plein
air oil sketch on academy board. The iconographic and
methodological factors discussed above make it extremely likely that
the painting was executed between 1881 and 1901, probably in the
early 1890s, by Edward Mitchell Bannister.
We wish to thank Anne Louise Avery for her assistance in cataloging

this lot.
$1,500-2,000
297
298.
John La Farge (American, 1835-1910)
Autumn: October. Edge of a Wood, Late Afternoon.

Glen Cove, Long Island, 1860
Unsigned, inscribed “Autumn, Edge of Wood-Long
Island...For Rich Frame” in pencil and “...La Farge/Lent
by H. L. Higginson” in ink on a label from the Museum
of Fine Arts, Boston, on the cradle.
Oil on unprimed cradled panel, 12 1/2 x 9 1/4 in. (31.8
x 23.5 cm), framed.
Condition: Craquelure, minor abrasions beneath frame
liner.
Provenance: [sale, Leonard’s Gallery, Boston, 18-19

Dec. 1879 (oils, lot 54)]; Henry Lee Higginson, Boston,
1879-1919; then by descent within the family.
Literature: “The First Day’s Sale of John La Farge’s

Paintings,” Boston Evening Transcript, 19 Dec. 1879, p.
1; “La Farge’s Pictures,” Newport Daily News, 20 Dec.
1879, p. 2; “Art Sale in Boston,” New York Times, 23
Dec. 1879, p. 5.
Exhibitions: Leonard’s Gallery, Boston, The Drawings,

Water-Colors, and Oil-Paintings by John La Farge. To be
Sold at Auction, 18-19 Dec. [1879], lot no. 54 (oils);
Museum of Fine Arts, Boston, “La Farge Memorial
Exhibition,” 1-31 Jan. 1911 [no catalogue], Museum of 298
Fine Arts, Boston, Paintings Department, Loan Card No.
1785.10 (1910) [unpublished].
N.B. The work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr. James L.
Yarnall for updating and supplementing the information for inclusion in this catalog entry.
La Farge moved from New York to Newport in the spring of 1859 to study painting with William Morris Hunt. He nonetheless frequently visited Glen
Cove, Long Island, where his family had a large summer property that had been purchased by his father sometime before 1835. The impressive Glen
Cove estate, extending over some fifty acres, could be accessed directly by boat from both Hempstead Harbor and Glen Cove Bay.
On October 15, 1860, La Farge married Margaret Mason Perry in Newport after a year-long courtship that had been complicated by differences
between her Episcopalian faith and his Roman Catholic religion. The couple apparently spent time at Glen Cove after the wedding as a means of
reconciling the marriage with La Farge’s mother, who had been widowed in 1858.
La Farge painted a handful of small oils during this stay at Glen Cove. They depict the lush woods and rolling hillsides surrounding the La Farge
country house. All are small plein-air exercises executed on wood panels (La Farge’s preferred medium at the time). All were intended to capture the
light conditions and naturalistic features of the terrain in the spirit of French Realist or Barbizon art. These paintings reflect La Farge’s disenchantment
with his training in the studio of William Morris Hunt, where La Farge criticized Hunt’s “formulas” and forged a self-proclaimed “programme” to study
“realistic painting” as a fresh start.
Exhibited at Leonard’s Gallery in 1879 as “1860. Autumn: October. Edge of a wood, late afternoon. Glen Cove, L.I. Panel. 12 1/2 x 9 1/2,” Higginson
evidently purchased the picture at the auction. When Higginson lent this picture in late 1910 to the Museum of Fine Arts, Boston, for the La Farge
Memorial Exhibition, he registered it as “Autumn, edge of wood, Long Island,” a title very similar to that assigned by the catalogue of the 1879
Leonard’s Gallery exhibition/auction. A registration photograph taken at the time of the Memorial Exhibition also identifies this as the work loaned by
Higginson.
A comparable work, Autumn: October. Hillside, Noonday, Glen Cove, Long Island, 1860, is in the permanent collection of the Museum of Fine Arts,
Boston, bequeathed by Mrs. Henry Lee (Ida Agassiz) Higginson in 1935.
$15,000-25,000
299
299.
Joseph H. Greenwood (American, 1857-1927)
Spring in the Hills

Signed and dated “J H Greenwood ‘24” l.r., autumn landscape
sketch on the reverse, a label from The Casson Galleries, Boston,
affixed to the reverse.
Oil on panel, 8 1/2 x 11 1/2 in. (21.6 x 29.2 cm), framed (under
glass).
Condition: Retouch, surface grime, not examined out of frame.
Provenance: Descended within a Massachusetts family.

$1,000-1,500
300.
Thomas Bowler Norris (American, 1866-1927)
Winter Walk
Signed and dated “T. B. Norris ‘01” l.r.
Condition: Retouch, craquelure.
$700-900
300
301
301. 302.
John Joseph Enneking (American, 1841-1916) Henry Ward Ranger (American, 1858-1916)
Cows Watering at Dusk Woodlands in Spring

Signed “Enneking” l.r. Estate stamp l.r., identified on a label on the reverse.
Oil on canvas, 9 1/8 x 12 in. (23.2 x 30.5 cm), framed. Oil on artist board, 12 x 16 1/16 in. (30.5 x 40.8 cm), framed.
Condition: Mounted on aluminum, scattered retouch and/or varnish Condition: Minor frame abrasions.
inconsistencies, surface grime. $3,000-5,000
N.B. This painting will be included the John Joseph Enneking

catalogue raisonné by Patricia Jobe Pierce.
$1,500-2,500
302
303
303. 304.
Frank Clifton Brown (American, 1883-1969) Richard La Barre Goodwin (American, 1840-1910)
Still Life with Peaches Still Life with Peaches, Pears, and Grapes
Signed “F.C. Brown” l.r. Signed and dated “Richard LaBarre Goodwin 1884” l.r.
Oil on canvas, 14 1/8 x 18 1/8 (35.8 x 46.0 cm), framed. Oil on artist board, 14 x 17 3/8 in. (35.6 x 44.1 cm), framed.
Condition: Retouch, paint losses, craquelure, varnish inconsistencies, Condition: Scattered retouch, varnish inconsistencies, subtle bowing.
surface grime. $800-1,200
$2,500-3,000
304
305
305.
Robert Spear Dunning (American, 1829-1905)
Still Life with Fruit

Signed, inscribed, and dated “R.S. Dunning pinxt 1866” l.l.
Oil on canvas, 24 1/2 x 22 in. (62.2 x 55.9 cm), within a frame liner.
Condition: Craquelure, subtle varnish inconsistencies, minor abrasion
l.r.
Provenance: Descended within a southern New England family.
N.B. Robert Spear Dunning, co-founder of the Fall River School of

still life painting, was raised in Fall River from the age of five. At the
young age of fifteen, he apprenticed with James Roberts in Tiverton,
Rhode Island, and at the age of twenty, enrolled in the National
Academy of Design where he studied with Daniel Huntington. Upon
completing his studies, he returned to Fall River in 1852, where he
continued to work and support a thriving art community. By 1865, he
narrowed his genre to still lifes, specializing in lush and meticulously
detailed arrangements, such as in the present work.
$50,000-70,000
306
306.
Portrait of a Gentleman
Unsigned, with a label from James S. Earle & Sons, Philadelphia, on
the reverse.
Oil on canvas, 29 3/4 x 25 in. (75.6 x 63.5 cm), in a period frame.
Condition: Craquelure, alligatoring, minor abrasions, subtle varnish
inconsistencies.
$1,000-1,500
307
307.
Thomas Sully (American, 1783-1872)
Portrait of a Gentleman, c. 1825-30

Monogrammed “TS” l.r.
Oil on canvas, 29 x 23 3/8 in. (73.7 x 59.3 cm), unframed.
Condition: Paint loss, surface grime, stretcher marks, craquelure,
yellowed varnish.
$3,000-5,000
308.
John Bernard Johnston (American, 1847-1886)
Portrait of a Terrier
Signed “John B. Johnston” l.l.
Oil on canvas, 22 x 18 in. (55.9 x 45.7 cm), unframed.
Condition: Lined, retouch, tear to u.r. quadrant, losses, abrasions,
surface grime.
$800-1,200
308
309.
Marcus A. Waterman (American, 1834-1914)
Portrait of a Boy and His Dog

Signed “M. Waterman” u.l.
Condition: Lined, retouch, varnish inconsistencies, craquelure.
$800-1,200
309
310.
Alphonse Jongers (American, 1872-1945)
Portrait of a Boston Terrier

Signed “Alphonse Jongers-” c.l., identified on a presentation plaque.
Oil on artist board, 12 x 9 3/4 in. (30.5 x 24.8 cm), framed in an oval
format (under glass).
$500-700
311.
Thomas Hewes Hinckley (American, 1813-1896)
Pigeon and Nest

Signed and dated “T. H. Hinckley 1853” l.l.
Condition: Lined, retouch.
$3,000-5,000
310
311
312
312.
Burr H. Nicholls (American, 1848-1915)
Crow Among the Fowl/A Barnyard Scene

Signed “Burr H. Nicholls” l.r.
Condition: Lined, retouch, varnish inconsistencies (including area of
signature), craquelure.
$1,200-1,800
313.
John O’Brien Inman (American, 1828-1896)
Boy with a Straw Hat

Signed “JOB Inman” l.r., a partial gallery label affixed to the reverse.
Condition: Flaking and losses, surface grime.
$400-600
313
314
314.
Matilda Browne (American, 1869-1947)
The Last Load

Signed “Matilda Browne” l.r., identified on a presentation plaque and
on a label from the Pan American Exposition on the back of the
frame.
Oil on canvas, 22 x 32 in. (55.8 x 81.2 cm), framed (in a shadow
box).
Condition: Canvas rippling, surface grime.
Exhibitions: The Exhibition of Fine Arts, Pan-American Exposition,

Buffalo, 1901, cat. no. 526.
$5,000-7,000
315
315.
Childe Hassam (American, 1859-1935)
At the Grand Prix, c. 1887

Signed “Childe/Hassam” l.r., inscribed “given to me by A.L.A for Victorian Room” on a label from Worth Avenue Gallery, Palm
Beach, and with an envelope from Mrs. Maitland Alexander, Sewickley, Pennsylvania, affixed to the backing.
Pastel and graphite on paper/board, sight size 11 1/2 x 8 1/4 in. (29.2 x 21.0 cm), framed.
Provenance: Mrs. Eugene Byrnes, New York, until 1948; M. Knoedler & Co., New York, 1948-1949; Worth Avenue Gallery,
Palm Beach, Florida, 1949; acquired by either Madelaine Francis (née Laughlin) Alexander (aka Mrs. Maitland Alexander, wife
of Reverend Maitland Alexander) originally of Pittsburgh, Pennsylvania, and then by marriage of Poplar Hill, Sewickley Heights,
Pennsylvania and Dark Harbor, Maine, or by her son Alexander Laughlin Alexander, Palm Beach, Florida; gift to Anne (née
Paul) (Clark) (Alexander) Owsley, Delray Beach, Florida, and Islesboro, Maine (wife of Maitland A. Alexander Jr., M.D.); estate
of Anne P. Owsley.
N.B. We wish to thank Kathleen M. Burnside for her assistance in cataloging this lot; the work will be included in the
forthcoming Childe Hassam catalogue raisonné by Stuart Feld and Kathleen M. Burnside.
Frederick Childe Hassam worked in pastel for a brief period in the late 19th century, and was one of the last new members
admitted to the Society of Painters in Pastel in 1890.1 Hassam’s earliest known work in pastel dates to 1887 when he was in
Paris studying at the Académie Julian, and he is believed to have made approximately eight pastels between 1887 and
1889.2
The present work was likely one of three “very spirited little pictures representing scenes at the Grand Prix de Paris” reviewed
in The Art Amateur for the fourth and last exhibit of the Society of Painters in Pastel held May 1890 at the Wunderlich Gallery
in New York.3 The existence of two other small pastels of the Grand Prix are known: Watching the Grand Prix, Longchamps,
1889, 14 x 10 in., location unknown, and At the Grand Prix in Paris (Au Grand Prix de Paris), 1887, 18 x 12 in., Corcoran
Gallery of Art, Washington D.C. According to Kathleen Burnside, the present work may also have been exhibited at Doll &
Richards in Boston, February 1891.
The Paris Grand Prix Day parades ushered in the beginning of each horse racing season, and were spectacles of power and
elegance. In 1887, Hassam created two, nearly identical large-scale compositions of the Grand Prix procession in oil, one of
which was shown at 1888 Paris Salon and described as “a very brilliant picture, full of life and light and movement, and
instinct with the gayety of the bright French capital.”4 The two works—at the Museum of Fine Arts Boston and New Britain
Museum of American Art, respectively—depict rows of carriages on a boulevard near the Champs-Élysées and couples in
fashionable dress, executed with his characteristically tight brushwork and dappled light effects.
By contrast, the present work imparts a softer, more relaxed mood, owing largely to the looseness of the medium. The
scene depicted as well is more relaxed—the race-goers have finally arrived at the course in the Bois de Boulogne where they
are less implicitly “on display” and focused on watching the race from their carriage. In capturing the stray glance of the one
young lady in the present work, Hassam creates a sense of intimacy for the viewer and individualizes his subject.
1. Pilgrim, Dianne H., “The Revivals of Pastels in Nineteenth-Century America: The Society of Painters in Pastel,” American Art Journal, Vol. 10, No. 2 (November 1978),
p. 60.
2. Conrads, Margaret C., American Paintings and Sculpture at the Sterling and Francine Clark Art Institute, New York: Hudson Hills Press, 1990, p. 60.
3. “The Pastel Exhibition,” The Art Amateur: A Monthly Journal Devoted to Art in the Household, June 1890, p. 4.
4. Hiesinger, Ulrich W., Childe Hassam: American Impressionist, New York: Prestel, 1994, p. 39.
$150,000-200,000
316.
Paul Howard Manship (American, 1885-1966)
Portrait of the Artist’s Daughter Sarah Jane

Signed and dated “PAUL MANSHIP 1929” on the underside.
Plaster, 6 x 18 x 9 in. (15.2 x 45.7 x 22.8 cm), in an inscribed
wooden crate.
Condition: Surface grime, chips to foot joint, abrasions.
Provenance: From the artist to his daughter, Sarah Jane Murtha, as

stated in his will dated 1965.
N.B. Although known for his public monuments such as the

Prometheus Fountain in Rockefeller Center, this sculpture of the
artist's daughter offers a more intimate view of Manship's work. It
was most likely completed shortly after Sarah's birth, on June 19,
1929, in Paris.
Throughout his career, Manship was able to seamlessly blend

traditional and modern aesthetics. From 1909 to 1911, he studied in
Rome where he was exposed to Classical and Archaic sculptures,
often directly referencing them in his own works. By the 1920s
Manship's style was beginning to change, especially visible in his
portraiture. Murtha writes, "over the years the style of Manship's
portraits progressed from a formal point of view towards
characterization and spontaneity"1 This work, with the pose of the
baby and the drapery of the fabric, certainly reflects Manship's shifted
emphasis towards realism and the illusion of mass. A reproduction of
this work in marble is in the collection of the Smithsonian American
Art Museum.
1. Murtha, Edwin, Paul Manship (New York: The Macmillan Company, 1957), p. 15.
$12,000-18,000
316
317.
Esther Anna Hunt (American, 1875-1951)
Lot of Two Portraits of Chinese Children with Lamp and Parasol

Each signed “E. Hunt” l.l.
Gouache and watercolor on paper, sight sizes 8 x 5 in. (20.3 x 12.7
cm), framed.
$1,000-1,500
317
318.
Attributed to Lilian Westcott Hale (American, 1881-1963)
Portrait of a Girl
Unsigned.
Pencil on paper, 22 7/8 x 17 3/8 in. (58.0 x 44.1 cm), framed.
Condition: Affixed to window mat with paper tape, toning, acid burn,
rippling along lower edge, staining to the reverse.
$1,000-1,500
318
319.
Sarah De St. Prix Wyman Whitman (American, 1842-1904)
Portrait of a Young Girl with a Doll

Signed and dated “SW WHITMAN MDCCCLXXXIII [1883]” u.l., with a
label from J. Eastman Chase, Boston, on the reverse.
Condition: Patch reinforcement, losses, retouch, surface grime.
Provenance: Private Massachusetts collection.

$1,500-2,500
319
320
320. 322.
Irving Ramsey Wiles (American, 1861-1948) Edwin Austin Abbey (Anglo/American, 1852-1911)
The Sewing Lesson Young Lady Walking in the Woods, an Illustration for Song: O
Signed “I.R.Wiles” l.r. Roses for the Flush of Youth by Christina Georgina Rossetti
Watercolor (en grisaille) and graphite on paper/board, 13 x 21 1/2 in. Signed and dated “EAAbbey1877” l.l., poem inscribed l.c.
(33.0 x 54.6 cm), framed. Wash, graphite, charcoal, and whiting on paper mounted onto board,
Condition: Glued in margins to window mat, margins over 1/4 in. sight size 19 3/4 x 13 3/4 in. (50.2 x 34.9 cm), framed.
$3,000-5,000 Condition: Losses to support, toning, staining/soiling, surface
abrasions/rubs, craquelure with flaking and losses, creases, not
321. $1,000-1,500
Edith Widing Yaffee (American, 1895-1961)
Portrait of a Woman
Signed, inscribed, and dated “Edith L. Widing...1915” l.r.
Graphite on board, 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm), framed.
Condition: Staining, toning.
Provenance: The property of Samuel E. Codman, Charles G. Loring

House, Prides Crossing, Massachusetts.
$800-1,200
321 322
323
323.
John Singer Sargent (American, 1856-1925)
Portrait of Henry L. Higginson II

Signed and dated “John S Sargent Dec 21st 1916” l.c.
Charcoal on paper with watermark “L. BERVILLE (France), sheet size 24 3/4 x 18 3/4 in. (63.0 x 46.8 cm), unmatted, unframed.
Condition: Sheet is mounted to archival paper to stabilize the margins, subtle rippling, toning, acid burn and foxing in the
margins.
Provenance: From the estate of Henry Lee Higginson and Ida Agassiz, by descent through the family to the current owner.
N.B. John Singer Sargent remained in great demand throughout his career as a portrait artist for the leading individuals of his
day. Over time Sargent came to prefer making charcoal drawings of his subjects. He could complete these portraits relatively
quickly, often in one sitting, and the medium was very well suited both to his technical virtuosity and his adeptness at capturing
his subject. Between 1910 and 1925 Sargent made over 500 such portrait drawings, while limiting his oil portraits to under
thirty.1 The subject of this charcoal portrait, Henry Lee Higginson II (1900-1981), was the grandson of Henry Lee Higginson and
Ida Agassiz Higginson.2 Henry Lee Higginson was a businessman and philanthropist, the founder of the Boston Symphony
Orchestra, and a benefactor of Harvard University. Ida Agassiz Higginson was the daughter of Louis Agassiz and was a founder
of Radcliffe College. Sargent’s charcoal portraits of Henry Lee Higginson (done in 1911) and Ida Agassiz Higginson (done in
1917) are in the collection of the Fogg Art Museum at Harvard University.
1. Sargent Portrait Drawings, Forty-two Works by John Singer Sargent, Selected and with an introduction by Trevor J. Fairbrother, Dover Publications, New York, 1983.
2. Descendants of the Reverend Francis Higginson, by Thomas Wentworth Higginson, Privately Printed, 1910.
$50,000-70,000
324
324.
American School, 19th/20th Century
Park View with Figures Strolling on a Path

Signed indistinctly l.r.
Oil on canvasboard, 9 x 12 in. (22.9 x 30.5 cm), framed.
$700-900
325.
Frederick Ballard Williams (American, 1871-1956)
Idle Hours, alternatively titled Quiet Hour

Signed “-Frank Ballard Williams” l.l., titled and signed or inscribed
“Quiet Hour/F.B. Williams” on the stretcher, titled on a presentation
plaque.
Condition: Puncture u.c., retouch, craquelure, surface grime.
$700-900
325
326
326.
Figures on a Beach
Unsigned.
$800-1,200
327
327.
Charles Courtney Curran (American, 1861-1942)
The Sirens
Signed and dated “CHARLES C. CURRAN 1893” l.r.
Oil on canvas, 18 x 32 in. (45.7 x 106.7 cm), within a probable Stanford White frame.
Condition: Lined.
Provenance: Purchased from the artist by Stanford White, National Academy of Design Exhibition, 1893; Old and Modern Paintings Belonging to
the Estate of the Late Stanford White, American Art Galleries, Mendelssohn Hall, New York, April 11, 1907, lot no. 49; …; gift from an architect
to apparel designer Beatrice Donin (1893-1981), c. 1940s-60s, New York City and New Rochelle, New York; by family descent to nephew Ralph
Donin, New Rochelle, New York; by family descent to a private New England collection.
Literature: Charles Courtney Curran artist record book, no. 141-8; Catalogue of Old and Modern Paintings, Water Colors and Drawings
Exclusively the Property of the Estate of the Late Stanford White, New York: American Art Association, 1907 [not illustrated, descriptive text];
Levy, Florence, ed., American Art Annual, Second Edition Including Paintings Sold at Auction, Volume VI, New York: American Art Annual, Inc.,
1908, p. 36; “Low Prices Paid for White Pictures,” New York Times, April 12, 1907; Naylor, Maria, The National Academy of Design Exhibition
Record, 1861-1900, Volume I, New York: Kennedy Galleries, Inc. 1973, p. 208.
Exhibitions: National Academy of Design Exhibition, 1893.
N.B. We wish to thank Kaycee Benton for her assistance with cataloguing the lot; the work will be included in her forthcoming catalogue
raisonné on Curran.
The present work was the Thomas B. Clarke prize winner at the National Academy of Design in 1893, when Stanford White acquired the work.
White was a renowned architect but also a “consummate designer, enthusiastic and willing to work in any medium” from metalsmithing to
woodworking.1 White’s foray into frame design may have sprung as a diversion from his architectural renderings, but it became an integral part
of his interior designing. He sourced Old Master and contemporary paintings for both his own collection and those of his clients. Of the frames
that White designed from scratch, there is a “common decorative motif that he enhanced with combinations of different moldings to make
frames of different widths.”2 He was also known to make custom frames for particular works of art. The frame on the present work is
reminiscent of the Stanford White frame on Portrait of Helen Sears by Abbott Thayer, dated 1892, which shows comparable abutting S-scrolls
throughout. The S-scrolls in the present frame, however, are broader and wave-like, to complement the subject of Curran’s work. The cresting
wave motif is repeated again in the ornament band surrounding the work.
1. Gray, Nina, “Within Gilded Borders: The Frames of Stanford White,” The Gilded Edge: The Art of the Frame (San Francisco: Chronicle Books, 2000), p. 83.
2. Ibid., p. 86.
$18,000-22,000
328
328.
Edward Dufner (American, 1872-1957)
Twilight Bather
Signed “Edward Dufner N.A.” l.r., signed or inscribed and titled “...by
Edward Dufner N.A.” on the reverse.
$15,000-20,000
329
330
329. 330.
Charles E. Prendergast (American, 1863-1948) Roland Francis Cosimini (American, b. 1898)
Floral and Geometric Motif Arts & Crafts Picture Frame The Broken Wing
Signed and dated “····Prendergast····/··1907····” on the reverse. Signed and dated “Roland F. Cosimini/Sept. 2-3-1923” u.l., with a
Gilt over gesso and red clay bole hand-carved and tooled wood label from the Massachusetts Normal Art School (see below) affixed
picture frame, rabbet size 18 1/2 x 22 1/2 in. (47.0 x 57.2 cm). to the backing.
Condition: Retouch, minor losses/abrasions, craquelure. Pastel on paper, 39 1/2 x 29 1/2 in. (100.3 x 74.9 cm), framed.
$6,000-8,000 Condition: Not examined out of frame.
Exhibitions: Massachusetts Normal Art School, Alumni Association

Annual Exhibition, June 6 to 16, 1924, No. 2.
$800-1,200
331.
Manner of Charles E. Prendergast (American, 1863-1948)
Baroque-style Picture Frame

Unsigned, with labels from the Rhode Island School of Design
Museum, Providence, and William Macbeth, Inc., New York, affixed to
the reverse.
Gilt over gesso and red clay bole hand-carved and tooled wood
picture frame, rabbet size 25 1/2 x 30 1/4 in. (64.8 x 76.8 cm).
Condition: Retouch, losses, abrasions, craquelure.
$1,000-1,500
331
332
332.
Paul Howard Manship (American, 1885-1966) and Gaston Lachaise (American, 1882-1935)
Plaster Sketch-model for a Pediment, c. 1916

Unsigned.
Plaster with patina, 15 3/16 x 3 1/2 (at its apex) x 1 5/8 in. (38.6 x 8.9 x 4.2 cm).
Provenance: Paul Manship to Herbert Lewis Kammerer, then by descent to the present owner.
N.B. The present model represents a proposal for the crowning element of the John Pierpont Morgan
Memorial, a commission awarded to Paul Manship in 1914 and partly designed and executed by Gaston
Lachaise (Manship’s studio assistant by 1914 until 1921). The model was made by casting a hollow-backed
triangular shape in plaster, then carving on the face, in low relief, a border featuring an anthemion with
acanthus-scroll ornament and graceful, buoyant figures, and within, a sleeping lion about to awaken to a new
dawn—suggesting perpetual renewal.
One of many plaster studies for the project, it is the only known example now extant, and it documents the
artistic interaction between these sculptors in about 1916, when the memorial’s uppermost component was
envisaged as a low-pitched gable. Several of its features—such as the foliate decoration and the levitating
figures rendered in Lachaise’s personal style—reappear in the full-scale plaster model, carried out with
Lachaise’s significant participation from February 1917 to September 1918 (cover illustration, V. Budny, New
York’s Left Bank: Art and Artists off Washington Square North, 1900-1950, New York, 2006), and in turn in
the limestone memorial, carved entirely by him during the next two years. Installed in the Metropolitan
Museum of Art, New York, in 1920, the work commemorates John Pierpont Morgan (1827-1913), a titan of
finance and the museum’s former trustee, benefactor, and president.
We are grateful to Virginia Budny for her assistance in preparing the catalog entry for this work.
$4,000-6,000
333
333.
Anton Otto Fischer (American, 1882-1962)
The Young Lady on the Tinker, Marblehead

Signed and dated “ANTON OTTO FIS...R ‘24” l.r.
Condition: Puncture with losses c.r., flaking and losses (including
area of signature), surface grime.
$1,500-2,000
334.
John Butler Yeats (American, 1839-1922)
Harriet Bryant
Signed and dated “J. B. Yeats/Sept__1910” c.r., inscribed “Harriet
Bryant-/by W.B. Yeats’s father- J.B.” on the reverse.
Pencil on paper, 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm), framed.
Condition: Toning, mild acid burn, repairs at the lower corners.
$800-1,200
334
335
335.
Irving Ramsey Wiles (American, 1861-1948)
A Walk Along the Harbor Shore

Signed “Irving R. Wiles” l.r.
Oil on canvas, 16 1/8 x 22 in. (41.0 x 55.8 cm), in a frame liner.
Provenance: Descended within a New England family collection.
N.B. Irving Ramsey Wiles was born in upstate New York. He was introduced to painting by his father, artist Lemuel
Wiles (1826-1905), but it was not until he studied at New York’s Arts Students League that he determined to make
his father’s profession his own. It was here that Wiles first met his mentor, William Merritt Chase (1849-1916), and
the two remained lifelong friends. After two years at the Arts Students League Wiles went to Paris to study at the
Académie Julian, perhaps at the suggestion of another of the League’s teachers, Thomas Wilmer Dewing (1851-
1938).
Like many of his late 19th century contemporaries, Wiles used the “new” vitality of the Impressionist brush stroke and
palette to express the beauty of the world around him. Not unlike Chase, Wiles was known for his dexterous and
energized portraits, which often idealized his subjects by placing them in elegant attire and settings. Wiles often
depicted his female subjects in white dresses. Out of doors, they were frequently drenched in warm sunlight and
dashed with blue brushstrokes of shadow, a technique regularly employed by Chase, as well as John Singer Sargent
(1856-1925) and Frank Weston Benson (1862-1951).
Although portraiture was considered his forté, Wiles also painted the hills and shores of Long Island. In the late
1890s Wiles built a studio and cottage on the shores at Peconic, and he summered there regularly with his family.
Here he found painting the out-of-doors a pleasant change from the bustle of portrait painting in the city. The work
presented here reflects both aspects of his career, as we see an elegant young woman in white strolling the shore,
while the breeze and sun of a blustery morning enliven both the figure and her surroundings.
$50,000-75,000
336.
Irving Ramsey Wiles (American, 1861-1948)
The Actor
Signed “Ir...g R Wiles” l.r., identified on a period label and two labels
from Grand Central Art Galleries, Inc., New York, (see below) affixed
to the reverse.
Oil on canvas, 34 1/4 x 27 in. (87.0 x 68.6 cm), in a period carved
wood frame incised “ALBERT MILCH/CARVED WOOD FRAMES/78
WEST 55. ST N.Y” c.l.
Condition: Lined, retouch, varnish inconsistencies, surface rubs,
surface grime.
Exhibitions: William M. Chase/Robert Henri: Between Two American

Masters, Grand Central Art Galleries, Inc., October 25-November 30,
1985.
$5,000-7,000
336
337.
Eastern European School, 20th Century
Portrait of a Girl in a Field of Wildflowers

Signed and dated “1910 O. Sitkova” l.r.
Condition: Craquelure, canvas deformations, losses.
$1,000-1,500
337
338.
Elizabeth Grandin (American, 1889-1970)
The Sergeant/Portrait of a Gentleman in Uniform

Signed and dated “EGrandin 09” u.r., monogrammed “EG,”
numbered “#124,” and stamped by the Grandin Library, Clinton, New
Jersey, on the reverse, identified on an exhibition label on the frame
backing.
Condition: Canvas deformation with paint loss u.r. quadrant, retouch,
craquelure, stretcher bar marks.
Exhibitions: Sunlight and Shadow: American Impressionism, 1885-

1945, Smith Kramer Inc. Fine Art Services, catalogue no. 28.
.
N.B. Elizabeth Grandin studied art in Paris and Madrid, and also in
New York at the Art Students League with Robert Henri. She
maintained studios first in Paris and later in New York in the 1920s
and 1930s. Grandin was a founding member of The New York
Society of Women Artists. She exhibited at the Whitney Museum of
American Art, the National Association of Women Artists, the Society
of Independent Artists, and the Salons of America. Despite a
blossoming career in New York, Grandin returned to her family home
in Clinton, New Jersey, to care for a family member. In Clinton she
taught painting and was a patroness of the Grandin Library, named
for her uncle, Daniel Grandin. She bequeathed her personal estate to
the Grandin Library.
$1,800-2,200
338
339.
Louis Kronberg (American, 1872-1965)
The Favorite
Signed and dated “Louis Kronberg/-1904.-” l.l., identified on a partial
period label on the stretcher, inscribed “LEE.” on the reverse.
Condition: Retouch, small scratch u.r.
$1,000-2,000
339
340
340.
Karl Heilmayer (German, 1829-1908)
View of Venice at Sundown

Signed and dated “Karl Heilmayer ‘67” l.r.
Oil on cradled panel, 6 7/8 x 9 3/8 in. (17.5 x 23.8 cm), within a
frame liner.
Condition: Surface abrasions and grime, craquelure.
$700-900
341.
Woman in Cairo
Unsigned, possibly inscribed indistinctly l.l.
Condition: Small paint loss and lifting u.c., surface grime, retouch
and/or varnish inconsistencies.
$800-1,200
341
342
342.
D. Jerome Elwell (American, 1847-1912)
A Dash to the Lido From the Grand Canal, alternatively titled

Venice-Morning, 1906
Signed and dated “D. Jerome Elwell 1906” l.r., titled, signed, and
dated “...D. Jerome Elwell 6/1906” on the reverse.
Oil on canvasboard, 18 x 21 3/4 in. (45.7 x 55.2 cm), unframed.
Condition: Bowing to board, surface abrasions, surface grime,
alligatoring, varnish inconsistencies.
$1,000-1,500
343
343. 344.
Lillian Mathilde Genth (American, 1876-1953) Max Kuehne (American, 1880-1968)
Street in Chioggia, Italy Hillside Village

Inscribed, dated, and signed “CHIOGGIA 1906 L M Genth” l.r. Signed and dated “Kuehne 20” l.l.
Oil on canvas, 15 x 18 1/4 in. (38.1 x 46.4 cm), framed. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.
Condition: Lined, retouch, varnish inconsistencies, pentimento in Condition: Lined, retouch.
area of signature, craquelure. $1,200-1,800
$1,000-1,500
344
345
345. 346.
Walter Maclaren (British, fl. circa 1869-1903) Otto Büngner (Brazilian, 19th/20th Century)
Pergola Ana Capri Pedra da Gavea

Signed and dated “Walter Maclaren. 1868.” l.r., titled, signed, and Signed, inscribed, and titled “Otto Büngner-RIO/...-RIO De JANIERO”
dated “...Walter Maclaren./1868” on the reverse. l.r., inscribed “A Picture of the bay in Brazil where we built an eighteen
Oil on canvas, 14 1/8 x 18 1/4 in. (35.9 x 46.4 cm), in a frame with a hole golf course./To Mr. L.S. Taylor with the kindest of wishes/From
label from John Fisher, Glasgow, affixed to the reverse. Virginia and Archie Dick/Chicago, July 1932.” on the supporting
Condition: Scattered retouch, varnish inconsistencies, minor board.
scattered losses, craquelure, surface grime. Watercolor on paper mounted onto board, sight size 10 1/4 x 15 1/2
$1,500-2,500 in. (26.0 x 39.4 cm), framed.
Condition: Pale foxing, mild toning, not examined out of frame.
$600-800
346
347
347.
Stable of the Sacred Horses in the Temple Grounds of Iyeyasu, Nikko, c. 1888
Unsigned.
Ink wash on paper, sheet size 8 3/16 x 9 7/8 in. (20.8 x 25.1 cm), unframed.
Condition: Glue and cloth tape hinge residue to the reverse, subtle toning, minor foxing.
Provenance: Henry Lee Higginson, Boston, until d. 1919; by descent in the Higginson family.
Literature: Cook, Clarence, “Paintings, Sketches, and Studies by John La Farge,” Studio n.s. 5, April 26, 1890, pp. 205-206; La Farge,
Bancel, “[List of Lenders, Durand-Ruel Exhibition],” New Haven, Connecticut, unpublished manuscript, La Farge Family Papers, 1895; La
Farge, Henry A., “Catalogue Raisonné of the Works of John La Farge,” New Haven, Connecticut: Unpublished card file, La Farge Family
Papers, c. 1934-74.
Exhibitions: Reichard and Co., New York, Catalogue of Drawings, Water Colors, and Paintings by Mr. John La Farge, N.A., 15 Apr.-1 May
1890, no. 12 (under heading “Japanese”); Durand-Ruel Galleries, New York, Paintings, Studies, Sketches and Drawings, Mostly Records
of Travel 1886 and 1890-91 by John La Farge, 25 Feb.-25 Mar. 1895, no. 5; Societe Nationale des Beaux-Arts, Paris, France, Études,
esquisses, dessins: Souvenirs et notes de voyage (1886 et 1890-91) par John La Farge, 24 Apr.-May 1895, [no. 5].
N.B. The work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr.
James L. Yarnall for updating and supplementing the information for inclusion in this catalog entry.
Like many of La Farge’s Japanese sketches, this evidently was based upon an as-yet unlocated photograph and was executed around
1888 in preparation for the publication of his travel journals as a series of travel articles in Century Magazine. A wood engraving after this
drawing appeared in La Farge’s article “Shrines of Iyeyasu and Iyemitsu in the Holy Mountain of Nikko. An Artist’s Letters from Japan,”
Century Magazine, vol. 39 (Apr. 1890), p. 862. It was republished in book form in John La Farge, An Artist’s Letters from Japan (New
York: Century Association, 1897), p. 61, and was exhibited at Durand-Ruel in New York in 1895 as Stable of the Sacred Horses in the
Temple grounds of Iyeyasu, Nikko.
$7,000-9,000
348
348.
Himene at Fara. Tahiti. Midday. At the Queen’s Home, 1891

Unsigned, inscribed “Young men playing & singing at Faaa/at...by Marau at her place/they...together so...get the pitch. May 91./...”ufe-potapota”
name of flute” in pencil and numbered “180” on a label in the margin l.l., “This face...yellow in value...” in pencil u.r., and “Mr. Henry L.
Higginson.” in ink on the reverse.
Watercolor and graphite on paper, sheet size 10 15/16 x 12 in. (27.8 x 30.5 cm), unframed.
Condition: Acid burn, toning, tape residue.
Provenance: Henry Lee Higginson, Boston, c. 1893-d. 1919; by descent in the Higginson family.
Literature: “Pictures by John La Farge,” New York Times, Feb. 26, 1895, p. 3; John La Farge, Reminiscences of the South Seas (New York:
Doubleday and Company, 1912), ill. opp. p. 86 (as The Flute Player. Samoa); Bancel La Farge, “[List of Lenders, Durand-Ruel Exhibition],” (New
Haven, Connecticut: Unpublished Ms., La Farge Family Papers, [1895]), no. 180; Elizabeth Hutcheson Carrell, “John La Farge: Renaissance
Spirit in America,” (Austin, Texas: Unpublished M.A. thesis, University of Texas, May 1972), p. 106 (ill. p. 127); Prints and Drawings Department,
Loan Card No. 1769.10 (1910); Archives of American Art, Macbeth Papers (not microfilmed), Stockbook 1922-1954, 22 no. 84 (1 Jan. 1943).
Exhibitions: Durand-Ruel Galleries, New York, Paintings, Studies, Sketches and Drawings, Mostly Records of Travel 1886 and 1890-91 by John
La Farge, 25 Feb.-25 Mar. 1895, no. 180; Societe Nationale des Beaux-Arts, Paris, France, Études, esquisses, dessins: Souvenirs et notes de
voyage (1886 et 1890-91) par John La Farge, 24 Apr.-May 1895, no. 179; Museum of Fine Arts, Boston, La Farge Memorial Exhibition, 1-31
Jan. 1911 [no catalogue].
N.B. This work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr.
James L. Yarnall for updating and supplementing the information for inclusion in this catalog entry.
Exhibited at Durand-Ruel in New York in 1895 as Himene at Fara. Tahiti. Midday. At the queen’s home. 1891. This was followed by the note:
“This was a group of young men, a choir, who sang alternately with others, seated on either side of the verandah during our lunch. They are in a
faint sunlight, which falls more distinctly in the back-ground.”
$25,000-35,000
349
349. 350.
Charles Nicolas Sarka (American, 1879-1960) Carel Lodewijk Dake the Younger (Dutch, 1886-1946)
Valley in Moorea Southeast Asian Village

Signed and inscribed “SARKA, MOOREA” l.r., inscribed “INLAND Signed “C.L. Dake Jr.” l.r., information regarding the artist’s travels to
RANGES” l.l. (beneath the mat), titled with cancelled inscription Asia affixed to the reverse.
“...Fareartri where we lived in Moorea/The island ranges/of/Moorea” in Oil on panel, 19 1/2 x 32 in. (49.5 x 81.3 cm), framed.
pencil on the reverse. Condition: Retouch, splits to panel, surface grime.
Watercolor on paper, sight size 15 3/4 x 21 1/4 in. (40.0 x 54.0 cm), $1,200-1,800
framed.
Condition: Taped to front mat at u.r. and u.l. verso, tape and residue
at edges verso. .
$600-800
350
351
351. 352.
American School, 20th Century Arthur Merton Hazard (American, 1872-1930)
South Pacific Landscape with Net Menders Cuban Beach, Lucero Cuba
Unsigned. Signed “Arthur M. Hazard.” l.r., titled on the reverse.
Oil on canvas tacked onto panel, sight size 35 1/2 x 59 1/2 in. (90.2 Watercolor on paper, sheet size 13 3/4 x 18 in. (34.9 x 45.7 cm),
x 151.1 cm), in an applied bamboo strip frame. framed.
Condition: Retouch, scattered flaking/losses, surface grime. Condition: Taped to front mat u.r. and u.r. verso, toning, light
$800-1,200 scattered staining.
$600-800
352
353
353. 354.
Paul Cornoyer (American, 1864-1923) Marcus A. Waterman (American, 1834-1914)
Houses by a Path Brook Side, New England

Incised signature “...OYER” l.r., inscribed “C.R. 4584” and “#4584” in Unsigned, titled and inscribed “M. Waterman” in a later hand on a
pencil on the reverse. label affixed to the stretcher, and identified on a label from the Vose
Oil on canvas, 8 x 10 in. (20.3 x 25.4 cm), in a probable Carrig- Galleries, Boston, on the backing.
Rohane frame. Oil on canvas, 16 x 20 1/4 in. (40.6 x 51.4 cm), framed.
Condition: Surface grime. Condition: Lined, craquelure, minor retouch, varnish inconsistencies.
Provenance: Through the family of Mr. and Mrs. Francis J. Oakes Jr., Exhibitions: Sunlight and Shadow: American Impressionism 1885-
Brookline, Massachusetts, by family descent. 1945, Krasl Art Center, Michigan, October 3 to November 21, 1999;
$1,000-1,500 Brevard Museum of Art and Science, Florida, December 11, 1999 to
January 30, 2000; Tucson Museum of Art, Arizona, February 19 to
April 2, 2000).
$800-1,200
354
355
355.
John Joseph Enneking (American, 1841-1916)
New England Wood and Stream, Fall

Unsigned.
Condition: Small area of paint loss and accretions l.c., surface grime.
Provenance: Enneking estate to Fred Inness of Boston; to Paul

Famolari; to Arvest Galleries of Boston; to Gardner Wonson; to a
private party.
Literature: This work is registered in the catalogue raisonné of John

J. Enneking by Patricia Jobe Pierce as number IV-B-296.
N.B. We thank Patricia Jobe Piece for her assistance with cataloging
this lot.
$5,000-7,000
356
356. 357.
Joseph Eliot Enneking (American, 1881-1942) Wayne Beam Morrell (American, b. 1923)
The Blush of Autumn Indian Summer by the Sea

Signed “J. Eliot Enneking” l.r. and identified on an exhibition label from Dedicated, titled, and signed “TO OUR GOOD FRIEND HENRY
The Boston Art Club on the reverse and on a label from The Casson ROCK...ROCKPORT/WAYNE MORRELL...SEPT-1980” on a label
Galleries, Boston, affixed to the backing paper. from The Wayne Morrell Gallery, Rockport, affixed to the backing.
Oil on canvas mounted on paperboard, 14 x 12 in. (35.6 x 30.5 cm), Oil on Masonite, 10 x 12 in. (25.4 x 30.5 cm), framed.
framed (under glass). Condition: Good.
Condition: Minor paint loss, craquelure, surface grime. $700-900
$1,000-1,500
357
358
358. 359.
Robert Emmett Owen (American, 1878-1957) George Victor Grinnell (American, 1878-1946)
Covered Bridge, Autumn Autumn Tapestry

Signed “R.Emmett Owen” l.r. Signed “GRINNELL” l.l., titled in the artist’s hand on the stretcher,
Oil on canvas, 26 1/4 x 34 in. (66.7 x 86.4 cm), framed. signed and inscribed “G, VICTOR GRINNELL/MYSTIC CONN.” on the
Condition: Retouch, varnish inconsistencies, pinholes along left stretcher.
edge, mild surface grime. Oil on canvas, 14 x 17 in. (35.6 x 43.2 cm), framed.
$1,500-2,500 Condition: Retouch, signature possibly reinforced, varnish
inconsistencies (including area of signature), craquelure.
$700-900
359
360
360. 361.
Wayne Beam Morrell (American, b. 1923) Wayne Beam Morrell (American, b. 1923)
Country Pond A Sunny Afternoon-/View of a Pond in Byfield, Massachusetts

Signed “Wayne Morrell” l.r., titled, signed, and dated “‘Country Signed “WAYNE MORRELL” l.r., identified, dated, signed, and titled
Pond’/.../...1977” on the reverse. “POND IN BYFIELD, MASS./Nov. 10th 1988/by/WAYNE
Oil on Masonite, 23 7/8 x 36 in. (60.5 x 91.4 cm), framed. MORRELL/...” on the reverse, dedicated and inscribed “for EDITH
Condition: Paint losses c.r. ROCK One of my FINEST SPRING SERIES THE BEST EVER/WAYNE
$800-1,200 MORRELL” on the reverse.
Oil on Masonite, 12 x 16 in. (30.5 x 40.6 cm), framed.
Condition: Good.
$1,200-1,800
361
362
362. 363.
Wayne Beam Morrell (American, b. 1923) Wayne Beam Morrell (American, b. 1923)
Houses Along the River The Lily Pond

Signed “WAYNE MORRELL” l.l. Signed “WAYNE MORRELL” l.r.
Oil with tooling on Masonite, 24 x 36 in. (61.0 x 91.4 cm), framed. Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed.
Condition: Pigment fluorescence. Condition: Good.
$3,000-5,000 $600-800
363
364.
Aiden Lassell Ripley (American, 1896-1969)
Grouse and Grape Vines

Signed “A. Lassell Ripley ©” l.l., titled and signed “...© A.
Lasell Ripley” in pencil and identified on a label from The
Guild of Boston Artists, Boston, on the backing.
Watercolor and graphite on paper, sight size 24 x 20 1/2 in.
(61.0 x 52.1 cm), framed.
$10,000-15,000
364
365.
Grouse and Azalea Bud

Signed “© A. Lassell Ripley” l.l., titled and signed “...© A.
Lassell Ripley” in pencil and identified on a label from The
Guild of Boston Artists, Boston, on the backing.
Watercolor and graphite on paper, sight size 25 1/2 x 21 in.
(64.8 x 53.3 cm), framed.
$10,000-15,000
365
366
366.
Woodcock Hunting and Houses in Summer/A Double-sided

Composition
Woodcock signed and dated “A. Lassell Ripley 1938” l.l., Houses
unsigned.
Watercolor and graphite on paper, sheet size 20 x 16 1/4 in. (50.8 x
41.3 cm), framed.
Condition: Tack holes to edges, brown gummed tape residue to
reverse, cloth tape hinged to window mat.
$10,000-15,000
367
367. 368.
American School, 20th Century Thomas Russell Dunlay (American, b. 1951)
Afternoon Fishing on the Lake Duck Alighting at Sunset

Unsigned. Signed “Dunlay” l.l.
Oil on canvas, 25 x 30 1/4 in. (63.5 x 76.8 cm), framed. Oil on canvas, 11 x 14 in. (27.9 x 35.6 cm), framed.
Condition: Craquelure, tack holes to u.r. and u.l. corners, minor Condition: Good.
losses, surface abrasions. $800-1,200
Provenance: Through a Massachusetts estate.

$1,500-2,500
368
369
369.
Duck Hunting on the Marsh

Unsigned, stamped “BAY STATE STRETCHER/-MADE BY-
/WADSWORTH HOWLAND & Co. Inc./BOSTON-MASS.” on the
stretchers.
Condition: Losses, craquelure.
Provenance: Through a Massachusetts estate.

$2,000-4,000
370
370.
Attributed to Oscar Fehrer (American, 1872-1958)
Cabin in the Valley

Unsigned, an article from Antiques and the Arts Weekly dated July
19, 1991, accompanies the work.
Condition: Scattered losses, craquelure, surface grime.
$1,500-2,000
371
371.
Robert E. Schulz (American, 1928-1978)
The Cow Puncher

Initialed “RES” l.r., titled on an illustration affixed to the reverse.
Condition: Alligatoring, varnish inconsistencies.
$2,000-3,000
372
372. 373.
Svend Svendsen (Norwegian/American, 1864-1930) Sheldon Parsons (American, 1866-1943)
Winter Twilight Snowy Barn

Signed “Svend Svendsen-” l.r. Unsigned, inscribed “By Sheldon Parsons Gift of Lois Harris to
Oil on canvas, 22 x 30 in. (55.9 x 76.2 cm), framed. Mendosa...Nutter 1953.” on the stretcher, inscribed “Gray Blue to
Condition: Patch reinforcements to l.r. quadrant, craquelure, retouch, trees” on the stretcher.
surface grime. Oil on canvas, 23 7/8 x 32 1/8 in. (60.6 x 81.6 cm), framed.
$400-600 Condition: Scattered retouch, surface grime.
$1,500-2,500
373
374
374. 375.
Robert Hogg Nisbet (American, 1879-1961) Svend Svendsen (Norwegian/American, 1864-1930)
The Old House Path to the Mountains

Signed “ROBERT H. NISBET” l.r., identified on a label from the New Signed “Svend Svendsen-” l.r., with a label from Marshall Field &
York Watercolor Club affixed to the backing. Company Picture Galleries on the reverse.
Watercolor and gouache on paper/board, sight size 23 1/4 x 29 3/8 Oil on canvas, 18 1/4 x 24 in. (46.4 x 60.9 cm), framed.
in. (59.1 x 74.6 cm), framed. Condition: Surface grime.
Condition: Toning, not examined out of frame. $400-600
$1,000-1,500
375
376
376. 377.
Emile Albert Gruppe (American, 1896-1978) James King Bonnar (American, 1883-1961)
Covered Bridge in Winter Figures Walking Down a Snowy Road

Signed “Emile A. Gruppe” l.r. Signed “JAMES K BONNAR” l.r.
Oil on canvasboard, 16 x 20 in. (40.6 x 50.8 cm), framed. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.
Condition: Slight warping to support, mild scattered pigment Condition: Surface grime/discolorations to the varnish layer, minor
fluorescence, extremely mild scattered craquelure, surface grime. scattered losses, fine scattered craquelure.
$1,500-2,500 $1,000-1,500
377
378
378. 379.
Attributed to Robert Emmett Owen (American, 1878-1957) William Lester Stevens (American, 1888-1969)
Winter Landscape with River Row Houses and Industry, Winter

Signed indistinctly l.l. Signed and inscribed “W. LESTER STEVENS NA” l.r.
Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Oil on canvas, 34 x 38 in. (86.4 x 96.5 cm), framed.
Condition: Craquelure, surface grime, minor skinning. Condition: Surface rubs, mild varnish inconsistencies, minute
scattered paint losses, scattered craquelure.
Provenance: Through a Bonnet Shores, Rhode Island estate. $3,000-5,000
$3,000-5,000
379
380
380. 381.
Antonio Cirino (American, 1889-1983) William Lester Stevens (American, 1888-1969)
View of a New England Town in Winter The Last of the Snow

Signed “A. CIRINO” l.r. Signed “W. LESTER STEVENS.” l.r.
Oil on canvasboard, 12 3/4 x 15 in. (32.4 x 38.1 cm), framed. Oil on canvas, 25 1/4 x 30 1/4 in. (64.1 x 76.8 cm), framed.
Condition: Surface grime, pigment fluorescence, signature partially Condition: Scattered retouch, varnish inconsistencies, area of flaking
reinforced, subtle bowing. and loss u.l., scattered craquelure, mild surface grime.
$500-700 $2,500-3,500
381
382
382. 383.
Wayne Beam Morrell (American, b. 1923) Winfield Scott Clime (American, 1881-1958)
Winter Valley, a Vermont Landscape Ten Below

Signed “WAYNE MORRELL” l.r., dedicated, inscribed, and signed “for Signed “Winfield Scott Clime” l.l., titled, signed, and inscribed
Henry & EDITH Rock/Stowe, Vermont, March 1991-/by/WAYNE “...Winfield Scott Clime/Old Lyme/Conn” on the reverse, inscribed
MORRELL/OCT 13th 1991/My Best Show Oils” on the back of the “Dec. 15 - 1943/To Ellie + Bernard Dad” on the frame.
frame. Oil on canvas mounted onto panel, 12 x 16 in. (30.5 x 40.6 cm),
Oil with tooling on Masonite, 9 x 12 in. (22.9 x 30.5 cm), framed. framed.
Condition: Good. Condition: Minute scattered surface losses, surface grime.
$600-800 $600-800
383
384
384.
Allen Dean Cochran (American, 1888-1971)
Pastoral View with Sheep

Signed and dated “Allen ·D· Cochran ‘12” l.r.
Oil and graphite on canvas, 42 x 80 in. (106.7 x 203.2 cm), framed.
Condition: Lined, craquelure, varnish inconsistencies, surface grime.
$7,000-9,000
385
385.
Allen Dean Cochran (American, 1888-1971)
Pastoral View with Cows

Signed and dated “Allen ·D· Cochran ‘12” l.r.
Oil and graphite on canvas, 42 x 80 in. (106.7 x 203.2 cm), framed.
Condition: Craquelure, varnish inconsistencies, surface grime.
$7,000-9,000
386
386. 387.
John Franklin Waldo (American, 1835-1920) Henry Ward Ranger (American, 1858-1916)
From Jamaica hights [sic] Woodland Stream

Signed, dated, and titled “J. Frank Waldo. 1909/...” l.l. Signed “H.W. Ranger” l.l., identified on a presentation plaque and on
Gouache and watercolor on paper/board, sight size 16 3/4 x 22 1/4 labels, including one titled and inscribed in a later hand, and another
in. (42.5 x 56.5 cm), framed. from The Cooley Gallery, Old Lyme, Connecticut, on the reverse.
Condition: Toning, not examined out of frame. Oil on artist board, 12 x 16 in. (30.5 x 40.6 cm), framed.
$600-800 Condition: Subtle bowing, subtle surface grime.
$1,000-1,500
387
388
388.
Arthur Clifton Goodwin (American, 1864-1929)
The Disappering [sic] Path

Signed “A C Goodwin” l.l., titled and signed or inscribed “...ACG
$450” on the stretcher.
Condition: Retouch (including repaired tears), loss c.r., mild scattered
surface abrasions, mild surface grime.
$3,000-5,000
389
389. 390.
Carol Owen (British, b. 1948) Hamilton Hamilton (American, 1847-1928)
Spring Along the River View from the Hilltop

Signed “C. OWEN” l.l., identified on a label from Guido Frame Studio Unsigned, stamped “Painted by HAMILTON HAMILTON/From the
& Art Gallery, Boston, affixed to the backing. Studio Collection/of HELEN HAMILTON/Silvermine, Norwalk, Conn.”
Oil on canvas, 20 1/4 x 24 in. (51.4 x 61.0 cm), framed. on the backing and stretcher, numbered “35” within the stamp on the
Condition: Good. backing.
$700-900 Oil on canvas, 24 3/4 x 30 in. (62.9 x 76.2 cm), framed.
Condition: Patch reinforcement c.l., retouch, scattered losses,
craquelure with lifting.
$1,000-1,500
390
391.
Anne Cary Bradley (American, 1884-1956)
Bold Face, North Chatham, New Hampshire

Signed “A. C. Bradley” l.r., titled, possibly in a later
hand, on the reverse, identified on an exhibition
label (see below), affixed to the backing.
Oil on canvas mounted onto board, 10 x 13 in.
(25.4 x 33.0 cm), framed.
Condition: Extremely mild bowing to support.
Exhbitions: Sunlight and Shadow: American

Impressionism 1885-1945, Krasl Art Center,
Michigan, October 3 to November 21, 1999;
Brevard Museum of Art and Science, Florida,
December 11, 1999 to January 30, 2000; Tucson
Museum of Art, Arizona, February 19 to April 2,
2000), no. 9.
$600-800
391
392.
Robert Emmett Owen (American, 1878-1957)
Daisy Field at Cross River, alternatively titled

Cross River Daisy Field
Signed “R. Emmett Owen” l.l., titled on a period
label affixed to the stretcher and a label from the
Vose Galleries of Boston affixed to the backing.
Oil on canvas, 18 x 20 in. (45.7 x 50.8 cm),
framed.
Condition: Fine scattered craquelure, mild surface
grime.
$1,000-1,500
392
393.
Manner of Selden Connor Gile (American, 1877-1947)
View with Houses on a Crest

Signed “...N” l.r.
Condition: Skinning to the l.r. quadrant, surface grime.
$2,000-3,000
393
394.
Nicolai S. Cikovsky (American, 1894-1987)
Landscape with Plowed Fields (possibly Long Island)

Signed “Nicolai Cikovsky” l.r.
Oil on canvasboard, 11 7/8 x 16 3/4 in. (30.2 x 42.5 cm),
framed.
$700-900
394
395.
Carl William Peters (American, 1897-1980)
Spring Landscape with House

Signed “CARL W PETERS” l.l., identified on a label affixed
to the reverse.
Condition: Craquelure, mild surface grime.
$800-1,200
395
396.
Philip Little (American, 1857-1942)
View of a Leafy Meadow with Houses Beyond

Signed and dated “Philip Little 1905” l.l.
Gouache on paper, sight size 19 x 13 in. (48.3 x 33.0 cm), framed.
Condition: Subtle mat burn, toning, subtle rippling, not examined out
of frame.
$600-800
397.
Helen Alton Sawyer (American, 1900-1999)
Landscape with Moon

Signed “H...Sawyer” l.l., inscribed “Landscape with Moon Helen
Sawyer” on the stretcher.
Condition: Lined, craquelure.
$2,000-2,500
396
397
398.
Wayne Beam Morrell (American, b. 1923)
The Tree Visitor

Signed “WAYNE MORRELL” l.r.
Condition: Scattered retouch, scattered craquelure, surface grime.
N.B. The artist confirmed the title of this painting and dated it to
1986.
$700-900
398
399.
Dana Ripley Pond (American, 1881-1962)
Portrait of a Man with a Straw Hat

Signed “Dana Pond N.A.” l.r.
$800-1,200
399
400
400.
Samuel Barber (American, b. 1943)
Irises by the Pond

Signed “SBarber” l.l., artist identified in an article from the Cape Cod
Times, dated July 27, 1990, affixed to the backing.
Condition: Good.
$1,500-2,000
401
401.
Carlos Pablo Ripamonti (Argentine, 1874-1968)
Shore View
Signed “C. P. RIPAMONTE” l.l.
Oil on canvas mounted onto Masonite, 10 3/4 x 13 in. (27.3 x 33.0
cm), framed.
Condition: Light scattered retouch, surface rubs, surface grime.
$600-800
402
402.
Thomas Russell Dunlay (American, b. 1951)
Milton Marshes, 1980

Signed “Dunlay” l.r., identified on information and exhibition label (see
below) affixed to the backing.
Condition: Good.
Exhibitions: Boston Athenaeum Gallery, January 4-16, 1982.

$7,000-9,000
403
403. 404.
Anton Otto Fischer (American, 1882-1962) William Columbus Ehrig (American, 1892-1973)
Trimming the Sails, possibly an Illustration for The Saturday Crashing Surf
Evening Post Signed “Wm C. Ehrig” l.r.
Signed and dated “ANTON OTTO FISCHER ‘24” l.r., a partial label Oil on canvas, 28 x 38 in. (71.1 x 96.5 cm), framed.
affixed to the stretcher. Condition: Light scattered surface rubs, minor area of craquelure l.r.
Oil on canvas, 22 x 30 in. (55.9 x 76.2 cm), framed. $1,000-1,500
Condition: Abrasions with losses, light retouch, craquelure, surface
grime.
$800-1,200
404
405
405. 406.
Wayne Beam Morrell (American, b. 1923) John Whorf (American, 1903-1959)
Crashing Waves Bowsprit

Signed “WAYNE MORRELL” l.r. Signed “John Whorf.” l.r., stamped “GRAND CENTRAL ART
Oil on Masonite, 10 x 14 in. (25.4 x 35.6 cm), framed. GALLERIES, NEW YORK CITY” on the backing.
Condition: Minor surface grime. Watercolor on paper/board, sight size 16 1/2 x 19 1/2 in. (41.9 x 49.5
$400-600 cm), framed.
Condition: Masking tape at top edge, mild mat burn/toning, pale
scattered staining/foxing, not examined out of frame.
$1,500-2,500
406
408
407
407.
Henry Webster Rice (American, 1853-1934)
The Garden Stairway and Mending the Nets/A Double-sided

Composition
Garden signed “Henry Webster Rice.” l.l., Nets unsigned, inscribed
“...5 PH” faintly in pencil u.r., inscribed “Dorothy Dunn Dempsey” in
pen on the backing.
Watercolor and graphite on paper, sheet size 19 x 13 1/2 in. (48.3 x
34.3 cm), in a period frame.
$800-1,200
408.
Henry Webster Rice (American, 1853-1934)
Old Church
Signed “Henry Webster Rice” l.l., inscribed and titled “Haley &
Steele...Mr. Ferguson...” on the reverse, inscribed “Dorothy Dunn
Dempsey” in pen and with a label from Haley & Steele Art Dealers,
Boston, on the backing.
Watercolor on paper/board, 10 7/8 x 14 in. (27.6 x 35.6 cm), in a
period frame.
$250-350
409.
James King Bonnar (American, 1883-1961)
Emily Post Garden

Signed “JAMES KING BONNAR” l.r., title inscribed on the reverse.
Oil on canvas mounted onto board, 18 1/4 x 14 in. (46.4 x 35.6 cm),
framed.
Condition: Areas of disadhesion, surface grime, two staples along
the right edge (possibly done by the artist), small puncture u.r.
$800-1,200
409
410
410. 411.
James King Bonnar (American, 1883-1961) Charles M. Cox (American, 1883-1918)
Street in Edgartow [sic] Phlox

Signed “JAMES KING BONNAR” l.r., titled and inscribed “...by James Signed “Charles M Cox” l.r., titled on the stretcher, inscribed “1929”
King Bonnar” on the reverse. on the reverse.
Oil on canvasboard, 20 x 24 in. (50.8 x 61.0 cm), framed. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed.
Condition: Support slightly warped, surface grime. Condition: Surface grime.
$1,000-1,500 $800-1,200
411
412
412.
Joseph Eliot Enneking (American, 1881-1942)
Gray Day
Signed “J. Eliot Enneking” l.l., identified on exhibition labels from the
Rockport Art Association and from the North Shore Arts Exhibition of
Gloucester (see below) on the reverse.
Oil on canvasboard, 7 15/16 x 10 in. (20.2 x 25.4 cm), framed (under
glass).
Condition: Slight bowing to the support, surface grime.
Exhibitions: Rockport Art Association, The Old Tavern Exhibition,

n.d.; North Shore Arts Exhibition of Gloucester, Eighteenth Annual
Exhibition, 1940.
$800-1,200
413.
Otis Pierce Cook (American, 1900-1980)
Schooner at Gloucester Harbor

Signed “Otis Cook” l.l.
Condition: Good.
$600-800
413
414
414.
Drying the Nets, 1941

Signed “J. Eliot Enneking” l.r., identified in an inscription and on an
exhibition label from the Rockport Art Association affixed to the
reverse.
Oil on canvasboard, 8 1/4 x 10 in. (21.0 x 25.5 cm), framed.
Condition: Good.
$1,200-1,800
415
415. 416.
Otis Pierce Cook (American, 1900-1980) Max Kuehne (American, 1880-1968)
Rockport Dock Scene Marblehead Street

Signed “Otis Cook” l.r. Signed “Kuehne” l.r.
Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Watercolor with graphite on paper/board, sight size 15 x 19 1/2 in.
Condition: Scattered craquelure, mild surface grime. (38.1 x 49.5 cm), framed.
$800-1,200 Condition: Subtle rippling, not examined out of frame.
$700-900
416
417.
James Jeffrey Grant (American, 1883-1960)
Harbor View with Sailboats

Signed “J. JEFFREY GRANT” l.r.
Watercolor and graphite on paper, sight size 13 1/2 x 15 3/4 in.
(34.3 x 40.0 cm), framed.
$700-900
417
418.
Rockport Shore with Sailboats

Signed “J. Eliot Enneking” l.r., inscribed “Center:/The Marosa
I/Rockport Mass. Harbor” on the reverse.
$500-700
418
419.
Sandor Bernath (American, 1892-1984)
View of a Gloucester Fishing Shack, c. 1935

Signed and inscribed “Sandor Bernath/Gloucester, Mass.” in pen
l.r.
Watercolor and graphite on paper, sheet size 17 x 21 1/2 in. (43.2
x 54.6 cm), framed.
Condition: Brown gummed tape residue verso, toning.
$800-1,200
419
420
420. 421.
Helen Florence Newton (American, 1878-1970) Attributed to Anne Ramsdell Congdon (American, 1873-1958)
Rocky Coast, Possibly California Coastal View with Trees

Signed “HELEN F. NEWTON.” l.l. Unsigned.
Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Oil on board, 7 3/4 x 9 7/8 in. (19.7 x 25.1 cm), framed.
Condition: Scattered craquelure with areas of lifting. Condition: Extremely minor wear to corners, extremely minor
$800-1,200 scattered craquelure.
$400-600
421
422
422. 423.
Samuel Burtis Baker (American, 1882-1967) Paul Harvey (American, 1878-1948)
Shore View California Landscape

Dedicated and signed “To my friend F Morse Wemple/Burtis Baker” Unsigned, inscribed “by Paul Harvey,” possibly in the artist’s hand, in
l.r. ink and inscribed “Paul Harvey” in pencil on the reverse.
Oil on canvasboard, 15 x 18 in. (38.1 x 45.7 cm), framed. Oil on canvasboard, 12 x 14 3/4 in. (30.5 x 37.5 cm), in a frame with
Condition: Surface grime. a partial Newcomb-Macklin Co. label affixed u.c.
Condition: Retouch, support slightly warped, extremely fine scattered
N.B. The dedicatee, Frank Rogers Morse Wemple (1878-1970), was craquelure.
a baritone and voice professor at the New England Conservatory of $1,000-1,500
Music.
$700-900
423
424
424. 425.
Wayne Beam Morrell (American, b. 1923) Henry Eugene Fritz (American, 1875-1956)
Children Playing on the Beach Boothbay Maine

Signed “WAYNE MORRELL” l.r. Signed and dated “H. E. FRITZ 1921” l.l., titled in pencil on the
Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed. reverse.
Condition: Good. Oil on canvasboard, 7 15/16 x 10 in. (20.2 x 25.5 cm), framed.
$800-1,200 Condition: Retouch, minor bowing of the support.
$400-600
425
426
426. 427.
Wayne Beam Morrell (American, b. 1923) Andre (Gittelson) Gisson (American, 1929-2003)
Off Front Beach Waters Breakwater, Maine

Signed “WAYNE MORRELL” l.l., titled, inscribed, dated, and signed Signed “Gisson” l.l., identified on a gallery label (see below) affixed to
“...ROCKPORT, MASS./AUG 25-1982/BY WAYNE MORRELL” in ink the reverse.
on the reverse. Oil on canvas, 9 x 12 in. (22.9 x 30.5 cm), framed.
Oil on Masonite, 6 x 8 in. (15.2 x 20.3 cm), framed. Condition: Good.
Condition: Good.
$500-700 Provenance: Purchased from Miner’s Gallery Americana Corp.,
Carmel, California, 1990.
$300-500
427
428
428. 429.
Robert F. Glidden (American, 1926-1992) Attributed to Gerrit Albertus Beneker (American, 1882-1934)
Lighthouse Cape Cod Landscape with House in Spring

Signed “ROBERT F. GLIDDEN” l.l. Unsigned.
Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed. Oil on canvas, 16 1/4 x 20 1/4 in. (41.3 x 51.5 cm), framed.
Condition: Mild surface grime. Condition: Mild craquelure, with one area of possible lifting, surface
$600-800 grime.
$800-1,200
429
430
430. 431.
Anthony Thieme (American, 1888-1954) Henry Webster Rice (American, 1853-1934)
Sand Dunes North Shore View, Possibly Marblehead and Visitor at the Door/A
Signed “A. Thieme” l.r., titled on the reverse. Double-sided Composition
Oil on board, 12 x 16 in. (30.5 x 40.6 cm), framed. Shore signed “Henry Webster Rice” l.l., Visitor unsigned, inscribed
Condition: Area of craquelure u.c. “#507...View...” faintly in pencil u.l., inscribed “Dorothy Dunn
$3,000-5,000 Dempsey” in pen and with a label from Haley & Steele Art Dealers,
Boston, on the backing.
Watercolor and graphite on paper, sheet size 13 5/8 x 19 in. (34.6 x
48.3 cm), in a period frame.
$300-500
431
432
432.
Eduards Kalnins (Latvian, 1904-1988)
Waterfront, Gray Day, 1943

Signed and dated “Ed- Kalnins -43” l.l.
Oil on canvas mounted to Masonite, 23 x 27 in. (58.4 x 68.5 cm),
framed.
Condition: Craquelure.
$1,000-1,500
433
433.
George Wesley Bellows (American, 1882-1925)
Fresh Sky, 1911/A Monhegan Island, Maine View

Signed and inscribed “Geo Bellows/E.S.B.” l.l., titled and inscribed “...No. 18/MON” and identified and
dated on a label from H.V. Allison & Co., Inc., New York, on the reverse.
Condition: Surface grime, bowing to panel, minor abrasions to edges.
Provenance: Estate of the artist, 1925; Emma S. Bellows, his wife; Estate of Emma S. Bellows, 1959; H.V.
Allison & Co., New York, New York; Carl Augustus Weyerhaeuser (1901-1996), Milton, Massachusetts,
1963; by family descent, private New England collection.
Literature: George Bellows Record Book A, p. 106; George Bellows Online Catalogue Raisonné
(http://hvallison.com/).
N.B. We wish to thank Glenn C. Peck for his kind assistance with cataloguing the lot; the work is no.
1911-031a in the George Bellows catalogue raisonné compiled by H.V. Allison & Co.
Carl A. Weyerhaeuser was the grandson of Frederik Weyerhaeuser, lumber magnate and founder of the
Weyerhaeuser Company, and the son of Charles A. Weyerhaeuser, president of the Potlach Lumber
Company, and Maud Moon Weyerhaeuser, a soprano soloist. Under his mother’s artistic influence, the
young Weyerhaeuser began collecting from an early age.1 He is best remembered as the founder of the
Art Complex Museum in Duxbury, which houses his diverse lifetime collection, including several works by
Bellows.
1. Morrison County Historical Society, “Carl Weyerhaeuser: Dreams Fulfilled,” http://morrisoncountyhistory.org/history/?page_id=358

$40,000-60,000
434
434. 435.
Louis Paul Dessar (American, 1867-1952) Léon Reni-Mel (French, 1893-c. 1960)
Moonlit Landscape with Sleeping Flock Automne sur L’Etang, 1930

Signed “DESSAR” l.r., identified on a label affixed to the backing. Titled, inscribed, and signed “...VANNES-1930/RENI-MEL” l.r.
Oil on canvas, 17 x 18 1/4 in. (43.2 x 43.4 cm), framed (under glass). Oil on canvas, 23 1/2 x 35 1/2 in. (59.7 x 90.2 cm), framed.
Condition: Subtle canvas deformations. Condition: Craquelure.
$2,000-2,500 $1,000-1,500
435
436
436. 437.
Walter L. Greene (American, 1870-1956) Alfred Bryan Wall (American, 1861-1935)
Evening, Giverny Sheep Going Home

Signed “Walter L Greene” l.l., identified on a label affixed to the Signed “A. Bryan Wall” l.r., identified on labels affixed to the reverse.
backing. Oil on artist board, 10 1/4 x 12 in. (26.0 x 30.5 cm), framed.
Oil on canvas, 18 1/4 x 21 3/4 in. (43.4 x 55.2 cm), framed. Condition: Surface grime, varnish inconsistencies.
Condition: Craquelure. $500-700
Exhibitions: Sunlight and Shadow: American Impressionism 1885-

1945, Krasl Art Center, Michigan, October 3 to November 21, 1999;
Brevard Museum of Art and Science, Florida, December 11, 1999 to
January 30, 2000; Tucson Museum of Art, Arizona, February 19 to
April 2, 2000), No. 31.
$2,500-3,500
437
438
438.
Hermann Hesse (Swiss/German, 1877-1962)
Lot of Two Works: Ticino Lake View, Probably Lake Lugano, Montagnola, Switzerland and Summer Garden,
Casa Rossa, Montagnola
Lake inscribed, dated and initialed “Skizze 1926 HH.” in pencil l.l. and l.c., respectively, inscribed “Hermann Hesse” in
pencil on the reverse, watercolor on Ingres laid paper, sheet size 9 1/4 x 7 3/4 in. (23.5 x 19.7 cm); Garden initialed
and dated “H. VII. 34” in pen l.l., also initialed “H.” in pen l.r., inscribed “Hermann Hesse” in pencil on the reverse, ink
on PMF Italia laid paper (probably Ingres), sheet size 9 1/2 x 12 1/4 in. (24.1 x 31.1 cm); both unframed.
Condition: Lake with tape residue to u.r. and u.l. corners, subtle handling creases.
Provenance: Gift from the late collection of Mr. and Mrs. Carl Polk, Long Island, New York, and Midwale, New
Jersey, to the present owner.
N.B. Best-known as the author of Steppenwolf and Siddhartha, Hermann Hesse began painting in watercolor as
early as 1916, and with vigor by 1919. Hesse sought refuge in Montagnola in 1919, after suffering some political
pressure from German nationalists, the loss of his father, and his wife’s onset of schizophrenia. He settled into
several rooms at the Casa Camuzzi, a country house with an exotic garden which inspired his short story, Klingsor's
Last Summer, as well as his work in watercolor. After 1931, Hesse moved to the neighboring estate of Casa Rossa,
where he lived with his third wife, Ninon Dolbin, until his death. At Casa Rossa, he had a large plot of land for
gardening, and he devoted himself to cultivating it. He came to regard gardening as a meditative practice, and this
experience informed his serial-turned-novel, The Glass Bead Game.
We wish to thank Regina Bucher of the Fondazione Hermann Hesse Montagnola for her assistance with cataloging
the lot.
$4,000-6,000
439.
Colin Campbell Cooper (American, 1856-1937)
View of a Castle in the Landscape

Unsigned, stamped “ESTATE OF/CCC/1856-1937”
l.l.
Pastel on paper, sight size 5 x 8 1/2 in. (12.7 x 21.6
cm), framed.
$800-1,200
439
440.
Luigi Lucioni (American, 1900-1988)
View of a Northern Italian Countryside, Possibly

the Lake Como Region
Signed and dated “L. Lucioni ‘38” l.r.
Oil on Masonite, 12 x 10 in. (30.5 x 25.4 cm),
framed.
Condition: Minor retouch.
Provenance: Purchased in Washington, D.C., by

James Warren Lane, assistant curator for the
National Gallery of Art, c. 1940s; by family descent
to a Santa Fe, New Mexico, private collection.
$6,000-8,000
440
441
441.
Melville F. Stark (American, 1903-1987)
Woodland View
Signed “M. STARK” l.l.
$1,200-1,800
442.
Alice Worthington Ball (American, 1869-1929)
The Nespoli Tree

Signed “A. Worthington Ball” l.l., artist identified on a presentation
plaque, titled on a period label affixed to the reverse.
Condition: Scattered craquelure, surface grime.
$1,200-1,800
442
443
443.
Armand Avril (French, b. 1926)
Lot of Two Works: Town on a River and Town on a Hill, c. 1965

Each signed “AVRIL” l.l.
Oil and gouache on paper, sight sizes to 19 x 24 3/4 in. (48.3 x 62.8
cm), framed.
$600-800
444.
Fernand Laval (French, 1886-1966)
Montmartre, 1926
Signed, dated, inscribed “F. LAVAL/1926·MONTMARTRE/
MATINS-SEPT” l.r.
Oil on fiberboard mounted to panel, 26 x 21 3/4 in. (66.0 x
55.2 cm), framed.
$1,000-1,500
445.
Hughes Claude Pissarro (French, b. 1935)
Le pont des guillemettes à Surosne-sur-Orne

Signed “Claude Pissarro-” l.l., titled in pen on the reverse.
Pastel on paper, sheet size 9 3/4 x 14 3/8 in. (24.8 x 36.5
cm), framed.
Condition: Tape hinged to window mat.
Provenance: Through Patricia Beaver Gallery, La Jolla, San

Diego, California.
$3,000-4,000
444
445
446
446.
Rain and Mist, Boylston, alternatively titled Up Boylston St./A

View of Copley Square, Boston
Signed “ACGOODWIN.” l.r., titled, dated, and signed
“...1917...A.C.Goodwin” in ink and pencil on the reverse.
Condition: Craquelure, surface grime.
$3,000-5,000
447.
Fernand Laval (French, 1886-1966)
Montmartre, 1928
Signed, inscribed, and dated “F. LAVAL MONTMARTRE. 1928.”
l.r.
$1,000-1,500
447
448
448.
The Corner of Boylston and Arlington Streets, Boston

Unsigned, with a label from H.C. Speed, Boston, affixed to the
backing.
Pastel on paper/board, 12 1/2 x 18 in. (31.8 x 45.7 cm), framed.
Condition: Restored abrasion to l.l., u.l., and u.r. quadrants, restored
break and small loss to board u.l.
N.B. H.C. Speed was a restorer, framer, and close friend of A.C.
Goodwin, who sold his works in his gallery on La Grange Street.
$4,000-6,000
449
449.
Winter View, Possibly Copley Square

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.
N.B. Goodwin is best known as a painter of Boston street scenes

and its waterfront from 1900 to 1921. Though he was a self-taught
artist, he was encouraged to paint by Louis Kronberg, and at one
point shared a studio with him.1 He worked en plein air on an easel
in all seasons, often in Boston’s Back Bay neighborhood. Goodwin
typically worked directly on his support, without the use of
underdrawing, and by the 1920s, his brushwork became more
vigorous and loose.2
1. Giese, Lucretia H., “Notes on Goodwin’s Style,” A.C. Goodwin: 1864-1929 (Boston:
Museum of Fine Arts, 1974).
2. Ibid.
$8,000-12,000
450.
Johann Berthelsen (American, 1883-1972)
St. Mark’s Church in-the-Bowery

Signed “Johann Berthelsen” l.r., numbered in pencil “60521” on the
reverse.
Oil on canvasboard, 16 x 11 7/8 in. (40.5 x 30.0 cm), framed.
N.B. This snowy street scene shows St. Mark’s Church in-the-
Bowery, located on Tenth Street in Manhattan’s Lower East Side.
The historic church is the burial place of Peter Stuyvesant. The
painting was done by Berthelsen in the 1930s or the early 1940s.
We wish to thank Lee Berthelsen, son of the artist, for his assistance
with cataloging this lot.
$4,000-6,000
450
451.
The Little Church Around the Corner

Signed “Johann Berthelsen” l.r.
N.B. The Little Church Around the Corner is located at 29th Street
between 5th Avenue and Madison Avenue in New York City. This
view of the church in snow was likely painted by Berthelsen in the late
1930s, or perhaps the early 1940s.
We wish to thank Lee Berthelsen, son of the artist, for his assistance
with cataloging this lot.
$4,000-6,000
451
452
452.
The Brooklyn Bridge

Signed “Johann Berthelsen” l.r., identified on a label from The Farkas
Corp., Beverly Hills, California, on the back of the frame.
Condition: Minor retouch, craquelure.
N.B. This view is painted from the Brooklyn side of the bridge, a
favorite location for Berthelsen.
We wish to thank Mr. Lee Berthelsen, son of the artist, for his
assistance with cataloging this lot.
$3,000-5,000
453
453. 454.
Arthur Clifton Goodwin (American, 1864-1929) George H. Wimpenny (British, 19/20th Century)
Wharf Scene View of the River Thames and Westminster Abbey

Signed “A.C. Goodwin” l.l. Signed and dated “Geo. H. Wimpenny 1908” l.l.
Pastel on paper, sheet size 16 x 20 1/8 in. (40.8 x 51.1 cm), framed. Oil on canvasboard mounted to panel, 8 1/4 x 12 1/4 in. (21.0 x 31.1
Condition: Toning, hinged to window mat with linen tape. cm), framed.
$1,500-2,000 Condition: Surface grime.
$800-1,200
454
455
455.
Frank Henry (Hector) L. Tompkins (American, 1847-1922)
Dorchester Bay at Night

Signed “FHTompkins” l.r., titled, signed, inscribed, and dated
“...FHTompkins/Pope Building/Boston/1905.” on the reverse,
identified on labels including one from Smith Kramer Fine Art
Services, Kansas City, Missouri, and Fuller Museum of Art, Brockton,
Massachusetts (see below), affixed to the reverse.
Oil on board, 11 3/4 x 18 3/4 in. (29.8 x 47.6 cm), in a frame signed
“Feliciano Nemiccolo” along the reverse of the left edge.
Condition: Retouch, varnish inconsistencies, craquelure with
scattered alligatoring, surface grime.
Exhibitions: Boston Art Club Exhibition, Fuller Museum of Art, July 3-

September 19, 1993.
$1,200-1,800
456
456.
Gordon Steele (American, 1906-1961)
Shantytown
Signed and indistinctly dated “Gordon Steele/...” l.l., inscribed His legacy continues as the Syracuse Arts Association has named the
“GORDON STEELE/SYRACUSE N.Y.” possibly in the artist’s hand, on the top prize in their for their Annual Juried Members’ Exhibition the
the stretcher, identified on two exhibition labels from Terry National Art Gordon Steele Best in Show award.
Exhibit, Miami, affixed to the reverse, inscribed “HONORABLE
1. Bridgman, Ann, “Two Artists in Show Offer Comparison in Manner of Approach,” The
MENTION/TERRY NATIONAL ART EXHIBIT/1952” on a presentation
Norwalk Hour, July 9, 1957, p. 4.
plaque.
$1,500-1,800
Oil with tooling on canvas, 20 x 26 in. (50.8 x 66.0 cm), framed.
Condition: Area of pentimento (including a faint, partial signature) l.l.,
scattered craquelure, mild surface grime. 457.
John Paul Manship (American, 1927-2000)
N.B. Gordon Steele lived and worked in Syracuse, New York.
Predominately self-taught, Steele usually worked without any sort of West Village Roofs
preliminary sketches. With an ever-evolving technique, Steele often Signed and dated “JPMANSHIP/MAY ‘70” l.r., identified on a label
used a dark color palette and created compositions that incorporate from the Quarry Gallery, Gloucester, Massachusetts, affixed to the
elements of abstraction. Many of his paintings address the stretcher.
relationship between man and his environment.1 Throughout his Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed.
career, Steele exhibited his work frequently and won numerous Condition: Craquelure with lifting, flaking and minute losses u.r.,
awards. pigment fluorescence, mild surface grime.
$800-1,200
457
458
458. 459.
Alex Tschernjawski (Yugoslavian/American, b. 1933) Gordon Steele (American, 1906-1961)
City Street The Edge of Town, alternatively titled After the Storm
Signed “A. Tschernjawski’ l.r., figure sketch in pencil on the reverse, Signed and dated “Gordon Steele/50” l.l., identified on a label affixed
inscribed “AlexanderTschernjawski” on the stretcher, labels from The to the reverse.
Athena Gallery, New Haven, and George Mladinich, New Haven, Oil on Masonite, 24 1/2 x 42 in. (62.2 x 106.7 cm), framed.
affixed to the reverse, stamped “ATHENA GALLERY INC...” four times Condition: Retouch, varnish inconsistencies, minor scattered surface
and “ALEX MINEWSKI...” on the reverse. losses (predominately at edges), mild surface grime.
Oil on canvas, 30 x 24 in. (76.2 x 61.0 cm), framed. $1,000-1,500
Condition: Varnish inconsistencies, craquelure, mild surface grime.
$700-900
459
460
460. 461.
Arthur Oliver Biehl (American, b. 1926) Gordon Steele (American, 1906-1961)
Pasture Docks
Signed and dated “BIEHL ‘64” l.r., identified on labels from Banfer Signed and dated “Gordon Steele/58” u.r., identified on a label affixed
Gallery, New York, and The Corcoran Gallery of Art, Washington, to the reverse.
D.C., affixed to the reverse. Oil on Masonite, 23 1/4 x 43 1/8 in. (59.1 x 109.5 cm), framed.
Tempera on board, 23 1/4 x 23 1/4 in. (59.7 x 59.7 cm), framed. Condition: Retouch, scattered surface losses (predominately at
Condition: Surface grime, extremely minor wear to edges. edges), mild surface grime.
$400-600 $1,000-1,500
461
462
462.
Gordon Steele (American, 1906-1961)
The First Snow

Signed and dated “Gordon Steele/1955” l.l., identified on a label
Casein on paper/board mounted onto panel, 9 3/8 x 27 5/8 in. (23.8
x 70.2 cm), framed.
Condition: Extremely mild wear to corner, mild surface grime.
$1,000-1,500
463.
Rolland Harve Golden (American, b. 1931)
Autumn Splendor
Signed and dated “Golden ‘88” l.r., titled on a label affixed to the
backing.
Gouache on paper, sight size 29 x 21 in. (73.7 x 53.3 cm), framed.
Provenance: Purchased from Bryant Galleries, New Orleans.

$800-1,200
463
464
464. 465.
Paul Kirtland Mays (American, 1887-1961) Laurence Philip Sisson (American, b. 1928)
The Harbor August Sunset

Signed “PAUL MAYS” l.l., identified on a label affixed to the backing. Signed and dated “L. Sisson ‘73” l.l., titled and inscribed in pencil and
Oil on Masonite, 22 1/4 x 28 1/2 in. (56.5 x 72.4 cm), framed. on labels on the reverse.
Condition: Surface grime, abrasions. Watercolor on Arches paper, sheet size 22 1/2 x 30 1/4 in. (57.2 x
$400-600 76.8 cm), unframed.
Condition: Tack holes along edges.
$700-900
465
466
466. 467.
Laurence Philip Sisson (American, b. 1928) Paul Kirtland Mays (American, 1887-1961)
Fruits of the Sea Still Water Cove

Signed “L. Sisson” l.r., titled and inscribed in pencil, on labels, and Signed “PAUL MAYS” l.l., identified on a label and titled on the
with a composition of sand dunes on the reverse. reverse.
Watercolor on Arches paper, sheet size 22 1/2 x 30 1/4 in. (57.2 x Oil on Masonite, 26 3/4 x 32 1/4 in. (67.9 x 81.9 cm), framed.
76.8 cm), unframed. Condition: Surface grime, abrasions.
Condition: Tack holes along edges. $600-800
$800-1,200
467
468.
Louis Kronberg (American, 1872-1965)
Fixing Her Costume

Faintly signed “L. KRONBERG” l.r., inscribed “...Kronberg” and with a
canvas stencil on the reverse.
Condition: Retouch, varnish inconsistencies, surface rubs,
craquelure.
$1,200-1,800
469.
Henry Davenport (American, b. 1882)
Robe and Slippers, a Bedroom Still Life

Signed and indistinctly dated “Henry Davenport...” l.r., identified on an
exhibition label from Smith Kramer Inc. and a label from the Fuller
Museum of Art (see below) affixed to the backing.
Pastel with graphite on paper/board, sight size 15 1/4 x 11 1/4 in.
(38.7 x 28.6 cm), framed.
Exhibitions: Boston Art Club Exhibition, Fuller Museum of Art, July 3-

September 19, 1993.
$600-800
470.
468 Louis Kronberg (American, 1872-1965)
Faintly signed “LOUIS KRONBERG” l.r., “✡” l.r., identified on labels

At The Opera, possibly alternatively titled At the Theater

Condition: Patch reinforcement, craquelure with lifting, light surface
abrasions, surface grime.
$2,000-3,000
469 470
471
471. 473.
Louis Kronberg (American, 1872-1965) Louis Kronberg (American, 1872-1965)
Signed “Louis Kronberg.” l.l. and monogrammed “L✡K” u.l., titled, Signed, dated, and inscribed “1914/LOUIS KRONBERG ✡” l.r.,
No. 1. Dancer in Rose at the Barre Ballet Girl
dated, and inscribed “...Mlle Jose Lorre...Paris 1954...” on the identified on a label from The Buffalo Fine Arts Academy, Albright Art
backing. Gallery, Buffalo, New York, affixed to the backing.
Pastel on paper/board, sight size 19 x 25 in. (48.3 x 63.5 cm), Oil on paper/board mounted to cloth, 25 1/2 x 18 1/2 in. (64.8 x 47.0
framed. cm), framed.
Condition: Not examined out of frame. Condition: Tacks and abrasions to the margins, not examined out of
$800-1,200 the frame.
Exhibitions: Ninth Annual Exhibition of Selected Paintings by

472. American Artists, May 16-August 31, 1914, Albright Art Gallery,
American School, 20th Century Buffalo, New York, cat. no. 73.
$1,000-1,500
White Horses
Signed “C. BROADHEAD” l.r., identified on a label from the Cahoon
Museum of American Art (see below) affixed to the backing.
Exhibitions: Dusty Glory: The Circus in American Art, June 14 to July

30, 2005, Cahoon Museum of American Art, Cotuit, Massachusetts.
$1,000-1,500
472 473
474
474. 476.
Robert Moore Kulicke (American, 1924-2007) Helen Van Wyk (American, 1930-1994)
Roses, 1969 Summer Bouquet

Signed and dated “Bob Kulicke 69” in pencil u.r., also signed and Signed “H. Van Wyk-” l.l., also signed, dated, and initialed “H. Van
dated “Kulicke 69” in pencil l.c., dedicated “for Florence & Jerry” in Wyk -69...H.V.W” on the reverse.
pencil u.l. and “for the Greys” in pen on the backing, identified on a Oil on canvas, 30 1/4 x 24 in. (76.8 x 61.0 cm), framed.
label from Kornblee Gallery, New York, on the backing. Condition: Good.
Oil on artist board, 9 x 10 1/4 in. (22.9 x 26.0 cm), mounted to a $600-800
Plexiglas support.
Condition: Minor surface grime, tack hole u.c.
$2,000-2,500
475.
Franz Lex (Austrian, 1895-1959)
Still Life with Hydrangeas

Signed “Lex” u.r.
$700-900
475 476
477.
Thalia Wescott Malcom (French/American, b. 1888)
Still Life with Books and Anemones

Signed “THALIA MALCOM” l.r.
Condition: Partially lined, retouch.
$800-1,200
477
478.
Frederick W. Oliver (American, b. 1876)
Still Life
Signed “F.W. OLIVER” u.l.
Condition: Lined, retouch (including repaired tear l.c.), craquelure.
$800-1,200
478
479.
Virginia Berresford (American, 1902-1995)
Colorful Bouquet
Signed “Berresford” l.r.
Oil with tooling on canvasboard, 30 x 22 in. (76.2 x 55.9 cm), framed.
Condition: Bowing to support, scattered craquelure.
$1,000-1,500
480.
Doris Emrick Lee (American, 1905-1983)
Grapefruit in Bowl
Signed “Doris Lee” l.c., identified on an Associated American Artists,
New York, label affixed to the reverse.
Condition: Retouch and varnish inconsistencies, signature possibly
reinforced.
$1,000-1,500
479
480
481
481.
Nicolai S. Cikovsky (Russian/American, 1894-1987)
Still Life with Fruit

Signed “Nicolai Cikovsky” l.r.
$800-1,200
482.
Ernest Fiene (American, 1894-1965)
White Roses
Signed “E. Fiene.” l.r., titled, signed, and dated “...ERNEST FIENE
1927” on the reverse, a partial period label from the Museum of
Modern Art, New York, affixed to the reverse.
Oil on board, 14 1/4 x 10 1/4 in. (36.2 x 26.0 cm), framed.
Condition: Mild wear to edges, fine craquelure.
$800-1,200
482
483
483.
Rockwell Kent (American, 1882-1971)
The Avenue, alternatively titled Th’ Avenue

Signed “Hogarth Jr.” in pen u.r., titled in pen l.c., also signed and inscribed “Rockwell Kent/1262 Richmond
Terrace./Staten Island.” in ink on the reverse.
Ink on paper/board, 8 x 10 1/16 in. (20.3 x 25.6 cm), framed.
Condition: Mat burn, paper patches, tape residue verso, taped and glued to window mat along top margin.
Literature: Vanity Fair, January 1916, p. 50; Chappell, George S., A Basket of Poses, New York: Albert and Charles
Boni, 1924.
N.B. The drawing of a busy city avenue scene––replete with cold-weather-bundled dainties and a gendarme directing a
bustle of sport cars, buses and limousines––first appeared as an illustration to George S. Chappell’s “poetic panorama,”
“Th’ Avenue.” The published caption for this illustration is partially incorrect in that it refers to the drawing as “a rare
wood engraving” by William Hogarth, Jr. Although the attribution to William Hogarth, Jr.––Rockwell Kent’s
pseudonym––is correct, the illustration is indeed a brush (possibly pen as well) and ink drawing. (Kent’s drawings were
often misidentified as wood engravings or woodcuts.)
Kent collaborated with George S. Chappell on numerous publication ventures throughout the second and third decades
of the twentieth century, many of which appeared in Vanity Fair and Puck. Kent and Chappell knew each other from
professional architectural circles; the Ewing and Chappell architectural firm, based in New York City, began as the result
of a commission from Kent’s mother, Sarah––a house designed by her architecturally trained son; Kent worked off and
on as a draftsman for Ewing and Chappell (during the first two decades).
This particular illustration, and the poem “Th’ Avenue,” was reprinted in A Basket of Poses – an anthology of Kent’s and
Chappell’s satirical collaborations.
We wish to thank Scott R. Ferris for his assistance with cataloging the lot.
$1,000-1,500
484
484.
Dorothy Pulis Lathrop (American, 1891-1981)
View of Wood Sprites in the Forest

Initialed “D.P.L.” l.r.
Ink on paper, sheet size 4 1/8 x 4 1/4 in. (10.5 x 10.8 cm), framed.
Condition: Taped to window mat.
$1,000-1,500
485.
Maxfield Parrish Jr. (American, 1906-1983)
Lot of Two Illustrated Letters to John Haven Emerson and Irene

Marie Garrett Emerson, c. 1931
Cloth-bound seven-page letter signed “M. Parrish Jr.” in pen on sixth
page, single-page letter unsigned.
Ink and graphite on stationery, sheet sizes to 10 7/8 x 8 3/8 in.,
single-page letter unframed.
Condition: Folds, handling creases.
N.B. John Haven “Jack” Emerson was the cousin of Maxfield Parrish
Jr. through his mother, and the grandnephew of poet Ralph Waldo
Emerson through his father. A designer of scientific instruments and
medical equipment, he is best known as the inventor of an improved
iron lung, which he unveiled in 1931. The design was based on the
work of Philip Drinker and Dr. Louis Agassiz Shaw, but was a more
efficient and economical version.1 Drinker sued Haven for patent
infringement, but the courts sided with Haven. Parrish Jr., who had
helped Haven with illustrations for his company publications, provided
illustrations of the iron lung that were used in the suit. The topic of
the lawsuit and iron lung is depicted with levity on pages 3 and 4 of
the bound letter, which depicts Justice casting a mean gaze on
Drinker.
We wish to thank Alma Gilbert-Smith for her assistance with

cataloging the lot.
1. http://americanhistory.si.edu/collections/object.cfm?key=35&objkey=114
485 $4,000-6,000
486
486.
Indian School, 20th Century
Women Offering Libations

Signed in Hindi with bird cipher “...1947” u.l.
Gouache on illustration board, sheet size 10 1/8 x 16 1/2 in. (25.7 x
41.9 cm), framed.
Condition: Taped to beveled mat.
$500-700
487.
Frank Albert Mechau Jr. (American, 1903-1946)
Darien Lovers
Signed and dated “mechau -44” l.r., titled and identified on labels
Pencil on paper, sight size 28 1/4 x 21 5/8 in. (72.0 x 55.0 cm),
framed.
Condition: Toning, not examined out of frame.
N.B. The artist was an artist-correspondent for Life magazine during

World War II, traveling to U.S. military bases in the Pacific. Darién is a
province in eastern Panama.
$1,000-1,500
487
488
488.
I.W.J. Munut (Indonesian, b. 1941)
Feast Day
Signed “IW. MUNUT.” l.r.
Acrylic on cloth, 35 1/2 x 66 1/2 in. (90.2 x 168.9 cm), framed.
Condition: Subtle staining.
$800-1,200
489.
Orville Bulman (American, 1904-1978)
La Barque Lori, 1970

Signed “Bulman” l.r., titled, signed, and dated “...ORVILLE
BULMAN 1970” on the reverse.
Condition: Surface grime, fine craquelure, pigment
fluorescence.
$2,000-3,000
490.
Henri Robert Brésil (Haitian, 1952-1999)
Landscape with Lake

Monogram signature “HR. Brésil” l.r.
Acrylic on cloth, 16 x 24 in. (40.6 x 61.0 cm), framed.
Condition: Good.

Massachusetts.
$700-900
489
490
491
491.
Orville Bulman (American, 1904-1978)
Le Barque Brumeaux
Signed “Bulman” l.r., titled on a label affixed to the frame liner.
Condition: Craquelure, surface grime, pigment fluorescence.
$10,000-15,000
492.
Attributed to John French Sloan (American, 1871-1951)
Portrait of a Dancing Nude

Signed “John Sloan” in crayon and pen l.r., inscribed “N.A. ‘64” in
pencil on the reverse.
Pastel on paper, sheet size 15 1/2 x 10 3/8 in. (39.4 x 26.4 cm),
framed.
Condition: Rippling, acid burn, cloth tape hinged to backing mat.
Provenance: Acquired by Norton Asner, Baltimore, Maryland, 1964;

by family descent.
$2,000-3,000
492
493.
Raphael Soyer (American, 1899-1987)
Portrait of a Female Nude

Signed “RAPHAEL SOYER” in pencil l.l., identified on a partial label
Watercolor and graphite on paper, sight size 12 x 7 in. (30.5 x 17.8
cm), framed.
$800-1,200
493
494
494.
Aristide Maillol (French, 1861-1944)
Portrait of a Female Nude

Monogrammed “M” l.r.
Conté crayon on paper, 10 5/8 x 9 7/16 in. (27.0 x 24.0 cm), in a
Kulicke frame.
Provenance: A. [Anson] Conger Goodyear, Buffalo, New York, and

Old Westbury, Long Island; by family descent to a private New
England collection.
$2,000-2,500
495.
Jaro Fabry (American, 1912-1953)
He’s Just a Boy about his New Shorts with

‘Grippers’ Fasteners
Signed “Jaro Fabry” l.l., identified on the mat l.c.
Ink wash, gouache, and charcoal on paper, sight size
14 x 16 in. (35.6 x 40.6 cm), framed.
$300-500
495
496.
Sergei Yurievich Soudeikine (Russian, 1883-1946)
Portrait of a Woman with Headwrap, Possibly Anne

Wiggins Brown from Porgy and Bess
Inscribed and signed “1921...S Soudeikine” l.l. in pencil
and pen respectively, inscribed “K1292” in pencil on
the reverse.
Mixed media on paper, 13 1/4 x 11 1/4 in. (33.7 x 28.6
cm), framed.
Condition: Taped to window mat, subtle toning,
trimmed sheet, glue residue verso.
$1,000-1,500
496
497
497.
Adolf Arthur Dehn (American, 1895-1968)
Harlem Orchids
Signed and dated “Adolf Dehn ‘30” l.r., cancelled composition verso.
Ink on paper, sight size 12 3/4 x 19 1/2 in. (32.4 x 49.5 cm), framed.
Condition: Mat burn, toning, staining, subtle rippling, mat boards
adhered together so that the entire sheet cannot be viewed.
N.B. This composition is related to the lithograph of the same title

from 1931.
$500-700
498
498. 499.
Charles Dixie Jarrett (American, 1893-1947) Tom Lovell (American, 1909-1997)
Enjoy More Leisure, Let White King’s Longer Lasting Suds Do The Bridge
the Work, Probably a Design for a Billboard Signed and dated “TOM LOVELL ‘47” l.r., stamped “BY THE ARTIST/
Signed “CHAS A./JARRETT.” l.r. TOM LOVELL” on the stretcher, inscribed “TOM LOVELL” and
Oil on canvas, 22 x 42 1/2 in. (55.9 x 107.9 cm), framed. “COMP. THE BRIDGE” on the stretcher, identified on a presentation
Condition: Lined, retouch, surface grime. plaque, inscribed “PROPERTY OF MICHAEL D. DINGMAN” on a label
$500-700 affixed to the reverse.
Oil on canvas, 25 x 36 in. (63.5 x 91.4 cm), in a frame with a label
from House of Heydenryk, New York, affixed to the reverse.
Condition: Scattered retouch, fine scattered craquelure, mild surface
grime.
$600-800
499
500
500.
Norman Rockwell (American, 1894-1978)
Portrait of Alice
Titled, signed, and dated “...Norman/Rockwell/1966” l.r.
Graphite and colored pencil on paper, sight size 14 x 10 in. (35.6 x
25.4 cm), framed.
Provenance: Commissioned of the artist by the sitter’s mother, New

York.
Literature: Moffatt, Laurie Norton, Norman Rockwell: A Definitive

Catalogue, Volume II, Hanover: The University Press of New England,
1986, No. P3, (illus.).
N.B. Though Norman Rockwell did not consider himself a portraitist,

his skill with capturing a range of expression and emotion made him
highly sought-after for commissioned portraits. By 1968, he counted
among his sitters several American presidents, astronauts, publishers,
and politicians.
$8,000-12,000
501 502
501. 502.
Walt Disney Studios (American, 20th Century) Joe Mathieu (American, 20th/21st Century)
Figaro/An Animation Cel from Pinocchio, c. 1940 Book Cover Illustration for Big Bird Plays the Violin
Unsigned, titled on the mat in pencil l.l. Signed “Joe Mathieu” in pencil l.r., identified and inscribed with
Gouache on celluloid with a painted presentation background, sight production marks in pencil l.l.
size 3 3/8 x 3 5/8 in. (8.6 x 9.2 cm), unframed. Luma dye and colored pencil, sheet size 17 x 14 in. (43.2 x 35.6 cm),
Condition: Good. unframed.
$800-1,200 Condition: Crop marks to the margins.
Provenance: From the collection of the artist.
Literature: Hautzig, Deborah and Joe Mathieu (illustrator), Big Bird

Plays the Violin, New York: Random House/Children’s Television
Workshop, 1991.
N.B. A copy of Big Bird Plays the Violin accompanies the lot.
$1,000-1,500
503.
Walt Disney Studios (American, 20th Century)
Lot of Two Animation Cels of Peter Pegasus (Baby Pegasus)

from Fantasia, c. 1940
Unsigned, each stamped “WDP” [Walt Disney Productions] l.r. or l.l.,
both with labels from Courvoisier Galleries, San Francisco, affixed to
the backing.
Gouache on celluloid with a painted Courvoisier presentation
background, sight sizes to 6 3/4 x 8 in. (17.1 x 20.3 cm), framed.
N.B. Peter Pegasus was featured in the Pastoral Symphony

sequence of Fantasia.
$400-600
503
504
505
504. 505.
Claude Dixon Coats (American, 1913-1992) Walt Disney Studios (American, 20th Century)
Background Scene for Walt Disney’s Lady and the Tramp The Queen/An Animation Cel from Snow White and the Seven
Unsigned, production marks in the margins. Dwarfs, c. 1937
Gouache and graphite on paper, sheet size 12 x 40 in. (30.5 x 101.6 Unsigned, titled on the mat in pencil l.l., with a label from Albert
cm), unframed. Roullier Art Galleries, Chicago, on the backing.
Condition: Tape residue to the margins, minor tears to edges, subtle Gouache on celluloid with a painted presentation background,
handling creases. probably Courvoisier, sight size 11 1/4 x 10 5/8 in. (28.6 x 27.0 cm),
framed.
Provenance: Ex-collection of Disney artist Ralph Kent.
Literature: “Claude Coats: Prototypical Imagineer,” The ‘E’ Ticket, $1,000-1,500
Issue #31, Spring 1999, p. 6 (illustrated).
N.B. Coats, a studio and concept designer for Walt Disney

Imagineering, joined the Walt Disney Studio in 1935 as a background
painter. In addition to Lady and the Tramp, he is credited with the
background and color styling of Snow White and the Seven Dwarfs
as well as Fantasia.1
A copy of The ‘E’ Ticket accompanies the lot.
1. “The Passing of a Legend-Claude Coates Dies at Age 78,” It Takes People, Disney
Newsreel, January 17, 1992.
$1,000-1,500
506
506.
Cecil Kennedy (British, 1905-1997)
Lot of Two Floral Still Lifes: Spring and Autumn

Both signed “Cecil Kennedy” l.r., identified on labels from The Fine Art
Society Ltd., London, affixed to the reverse, and with C. Roberson
canvas stencils, Spring with pencil inscription on the stretcher,
Autumn inscribed and titled “SET OF FOUR...” on the reverse.
Oil on canvas, 9 x 7 in. (22.9 x 17.8 cm), framed (under glass).
$700-900
507
507. 508.
Charles Whedon Rain (American, 1911-1985) Robert Douglas Hunter (American, b. 1928)
The Sundial Orange

Signed “C. Rain” l.r., titled and inscribed “....C. RAIN/JAN 1964/NEW Signed “ROBERT DOUGLAS HUNTER” l.l., identified on a
YORK” on the reverse, identified on a label from the Banfer Gallery, presentation plaque and a label from Grand Central Art Galleries, New
New York, and an exhibition label from the Essex County Section York, on the reverse.
National Council of Jewish Women “American Art at Mid Century” Oil on canvas, 12 x 18 1/2 in. (30.5 x 47.0 cm), framed.
affixed to the reverse. Condition: Surface grime, abrasions and canvas deformations to l.l.
Oil on Masonite, 7 7/8 x 10 in. (19.9 x 25.4 cm), framed. and l.r. quadrants.
Condition: Retouch (including area of signature), fine craquelure. $800-1,200
$600-800
508
509.
Two Figures
Indistinctly signed and dated “...1931” l.r.
Watercolor over graphite on paper laid down onto board, sight size
17 1/2 x 13 in. (44.5 x 33.0 cm), framed.
Condition: Mat burn, not examined out of frame.
$600-800
510.
Hazel Janicki Teyral (American, 1918-1976)
The Gathering
Signed and dated “Hazel Janicki Teyral 1946” l.r., signed or inscribed
“HAZEL JANICKI TEYRAL/CLEVELAND 1946” on the reverse.
Tempera on Masonite, 12 x 20 in. (30.5 x 50.8 cm), framed.
$400-600
509
510
511
511. 512.
Continental School, 20th Century Maurice Compris (French, 1885-1939)
Figures Portrait of a Woman by a Mantel

Signed “J. ALVARO” l.r., identified on a label affixed to the reverse. Signed “M...” l.l.
Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Oil on canvas, 40 x 35 3/4 in. (101.6 x 90.8 cm), framed.
Condition: Good. Condition: Minor retouch, varnish inconsistencies.
$400-600 $1,000-1,500
512
513
513. 514.
Channing Weir Hare (American, 1899-1976) Paul Bough Travis (American, 1891-1975)
Surrealist Portrait of a Woman The Bullfight

Signed and dated “Channing Hare 1945” l.l., stamped “FROM THE Signed, dedicated, and dated “PAUL B. TRAVIS/TO TOM AND
ESTATE OF/CHANNING HARE/(1899-1976)” on the stretcher. NANCY/1950” l.r.
Oil on canvas, 34 x 30 in. (86.4 x 76.2 cm), framed. Oil on Masonite, 30 3/4 x 28 5/8 in. (78.1 x 72.7 cm), framed.
Condition: Minor surface grime. Condition: Tack holes to margins, surface grime, abrasions.
$800-1,200 $1,000-1,500
514
515.
Alexandre Evgenievich Iacovleff (Russian, 1887-1938)
Paysage Fantastique
Stamped indistinctly l.r., identified on a label from Robert C. Vose,
Boston, affixed to the backing paper.
Gouache on paper, 22 x 14 1/8 in. (55.9 x 35.8 cm), framed.
Condition: Toning, mild acid burn, soiling, foxing to the reverse.
$1,000-1,500
515
516.
Lawrence Edward Kupferman (American, 1909-1982)
Landscape of the Mind XI, 1964

Signed “Kupferman” l.r., also inscribed, titled, signed, and dated
“...XD:1,804.G... Lawrence Kupferman-1964” on the reverse.

$1,200-1,800
516
517.
Howard Rose (American, 20th/21st
Century)
A Find on the Beach

Signed “HRose” l.r., titled on a tag affixed to
the reverse, a label from Chrysalis Gallery,
Southampton, New York, affixed to the
stretcher.
Oil on canvas, 36 x 35 3/4 in. (91.4 x 90.8
cm), unframed.
Condition: Tape to the tacking edge,
scattered varnish inconsistencies.
$600-800
517
518.
Hal Singer (American, 1919-2003)
Portrait of a Boy in a Tree

Signed “-HAL SINGER” l.r.
Oil on canvas, 22 x 28 in. (55.9 x 71.1 cm),
framed.
Condition: Good.
$700-900
518
519
519.
R.C. Gorman (American, 1932-2005)
Portrait of a Woman in Blue Shawl

Signed and dated “R.C. Gorman 1983” l.r.
Oil pastel on paper, sight size 28 1/2 x 22 1/2 in. (72.4 x 57.2 cm),
framed.
$3,000-5,000
520
520.
Diego Rivera (Mexican, 1886-1957)
Skyline, Florence, Italy

Signed and dated “Diego Rivera. 21” in pencil l.r.
Graphite on paper, sheet size 8 3/8 x 10 5/8 in. (21.3 x 27.0 cm),
unframed.
Condition: Acid burn to l.l. quadrant, tear to u.l. and l.l. quadrants,
glued to backing sheet at corners.
Provenance: Collection of Caroline Johnston (née Ramsay) Chandler

of Wilmington, Delaware, (b. 1893), by family descent to private
collection, Maine. Caroline Ramsay Chandler was the eldest
daughter of William Gouverneur Ramsay, a civil engineer and vice
president of E.I. du Pont de Nemours & Company. She was a
student of the Woodstock Art Colony, an artist in watercolors and
oils, as well as an art collector. She traveled to Mexico in the 1930s,
and is believed by her family to have acquired art on this trip,
including the present work.
$4,000-6,000
521
521.
Giorgio De Chirico (Italian, 1888-1978)
Untitled Landscape with Petrified Boat and Figures [The Dioscuri], c. 1925 and Untitled Portrait of Gala Dali, c. 1924-25/A
Double-sided Work
Landscape signed “G. de Chirico” in pencil l.r., Portrait signed and inscribed “Le retour a une suite...G. de Chirico” l.r. and
inscribed “Madame Gala Dali” in a later hand l.c.
Graphite on paper, sight size 12 x 9 in. (30.5 x 22.9 cm), framed.
Condition: Subtle foxing, pinhole u.c.
Provenance: From the Hillman Family Collection by descent to Alex Hillman; private collection c. 1990s.
Literature: Emily Braun, Manet to Matisse: The Hillman Family Collection, Seattle: University of Washington Press, 1994, pp. 54-57
(illus.).
N.B. In Emily Braun’s analysis of the landscape composition of the present work, she notes that the two figures depicted in the
foreground may allude to the twin sons of Zeus, Castro and Polydeuces—also known as the Dioscuri—but may also represent the
artist and his brother, Alberto Savinio.1 Supporting this interpretation, Braun cites the depiction of eyes in the lower left, which
commonly represented for De Chirico “the visionary powers of the artist” or “the omnipotence of the gods.”2 Of the portrait
composition on the reverse, Braun contextualizes the work within the Parisian surrealist circle of Paul Eluard, Gala Dali’s first
husband. She notes that Eluard was a patron of De Chirico c. 1923, and that De Chirico associated with the couple through
1926.3
1. Emily Braun. Manet to Matisse: The Hillman Family Collection. Seattle: University of Washington Press, 1994, p. 54.
2. Ibid.
3. Ibid., 55.
$5,000-7,000
522
522.
Stille Nacht Heilige Nacht, c. 1922

Signed “Grosz” in pen l.r., inscribed and titled “...ca. 1922...Eltern...” with a stamp from the George Grosz
Nachlass on the reverse.
Condition: Center crease, subtle rippling and foxing, mat burn, subtle toning, cloth tape hinged to backing
mat, tape residue to the reverse.
Provenance: Purchased from Galleria dell’Obelisco Rome, Italy; collection of Melvin B. Nessel, Boston,
Massachusetts.
N.B. We wish to thank Ralph Jentsch who kindly confirmed the authenticity of the lot and assisted with its
cataloging. The work is registered as no. 3-10-2 with the George Grosz Estate, and will be included in
Ralph Jentsch’s forthcoming catalogue raisonné of the artist.
The present work is a preliminary drawing related to a published work of the same year, which has been
reproduced under the titles, “Gottes sichtbarer Segen ist bei mir.,” from Friedrich Schiller, Die Raüber (Act II,
Scene 3), Plate 6, Der Malik-Verlag, Berlin, 1922; “Ein trautes Weib, ein herzig Kind, das ist mein Himmel auf
der Erde.,” from George Grosz, Abrechnung folgt!, Der Malik-Verlag, Berlin, 1923, p. 31; and “Gottes
sichtbarer Segen ruht auf uns,” from George Grosz, Die Gezeichneten, Der Malik-Verlag, Berlin, 1930, p. 43.
A single plate from the portfolio Die Raüber has appeared annotated by Grosz with the same title of the
present work.
$6,000-8,000
523
523.
Acrobatentänzer, 1915
Unsigned, with stamp from the George Grosz Nachlass on the reverse, inscribed “TR
1479.186” in pencil l.r. and “LyNr 1248” in pencil on the reverse, identified on a
partial label from Retina Gallery, Inc., Boston, on the backing.
Ink on laid paper, sheet size 11 3/8 x 8 7/8 in. (28.9 x 22.5 cm), unframed.
Condition: Subtle handling creases, tape hinged to backing mat.
Provenance: Estate of Eleanor Kanegis Levin, East Gloucester, Massachusetts.
N.B. We wish to thank Ralph Jentsch who kindly confirmed the authenticity of the
lot and assisted with its cataloging. The work is registered as no. 3-40-4 with the
George Grosz Estate, and will be included in the forthcoming catalogue raisonné of
the artist.
$3,000-4,000
524
524. 525.
Jean Dufy (French, 1888-1964) Jean Dufy (French, 1888-1964)
Le concert Les Cavaliers, 1945

Signed “Jean Dufy” l.l., identified on a label from Coleman Art Gallery, Bears signature “Jean Dufy” in pencil l.l., identified on a label from
Philadelphia, affixed to the backing. Carel Gallery, Miami Beach, Florida, on the backing.
Gouache on paper, sheet size 10 7/8 x 20 in. (27.6 x 50.8 cm), Gouache, watercolor, and graphite on paper, sheet size 10 7/8 x 15
framed. 5/8 in. (27.6 x 39.7 cm), framed.
Condition: Masking taped to window mat on the reverse. Condition: Laid down to Masonite, toning, graphite marks in the
margins, water stain to the u.r. quadrant.
N.B. We wish to thank Jacques Bailly for kindly confirming the
authenticity of the lot. The work will be included in his forthcoming N.B. We wish to thank Jacques Bailly for kindly confirming the
catalogue raisonné on the artist, and a photo-certificate (No. 4128) authenticity of the lot, and a photo-certificate (No. 4129)
accompanies the lot. accompanies the lot.
$6,000-8,000 $6,000-8,000
525
526
526.
Jean Dufy (French, 1888-1964)
Clowns musiciens, c. 1950-1952

Signed “Jean Dufy” l.r., inscribed “No. 18597-3” on a stamp from
Hammer Galleries, New York, and with a label from Arthur Lenars &
Cie, Paris, on the reverse.
Condition: Good.
Provenance: By family descent c. 1984.
N.B. We wish to thank Jacques Bailly for kindly confirming the

authenticity of the lot. The work will be included in his forthcoming
catalogue raisonné on the artist, and a photo-certificate (No. 4127)
$10,000-15,000
527.
Theodoros Stamos (Greek/American, 1922-1997)
Untitled/A Wall Hanging

Signed “Stamos” within the matrix l.l.
Hooked wool, 86 x 47 in. (218.4 x 119.4 cm), on a metal rod.
Condition: Subtle shade variations.
Provenance: Estate of Joan E. Goody, Boston, Massachusetts.
Literature: Design New England, March/April, 2010, p. 45, (illus.).

$700-900
528.
Reuben Tam (American, 1916-1991)
The South Wind

Signed “Tam” in pencil l.r., titled in pencil l.l., identified on a label from
The Brooklyn Museum Art School Exhibition affixed to the backing.
Ink and graphite on paper, sight size 14 1/2 x 17 1/4 in. (36.8 x 43.8
cm), framed.
Exhibitions: The Brooklyn Museum Art School Exhibition, Faculty

Christmas Show, December 12, 1972.
$500-700
527
528
529
529.
Bao Lede (Chinese, b. 1959)
Early Spring in Provincetown, 2007

Signed and dated “Bao Lede ...07” on the reverse.
Oil and ink on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed.
Condition: Good.
N.B. Bao Lede received his fine arts degree from Tianjin Academy of
Fine Arts, where he taught for a brief period after graduation. In
1989, he came to the United States to pursue his MFA at Pittsburgh
State University, and has been working on Cape Cod for over a
decade.
$2,000-2,500
530.
Gabor F. Peterdi (American, 1915-2001)
Black Table I, 1957

Signed and dated “Peterdi 57” l.r., also signed, titled, and dated
“PETERDI 57...” and identified on a label from Kanegis Gallery,
Boston, on the strainer bars.
Condition: Good.

Massachusetts.
N.B. A copy of Gabor Peterdi: Paintings by Burt Chernow, published

by Taplinger Publishing Company, New York, 1982, accompanies the
lot.
$2,000-3,000
530
531 532
531.
Lot of Two Works: Two Lovers in the Yellow House and Untitled
Lovers initialed “MTG” l.r., titled and dated “...1963” on the stretchers,
Untitled initialed “MG” l.r., signed and dated “Michiel Gloeckner 70”
on the stretcher.
Oil on canvas, sizes to 10 x 8 in. (25.4 x 20.3 cm), framed.
Condition: Lovers with minor surface grime.
$800-1,200
532.
Michel Moreno (French, b. 1945)
Composition-Syntho-Chromisme
Titled, inscribed, and signed “...M-Moreno” in pen on the reverse.
Condition: Craquelure, minor losses/abrasions.
$1,000-1,500
533.
Untitled
Unsigned, inscribed “Michiel Gloeckner” in pen on the reverse.
Condition: Subtle warping.
$800-1,200
533
534
534.
Lyonel Feininger (American, 1871-1956)
It Happened in a Dream, 1946

Signed “Feininger” in pen and inscribed “...L.F.” in pencil l.l., dated
“1946” in pen and titled in pencil l.r., inscribed “2470/36 R.R.
12157/70” in pencil on the reverse.
Ink, gouache, and graphite on laid paper, sheet size 12 1/2 x 18 7/8
in. (31.8 x 47.9 cm), framed.
Condition: Tape residue to all edges recto and corners verso, cloth
tape hinged to backing mat.
Provenance: Purchased from Obelisk Gallery, Boston; collection of

Melvin B. Nessel, Boston, Massachusetts.
N.B. We wish to thank Achim Moeller of the Lyonel Feininger Project,

LLC, for his assistance in cataloging the lot. The work is included in
the Lyonel Feininger Archives of drawings and watercolors as no.
280-01-05-10, and a photo-certificate from Achim Moeller
$40,000-60,000
535
535.
Yves Tanguy (French/American, 1900-1955)
Un peu après [A Little Later], 1940

Signed and dated “YVES TANGUY 40” l.r., inscribed “Yves Tanguy ‘Un peu après’ Pierre Matisse
Gal 41 E 57” in pencil and identified on a label from Acquavella Galleries, Inc., New York, on the
reverse.
Oil on canvas mounted to Masonite, 18 x 15 in. (45.7 x 38.1 cm), framed.
Condition: Subtle craquelure, minor retouch, minor surface grime.
Provenance: Mr. Edward C. Mack and Mrs. Ruth C. Mack, New York City and New Rochelle,
New York; gift to their daughter, Mary Lee Ingbar, Cambridge, Massachusetts.
Literature: Yves Tanguy [November 7 to December 7, 1974] (New York: Acquavella Galleries, Inc.,
1974), no. 23 (illus.); Yves Tanguy: Un Recueil de ses oeuvres (New York: Pierre Matisse Gallery,
1963), no. 259 (illus.), p. 120; European Artists in America, Whitney Museum of American Art,
March 13 to April 11, 1945, (exh. cat., no. 130).
Exhibitions: Yves Tanguy, November 7 to December 7, 1974, Acquavella Galleries, Inc., New
York, no. 23; European Artists in America, Whitney Museum of American Art, March 13 to April
11, 1945; Exhibition of Paintings by Yves Tanguy, Pierre Matisse Gallery, April 21 to May 9, 1942.
Tanguy left France for the United States in 1939, where he developed a new painting vocabulary.
He noted “a feeling of greater space here—more ‘room’” and an “intensification of color” which
the art historian Roland Penrose described as Tanguy’s substitution of earth tones for “more
strident reds and blues.”1
Of Tanguy’s work of the 1940s, the poet John Ashbury observed forms of “new bulk and density”;
“The [depicted] universe is no longer exclusively mineral; some of its tenants appear to be made of
wood, paper or cloth. There are strange tissue-like folds, bones creatures not only colored like
jellyfish but of some viscous milky white/or magenta pulp, weeping, burning to the touch like
sodium. And these forms have begun to proliferate, pullulate, assuming ever more complex,
incestuous relationships.”2 What Ashbury alludes to is the way that Tanguy’s compositions can be
at once animate and static, organic and inorganic, whole and fragmented, nature-sprung and
man-made. In the present work, simply in the way he aggregates forms, Tanguy evokes an
absurd notion of hierarchy amongst what are essentially automatons. There are human-like
appendages that suggest the potential for movement but little sense of a motive for action. Even
though the cast shadows convey solidity, each aggregate can also be reduced to a precarious pile
of parts. The scene can be interpreted as both desolate and fanciful—a wasteland of parts as
much as a quixotic landscape with figures on a journey.
We wish to thank the Yves Tanguy Committee of the Pierre and Tana Matisse Foundation for their
assistance with cataloging the lot. It is the Yves Tanguy Committee’s intention to include this oil
on canvas in the revised edition of the Yves Tanguy catalogue raisonné.
1. Sweeney, James Johnson, “Eleven Europeans in America,” The Bulletin of the Museum of Modern Art, Vol. 13, No. 4/5 (New
York: The Museum of Modern Art), 1946, p. 23.
2. Ashbury, John, “Tanguy-The Geometer of Dreams,” Yves Tanguy [November 7 to December 7, 1974] (New York: Acquavella
Galleries, Inc., 1974).
$300,000-500,000
536.
Abstract Composition in Orange, Yellow, Maroon,

Gray, and Black
Signed and dated “Filipowski 47” l.r.
Graphite, colored pencil, gouache, and ink on
Strathmore paper, sight size 28 1/2 x 22 3/8 in. (72.4 x
56.8 cm), framed.
Condition: Scattered foxing, light scattered
soiling/staining, not examined out of frame.
Provenance: Gift from the artist.

$1,500-2,500
536
537.
Edmondo Bacci (Italian, 1913-1978)
B-5
Signed “BACCI” l.c., signed and titled “E. BACCI...” on
the reverse, inscribed “...F.C. Matthae,/1025 5th
Avenue/New York 28/N.Y. U.S.A.” on a period label
Mortar with ink and tempera on board relief mounted
onto Masonite, 3 1/2 x 3 1/2 in. (8.9 x 8.9 cm), framed
(under glass).
Condition: Surface dust/grime, not examined out of
frame.
$600-800
537
538
538.
Abstract Composition in Red, Violet, Orange, Gray, and Black

Signed and dated “Filipowski 47” l.r.
Graphite, colored pencil, and gouache on Strathmore paper, image
size 28 x 22 in. (71.1 x 55.9 cm), frame accompanies the lot.
Condition: Scattered foxing, light scattered soiling/staining.

$1,500-2,500
539
539. 540.
Richard E. Filipowski (American, 1923-2008) Richard E. Filipowski (American, 1923-2008)
Abstract Glasses and Bottles, a Composition in Red, Yellow, and Abstract Composition
Black Initialed and dated “F/48” l.r., dedicated, signed, and dated “Happy
Signed and dated “Filipowski 45” l.r., stamped “Richard Filipowski” on Birthday to/Ann/Filip. 6/17/61” on the backing.
the reverse. Ink, gouache, and pastel on paper, sheet size 8 5/8 x 11 in. (21.9 x
Gouache and graphite on Crescent Illustration Board, board size 15 x 27.9 cm), sandwiched between glass and backing board.
20 in. (38.1 x 50.8 cm), unframed, wrapped in Cellophane. Condition: Toning, staining, rippling, not examined out of
Condition: Bowing to support, scattered soiling/staining, toning, not glass/backing.
examined out of Cellophane (with tears/losses to Cellophane wrapper $600-800
at corners).

$800-1,200
540
541
542
541.
Josef Scharl (German/American, 1896-1954)
Lot of Five Works: Ascending Moon, 1st Version; Sketch for Econ-Verlag, 1967, a copy of Grimm’s Fairy Tales, published by
Gethsemane; Nude IV; Harvest Time; and Still Life Pantheon Books, New York, and photographs after works by Josef
Moon signed and dated “Jos. Scharl/1954” l.l.; Gethsemane signed Scharl accompany the lot.
and dated “Jos. Scharl/1944” in pen l.r., titled l.l.; Nude signed, dated $1,000-1,500
and titled “Jos. Scharl/1952...” in pen l.l.; Harvest signed and dated
“Jos. Scharl/1949” in pen l.l., titled l.r.; Still Life signed “Josef Scharl” 542.
in pencil l.r.; Moon tempera on paper, Gethesmane, Nude IV, and Richard E. Filipowski (American, 1923-2008)
Harvest Time, ink on paper, Still Life screenprint on paper, sheet sizes
to 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm), Moon and Still Life framed, Abstract with Yellow and Blue Discs
others unframed. Signed and dated “Filipowski ‘96” l.r., inscribed “Richard E.
Condition: Moon with minor losses to edges, not examined out of Filipowski/10 Round Hill Road/LEXINGTON MA” in the artist’s hand
frames. on the reverse.
Ink and gouache on paper, sheet size 15 x 22 1/2 in. (38.1 x 57.0 cm),
Provenance: Gift from the late collection of Mr. and Mrs. Carl Polk, framed.
Long Island, New York and Midwale, New Jersey, to the present Condition: Tape residue u.r. and u.l., deckled edges, mild scattered
owner. soiling/staining, not examined out of frame.
N.B. Three Josef Scharl exhibition booklets from Galerie St. Etienne, Provenance: Gift from the artist.
New York; a copy of the book Josef Scharl, published by Nierendorf $800-1,200
Editions, 1945 (edition of 1000 unnumbered copies), a copy of the
journal Print, Volume 9, No.4, March-April 1955, a copy of the book
Funfzig Zeichnungen zum Alten und Neuen Testament, published by 543.-545.
No lots.
546.
José Guerrero (Spanish/American, 1914-1992)
Untitled, 1956
Signed and dated “Jose Guerrero 1956” l.l.
Ink on paper, 25 1/2 x 19 1/2 in. (64.8 x 49.5 cm), framed.
Condition: Subtle toning, subtle rippling, paper loss l.l., not examined
out of frame.
Provenance: Purchased from the artist, by family descent to a private

New England collection.
N.B. We wish to thank the Centro José Guerrero for their assistance
with cataloging the lot; the work will be included in their forthcoming
digital catalogue raisonné.
$2,500-3,500
547.
Untitled, 1960
Signed and dated “Jose Guerrero 1960” l.l.
Ink on paper, 26 1/4 x 40 in. (66.7 x 101.6 cm), framed.
Condition: Subtle toning, minor paper loss, not examined out of
frame.
Provenance: Purchased from the artist, by family descent to a private

New England collection.
N.B. We wish to thank the Centro José Guerrero for their assistance
546 in cataloging the lot; the work will be included in their forthcoming
digital catalogue raisonné.
$3,000-5,000
547
548
548.
Untitled
Signed “Jose Guerrero” l.l., dedicated “...ON HIS DAY OF BIRTH NOVEMBER 18, 1961/FROM HIS MOTHER
AND FATHER.” on the reverse.
Oil and mixed media on canvas, 40 x 44 in. (101.6 x 111.7 cm), framed.
Condition: Craquelure, lifting, alligatoring, canvas deformations, surface grime.
Provenance: Purchased from the artist, by family descent to a private New England collection.
N.B. Spanish-born José Guerrero first arrived in New York in 1950 with his American wife, Roxane Whittier
Pollock. The couple settled in Greenwich Village (with Guerrero setting up a studio in the adjacent SoHo
District), but also passed summers at a rental house on Martha’s Vineyard. Guerrero remained in New York
for the next eight years, where on the introduction of his dealer Karl Bucholz, he was introduced to Betty
Parsons. Through Parsons’ circle, Guerrero met fellow abstract expressionist artists Franz Kline, Mark Rothko,
and Robert Motherwell.1 Guerrero’s work of the 1950s through mid-1960s is characterized by his use of
industrial materials, including silicate, to call attention to the materiality of the two-dimensional surface.
We wish to thank the Centro José Guerrero for their assistance with cataloging the lot; the work will be
included in their forthcoming digital catalogue raisonné.
1. http://www.centroguerrero.org/index.php/1947/122/0/?&L=undefined
$10,000-15,000
549.
Leonardo M. Nierman (American, b. 1932)
Column of Light
Signed “Nierman” l.r.
Oil on Masonite, 31 1/2 x 23 1/2 in. (80.0 x 59.7 cm), framed.
Condition: Minor surface abrasions.
Provenance: Purchased from Bryant Galleries, New Orleans.

$800-1,200
549
550.
Paul Henry Brach (American, 1924-2007)
Untitled #13, 1959

Signed and dated “Brach ‘59” l.r., identified on a label from Leo
Castelli Gallery, New York, affixed to the backing.
Oil on paper mounted to board, 28 5/8 x 23 3/8 in. (72.7 x 59.4 cm),
framed.
Condition: Minor surface grime, surface abrasions.
$700-900
550
551
551.
Jon Kuhn (American, b. 1949)
Jack Flash, 1991

Incised signature, date, and title “Jon Kuhn 1991...” on the underside.
Cut and bonded glass, 12 3/4 x 4 7/8 x 4 1/2 in. (32.4 x 12.4 x 11.4
cm).
Condition: Good.
Provenance: Purchased from Heller Gallery, New York, 1991.

$3,000-5,000
552
552. 553.
Kahlil George Gibran (American, 1922-2008) Paul Nash (British, 1889-1946)
Lot of Two Works: Untitled [Sculpture] and Study for Untitled Landscape
Sculpture stamped “K.GIBRAN” l.r., Study signed “Kahlil Gibran” in Signed “Paul Nash” l.r., identified on labels including one from the
pencil u.r., dedicated and inscribed “SIDNEY/HAPPY BIRTHDAY-...” Corcoran Gallery of Art, Washington, D.C., affixed to the backing.
l.l. Watercolor and pencil on paper, sight size 10 1/2 x 19 in. (26.7 x
Sculpture carved mahogany wood and metal, mounted to a wood 48.3 cm), framed.
plinth, 72 x 9 x 9 in. (182.9 x 22.9 x 22.9 cm), Study graphite and Condition: Not examined out of frame.
conté crayon on paper, sheet size 20 1/8 x 23 7/8 in. (51.1 x 60.6
cm), unframed. Exhibitions: Summer’s Lease [Loan by Washington Area Collectors],
Condition: Sculpture good; Study with handling creases. Corcoran Gallery of Art, June 13 to August 31, 1972.
$4,000-6,000
Provenance: Commissioned of the artist, February 1961; from the
estate of Mary Lee Ingbar, Cambridge, Massachusetts.
N.B. An autographed first edition copy of Sculpture Kahlil Gibran

(The Bartlett Press: Boston, 1970), accompanies the lot.
$3,000-5,000
553
554.
Peter Blume (American, 1906-1992)
Tree in Snow
Signed “P. BLUME” u.r.
Ink, charcoal, and pastel on paper, sheet size 20 x 17 1/4 in. (50.8 x
43.8 cm), framed.
Provenance: Purchased from Durlacher Bros., New York, November

1964; from the estate of Mary Lee Ingbar, Cambridge,
Massachusetts.
Exhibitions: Peter Blume: Paintings and Drawings, Durlacher

Brothers, October 27 to November 21, 1964.
$3,000-5,000
555.
Gerhard Marcks (German, 1889-1981)
Büffelkuh, 1953
Ciphered and stamped “...RICH. BARTH BLN. MARIENDORF” on the
underside.
Bronze with dark brown patina, 14 3/16 x 20 7/8 x 6 in. (36.0 x 53.0
x 15.2 cm).
Condition: Minor abrasions.
554
Literature: Rudloff, Martina, Gerhard Marcks, 1889-1981:
Retrospektive, Munchen: Hirmer, 1989, p. 307 (illus.); Blaum, Rudolf,
et al., Gerhard Marcks Und Die Antike, Heidelberg: Edition Braus,
1993 (illus.); Marcks, Gerhard and Martina Rudloff, Gerhard Marcks:
Das Plastische Werk, Frankfurt: Propylaen Verlag, 1977 (illus. pl. 52),
no. 609.
N.B. Animals were an early subject for Marcks, and one he revisited
after World War II. In an essay on his work between the years of
1951 to 1961, Marcks recalls Myron’s Cow, which was praised by
both Pliny and Goethe as expressing qualities above mere naturalistic
representation—balance and harmony—in discussing his own
complicated feelings about animals as his muse. “Animals were my
first friends and models,” he writes, noting that when life was difficult
“I again escaped to the [Berlin] Zoo, fancying that I could find peace
only with animals—creatures who wanted nothing of me, and of
whom I wanted nothing but permission to admire them.”1 It was his
growing empathy with animals, however, that lead him eventually to
disregard the zoo as “imprisonment.” “I saw them now exactly in
correspondence to ourselves, often cruelly deformed by slavery...but
always undisguised, in their unambiguous expressive power.”2
1. Marcks, Gerhard, “Gerhard Marks on his Life and Work,” The Massachusetts Review, Vol. 2,
No. 3 (Spring 1961), p. 519.
2. Ibid.
$6,000-8,000
555
556
556. 557.
Jan Matulka (Czechoslovakian/American, 1890-1972) Suzanne Roger (French, 1899-1986)
Still Life with Conch Shell and Portrait Bust of Voltaire La salle à manger, 1950
Signed “Matulka” in ink l.l., with a label from Mrs. E. Ives Bartholet, Signed “Suzanne Roger” l.l., identified on a label from Saidenberg
Art Consultant, on the reverse. Gallery, New York, on the backing, titled on the stretcher in pencil,
Oil on canvas, 20 x 23 1/2 in. (50.8 x 59.7 cm), framed. stamped “Galerie Louise Leiris” on a label from Galerie Simon, Paris,
Condition: Craquelure, lined, surface grime. affixed to the stretcher.
$3,000-4,000 Oil on canvas, 8 3/4 x 10 3/4 in. (22.2 x 27.3 cm), framed within a
liner.
Condition: Subtle canvas deformations.
$700-900
557
558
558.
Graham Vivian Sutherland (British, 1903-1980)
Tree Roots: Dwarf Oak, 1949

Signed and dated “Sutherland 1949” in pen l.r., identified on a label from The Redfern Gallery,
Ltd., London, on the backing.
Mixed media on paper mounted to matboard, sheet size 4 3/8 x 7 3/8 in. (11.1 x 18.7 cm),
framed.
Condition: Trimmed sheet, mat burn, subtle toning.
N.B. The present work is an example of Sutherland’s lifelong fascination with organic forms and
fragments found in nature, particularly roots and branches. For Sutherland, these subjects are
not simply cold specimen studies, though depicted close-up. In the present work, energetic lines
create stark contrasts between surfaces and recesses, giving the object a sense of twisting in
space. Sutherland spoke of dwarf oaks as having “the most extraordinary beautiful, varied and
rich shapes which detach them from their proper connotation as trees. One does not think of
them so much as trees, more as figures; they have the same urgency that certain movements of
figures can have in action.”1 Sutherland frequently used his sketchbook studies to develop
finished compositions in the studio, and the present work, as evidenced by a spiral bound
margin, was presumably one.
1. Alley, Ronald, Graham Sutherland, exh. cat., Tate Gallery, London, 1982.
$6,000-8,000
559.
Edgar Iené (German/Austrian, 1904-1984)
Les Deux Chevaux, 1956

Signed and dated “Iené 56” l.r., also identified on a label affixed to the
backing.
Condition: Craquelure.

Massachusetts.
Literature: Iené: Oeuvres Recentes, March 12 to 30, 1957, Galerie

Furstenberg, Paris, no. 18 (illus.)
N.B. A copy of the exhibition pamphlet accompanies the lot.

$800-1,200
559
560.
Marcel Gromaire (French, 1892-1971)
Femme Nue
Signed and dated “Gromaire/1957” l.r., with a label from Kravetz
Gallery, Rochester, New York, on the backing.
Condition: Masking taped to backing mat, losses to sheet along
bottom margin.
N.B. We wish to thank Madame Françoise Chibret-Plaussu for her

assistance with cataloging the lot, and a photo-certificate from
Madame Chibret-Plaussu accompanies the lot.
$1,000-1,500
560
561
561.
Keith Vaughan (British, 1912-1974)
Pupitre, 1945
Signed “Keith Vaughan” in ink l.r., inscribed, titled, and dated
“...1945” on the backing.
Ink and crayon on paper, sheet size 6 1/2 x 8 in. (16.5 x 20.3 cm),
framed.
Condition: Paper pitting/losses, rippling.
$3,000-5,000
562
562.
Tony Agostini (Italian, 1916-1990)
Le chevalet rouge
Incised signature “Tony Agostini” l.r., titled and signed “...Tony
Agostini” on the reverse.
Condition: Good.
$500-700
563
563.
Marcel Mouly (French, 1918-2008)
La vie calme avec la chaise, 1996

Signed and dated “M. Mouly 96” l.r., also signed, titled, inscribed, and
dated “M. Mouly...Gentilly 1996” on the reverse.
Condition: Good.
$7,000-9,000
564.
Birney Lettick (American, 1919-1986)
Nutcracker Illustration
Signed “Lettick” twice l.r., inscribed and stamped “PLEASE RETURN
PAINTING TO: BIRNEY LETTICK, 121 E. 35th ST. NY.C.” on the
reverse, annotations in the margins.
Oil on paper mounted onto Bainbridge board, 15 x 10 3/4 in. (38.1 x
27.3 cm), unframed.
Condition: Support slightly warped, retouch and pigment
fluorescence, residue and surface grime to the margins, mild wear to
corners.
$1,000-1,500
564
565.
Scott Prior (American, b. 1949)
Objects on a Roadside, 1980

Unsigned, identified on a label from Alpha Gallery, Boston, affixed to
the backing.
Oil on Masonite, 6 1/2 x 4 in. (16.5 x 10.2 cm), in a shadow box
frame.
$1,000-1,500
565
566
566.
John Stephens (American, b. 1945)
Fear & Fascination of Capsizing #265, 1978

Signed, inscribed, and dated “STEPHENS/265 1978” l.r., identified on
an artist label affixed to the reverse.
Acrylic on Masonite, 24 x 30 in. (61.0 x 76.2 cm), framed.
Condition: Good.
$10,000-15,000
567
567.
Elena Borstein (American, b. 1946)
Lavender Gate II
Signed, dated, and titled “Elena Borstein 1992...” on the reverse.
Condition: Good.
Provenance: Purchased from Nahan Galleries, New York, 1992.

$2,000-3,000
568
568.
Elena Borstein (American, b. 1946)
Monolithos IV, 1991

Signed, titled, and dated “Elena Borstein...1991” in pen on the
reverse.
Oil pastel on paper, 40 x 60 in. (101.6 x 152.4 cm), framed.
Provenance: Purchased from Nahan Galleries, New York, 1992.

$2,000-3,000
569
569.
Wolf Kahn (American, b. 1927)
Barn in Summer, 1971-72

Signed “W. Kahn” l.r., signed, dated, and titled “Wolf Kahn 1972...”
and identified on a label from Parker Street 470, Boston, on the
stretcher.
Oil on canvas, 50 x 50 in. (127.0 x 12.7.0 cm), framed.
Condition: Wax consolidation verso, subtle lifting, craquelure.
$8,000-12,000
570
570. 571.
Wolf Kahn (American, b. 1927) Wolf Kahn (American, b. 1927)
San Marco from the Lagoon, 1958 Winter, 1975

Signed “WKahn” l.r., identified in an exhibition catalogue (see below) Signed and dated “W Kahn 75” l.r., identified in exhibition catalogue
affixed to the reverse. (see below) affixed to the reverse, sales agreement dated December
Pastel on paper/board, sight size 12 x 16 in. (30.5 x 40.6 cm), 18, 1977, affixed to the reverse, identified on a label from Harcus
framed. Krakow Gallery, Boston, affixed to the reverse.
Condition: Mat burn, toning, not examined out of frame. Pastel on paper/board, sight size 8 1/2 x 11 1/4 in. (21.6 x 28.6 cm),
framed.
Exhibitions: For Collectors: A Sales Exhibition of Works of Art, Condition: Toning, not examined out of frame.
Worcester Art Museum, March 6-April 5, 1959, no. 2.
$2,000-3,000 Exhibitions: For Collectors, Worcester Art Museum, December 10,
1977-January 8, 1978, no. 145.
$1,500-2,500
571
572
572. 573.
American School, 20th Century Henry Schwartz (American, 1927-2009)
Hostages The Confidential Clerk, 1981

Unsigned. Signed and dated “Henry Schwartz 1981” l.r., identified and signed
Acrylic and screenprint on shaped canvas, 45 1/2 x 52 3/4 in. (115.6 “...Henry Schwartz...” on labels affixed to the reverse.
x 134.0 cm), framed. Oil on Masonite, 11 3/4 x 31 1/2 in. (29.8 x 80.0 cm), framed.
Condition: Good. Condition: Minor surface grime.
$400-600
Provenance: Estate of Joan E. Goody, Boston, Massachusetts.
$300-500
573
574
574. 575.
Henry Schwartz (American, 1927-2009) Joseph Piccillo (American, b. 1941)
Hey, I’m Great Too, 1980 R-Fragments-III, 1975

Signed and dated “Henry Schwartz 1980” l.l., also titled, dated, and Titled, signed, and dated “...joseph piccillo 1975” in pencil c.r.,
signed “...1980 Henry Schwartz” in pen and identified on a label from inscribed and titled in ink and with stamps from the Griffiths Art
Gallery NAGA, Boston, on the reverse. Center, St. Lawrence University, Canton, New York, on the stretcher,
Oil on Masonite, 12 7/8 x 18 7/8 in. (32.7 x 47.9 cm), framed. identified on labels on the reverse.
Condition: Minor surface grime. Oil and graphite on canvas, 59 7/8 x 72 1/4 in. (152.1 x 183.5 cm),
framed.
Provenance: Estate of Joan E. Goody, Boston, Massachusetts. Condition: Minor surface grime.
$300-500 $1,500-2,000
575
576
576. 577.
Katherine Page Porter (American, b. 1941) Aaron Fink (American, b. 1955)
Lot of Three Works: Untitled [#101], Untitled [#131], and Untitled The Beach Chair
[#132] Signed and dated “Aaron Fink ‘81” l.r.
#101 signed and inscribed “Katherine Porter/Sept 2 thday” in pencil Acrylic on paper mounted to paper/board, 41 3/4 x 52 3/4 in. (106.0
l.r. and dated “1970” in pencil l.l., inscribed “531” in pencil on the x 134.0 cm), unframed.
reverse and “Parker Street 470...” on a label affixed to the backing, Condition: Minor tears/losses to edges, mounting bubbles.
#131 signed “KPorter” in pen l.r., inscribed “#1/#131/#1017” in pencil $800-1,000
on the reverse, #132 unsigned, inscribed “#2/#132/#1018” in pencil
on the reverse.
Watercolor on paper, sheet sizes to 11 x 16 1/2 in. (27.9 x 41.9 cm),
framed.
Condition: #132 tape hinged to backing mat, subtle rippling, subtle
toning.
$400-600
577
578
578.
Sven Dalsgaard (Danish, 1914-1999)
Lot of Twelve Works: Untitled [Figures and Landscapes], 1963

Each monogrammed “S·D” or “S·D·N” l.r., l.c., or l.l., dated “26-27-7-
63,” “28-7-63,” “30-7-63,” “31-7-63,” “...1-8,” and “1-8-63” l.r., l.c.,
l.l., or u.l., inscribed “NAT,” “III,” “IV,” “I,” and “DEN NAIVE” l.r., l.c., l.l.,
or u.l.
Ink and watercolor on paper, sight sizes to 10 1/2 x 8 1/2 in. (26.7 x
21.6 cm), framed.
Exhibitions: Sven Dalsgaard: Retrospektiv udstilling, Randers

Kunstmuseum, 1975, no. 457.
$4,000-6,000
579
579.
Hung Liu (Chinese/American, b. 1948)
Silk Road, 1989/A Triptych

Unsigned, identified on labels affixed to the backing.
Oil and graphite on canvas with silkscreen on silk collage, left and center panel 80 x 52 in. (203.2 x 132.1
cm), right panel 80 x 24 in. (203.2 x 61.0 cm), unframed.
Condition: Subtle canvas deformations.
Provenance: Through Nahan Contemporary Gallery, New York.
N.B. Hung Liu grew up under the Maoist “Cultural Revolution,” where she was trained to paint murals in
the Socialist Realist tradition. After having completed fine art degrees in Beijing, she immigrated to the
United States to obtain her MFA at the University of California, San Diego.
Hung Liu’s works, which take on the large scale of both mural and history paintings, are personal in content
but necessarily informed by politics. Her works engage with the idea of repressed individual expression
under the Communist regime, but also explore the power of images as icons. They frequently depict
Chinese countrymen and women (based on historical photographic portraits) against an abstracted
background which allows her to show relationships between the past and present synoptically.
Hung Liu spent time in the Gobi Desert along the Silk Road while studying the devotional and monumental
Buddhist murals at Dunhuang, and was deeply influenced by the early art she saw and the local history.1 In
the present work, the image of a woman holding a fan in a sedan chair is “twice-removed” in that she is a
silkscreen from a photograph. In this way, the truth-value of the photograph is diluted, making the image
function more as a memory than a presence. The silk that the silkscreen is printed on calls attention to the
work’s own manufacture but also lends realism to the silk robe in the background, evoking the history of
the silk trade and alluding to possible transgressions along it.
1. Lippard, Lucy R., Mixed Blessings: New Art in a Multicultural America (New York: Pantheon Books, 1990), p. 144.
$7,000-9,000
580
580.
Hung Liu (Chinese/American, b. 1948)
Wellspring, 1988/A Four-Part Installation

Unsigned, identified on labels affixed to the backing, inscribed “Work
made of recycled material (or Reclamation Project)/Bingham,
Utah/Copper Mining Pit/Robert Smithson ‘73” l.l. of right panel.
Oil on canvas and oil on wood cube, side panels 48 x 65 in. (121.9 x
165.1 cm), center panel 24 x 48 in. (91.0 x 121.9 cm), unframed;
cube 22 1/8 x 22 1/8 x 22 1/8 in. (56.2 x 56.2 x 56.2 cm).
Condition: Restored tear to u.l. quadrant of right panel with patch
reinforcement, subtle canvas deformations, cube with abrasions.
Provenance: Through Nahan Contemporary Gallery, New York.

$8,000-12,000
END OF SALE
Glossary of Terms All items in this catalogue are described according to the following table of
terminology. Please note that all statements in this catalogue 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.
Artist Index
Abbey, Edwin Austin......................................................................322 Clark, C. Myron ............................................................................268

Agam, Yaacov ..................................................................................1 Clime, Winfield Scott ....................................................................383
Agostini, Tony ................................................................................562 Coats, Claude Dixon ....................................................................504
Albers, Anni ......................................................................................2 Coccorante, Leonardo (School of) ................................................205
Alberti, Cherubino (Attributed)........................................................202 Cochran, Allen Dean ............................................................384, 385
Albright, Ivan Le Lorraine ..................................................................3 Coignard, James........................................................................46-49
Alexander, William ................................................................218, 219 Compris, Maurice ..........................................................................512
American School, 19th Century ....................................252, 270, 281 Congdon, Anne Ramsdell (Attributed to) ......................................421
....................................................................284, 287, 288, 293, 306 Continental School, 19th Century..........................211, 224, 237, 341
American School, 19th/20th Century ....................................286, 324 Continental School, 20th Century..................................................511
American School, 20th Century ....326, 351, 367, 369, 472, 509, 572 Cook, Otis Pierce ..................................................................413, 415
Andersen, Niels Yde ..........................................................................4 Cooper, Colin Campbell ................................................................439
Anglo/American School, 18th/19th Century ..................................223 Corneille (Guillaume van Beverloo) ..................................................50
Aponovich, James ............................................................................5 Cornoyer, Paul ..............................................................................353
Appel, Karel ..................................................................................6, 7 Cosimini, Roland Francis ..............................................................330
Archipenko, Alexander ................................................................9, 10 Cottingham, Robert ........................................................................52
Arons, Philipp ................................................................................238 Courbet, Gustave........................................................................254A
Arp, Hans (Jean)................................................................................8 Covarrubias, Miguel ........................................................................51
Avril, Armand ................................................................................443 Cox, Charles M. ............................................................................411
Curran, Charles Courtney ..............................................................327
Bacci, Edmondo............................................................................537 Curry, John Steuart ........................................................................53
Baker, Samuel Burtis ....................................................................422
Ball, Alice Worthington ..................................................................442 Dake the Younger, Carel Lodewijk ................................................350
Bannister, Edward Mitchell ............................................................297 Dalsgaard, Sven ............................................................................578
Bao, Lede ....................................................................................529 Dalí, Salvador ............................................................................54-56
Barber, Samuel..............................................................................400 Davenport, Henry ..........................................................................469
Baselitz, Georg................................................................................11 Davis, Stuart....................................................................................57
Baskin, Leonard ........................................................................12-20 De Chirico, Giorgio ........................................................................521
Bechi, Luigi ..................................................................................235 De Haas, William Frederick............................................................253
Bellows, George Wesley................................................................433 de Hondecoeter, Melchior (Mann.) ................................................213
Beneker, Gerrit Albertus ................................................................429 De Martelly, John Stockton............................................................108
Benton, Thomas Hart ................................................................21-24 De Nagy, Ernest ............................................................................233
Berger, Richard ..............................................................................25 de Neuville, Alfred A. Brunel ..........................................................236
Bernath, Sandor ............................................................................419 Degas, Edgar ..................................................................................58
Berresford, Virginia ........................................................................479 Dehn, Adolf Arthur ........................................................................497
Berthelsen, Johann ................................................................450-452 Dessar, Louis Paul ........................................................................434
Biehl, Arthur Oliver ........................................................................460 Destrée, Johannes Josephus ........................................................229
Bishop, Richard Evett......................................................................26 Dine, Jim ..................................................................................59, 60
Blume, Peter ................................................................................554 Dosamantes, Francisco ..................................................................61
Bonnar, James King ......................................................377, 409, 410 Dow, Arthur Wesley ........................................................................62
Bonnard, Pierre ..............................................................................27 Dufner, Edward..............................................................................328
Borstein, Elena ......................................................................567, 568 Dufy, Jean ..............................................................................524-526
Brach, Paul Henry ........................................................................550 Dufy, Raoul ......................................................................................63
Bradford, William ..........................................................................247 Dunlay, Thomas Russell ........................................................368, 402
Bradley, Anne Cary........................................................................391 Dunning, Robert Spear..................................................................305
Braque, Georges ............................................................................28 Dupré, Jules (Manner of) ..............................................................242
Brésil, Henri Robert ......................................................................490 Dürer, Albrecht ................................................................................64
British School, 19th Century..........................................................245 Dutch School, 17th Century ..........................................................208
British School, 19th/20th Century..................................................240 Dutch School, 19th Century ..................................................209, 220
Brown, Frank Clifton......................................................................303 Dutch/Flemish School, 17th Century Style ....................................212
Brown, Harrison Bird ............................................................254, 290
Browne, Matilda ............................................................................314 Eastern European School, 20th Century........................................337
Bulman, Orville ......................................................................489, 491 Eaton, Charles Warren ..................................................................296
Bungner, Otto................................................................................346 Edgerton, Harold Eugene ......................................................179-181
Burgers, Hendricus Jacobus ........................................................232 Ehrig, William Columbus................................................................404
Burr, George Elbert..........................................................................29 Elwell, D. Jerome ..........................................................................342
Enneking, John Joseph ........................................................301, 355
Calder, Alexander ......................................................................30-35 Enneking, Joseph Eliot..........................................356, 412, 414, 418
Cappiello, Leonetto ........................................................................36 Ernst, Max ................................................................................65-67
Carter, Clarence Holbrook ..............................................................37
Chagall, Marc ..................................................................................38 Fabry, Jaro ....................................................................................495
Chamberlain, Samuel V. ............................................................39-44 Fairman, James ............................................................................265
Champney, Edwin Graves ............................................................266 Fehrer, Oscar (Attributed to) ..........................................................370
Cheffetz, Asa ..................................................................................45 Feininger, Lyonel............................................................................534
Cikovsky, Nicolai S. ..............................................................394, 481 Fellman, Sandi ......................................................................182, 183
Cirino, Antonio ..............................................................................380 Fiene, Ernest ................................................................................482
Filipowski, Richard E. ................................68, 69, 536, 538-540, 542 Johnston, John S...................................................................184-186
Fink, Aaron ....................................................................................577 Jongers, Alphonse ........................................................................310
Fischer, Anton Otto ..............................................................333, 403 Jules, Mervin ..................................................................................82
Fisher, Alvan ..................................................................................258
Flemish School, 16th Century ..............................................200, 203 Kahn, Wolf ............................................................................569-571
Fort, Jean-Antoine-Simeon............................................................228 Kalnins, Eduards ..........................................................................432
Frasconi, Antonio ......................................................................70, 71 Kandinsky, Wassily ........................................................................82A
Fritz, Henry Eugene ......................................................................425 Kasimir, Luigi ............................................................................83, 84
Frost, Francis Seth (Shedd) (Attributed to) ....................................291 Kasimir-Hoernes, Tanna ..................................................................85
Frost, George Albert ......................................................................294 Kawano, Kaoru ..............................................................................86
Kelly, Ellsworth ..........................................................................57, 87
Genth, Lillian Mathilde ..................................................................343 Kennedy, Cecil ..............................................................................506
Gibran, Kahlil George ....................................................................552 Kent, Rockwell ..............................................................................483
Gile, Selden Connor (Manner of)....................................................393 Kirmse, Marguerite ..........................................................................88
Gisson, Andre (Gittelson) ..............................................................427 Kokoschka, Oskar ..........................................................................89
Glidden, Robert F. ........................................................................428 Kronberg, Louis ............................................339, 468, 470, 471, 473
Gloeckner, Michiel Theobald............................................72, 531, 533 Kuehne, Max ............................................................90-93, 344, 416
Golden, Rolland Harve ..................................................................463 Kuhn, Jon......................................................................................551
Goodwin, Arthur Clifton ................................388, 446, 448, 449, 453 Kulicke, Robert Moore ..................................................................474
Goodwin, Richard La Barre ..........................................................304 Kuniyoshi, Yasuo ............................................................................94
Gorman, R.C. ................................................................................519 Kupferman, Lawrence Edward ......................................................516
de Goya, Jose Francisco ................................................................73
Grandin, Elizabeth ........................................................................338 La Farge, John..............................................................298, 347, 348
Grant, James Jeffrey ....................................................................417 La Thangue, Henry Herbert ..........................................................226
Greene, Walter L. ..........................................................................436 Laboureur, Jean-Emile ....................................................................95
Greenwood, Joseph H. ........................................................285, 299 Lachaise, Gaston ..........................................................................332
Griggs, Samuel W. ........................................................................267 Larsson, Carl Olof ........................................................................95A
Grinnell, George Victor ..................................................................359 Lathrop, Dorothy Pulis ..................................................................484
Gromaire, Marcel ..........................................................................560 Laurencin, Marie ....................................................................96, 96A
Grosz, George Ehrenfried..............................................73A, 522, 523 Laval, Fernand ......................................................................444, 447
Gruppe, Emile Albert ....................................................................376 Le Corbusier....................................................................................97
Guardi, Francesco L. (School of) ..........................................206, 207 Lee, Doris Emrick ..........................................................................480
Guerrero, José ......................................................................546-548 Leger, Fernand ................................................................................98
Leighton, Clare Veronica Hope ........................................................99
Hale, Lilian Westcott (Attributed to)................................................318 Lettick, Birney ..............................................................................564
Halsall, William Formby..................................................................251 Levine, Jack ..........................................................................101, 102
Hamilton, Hamilton ........................................................................390 Lewis, Edmund Darch ..................................................................248
Hardy, Thomas Bush ....................................................................246 Lex, Franz ....................................................................................475
Hare, Channing Weir ....................................................................513 Leyden, Lucas van ........................................................................100
Harvey, Paul ..................................................................................423 Liberman, Alexander......................................................................103
Hassam, Childe ............................................................................315 Lichtenstein, Roy ....................................................................57, 104
Hasselhorst, Heinrich ....................................................................227 Lievens, Jan ..................................................................................105
Hathaway, George M.....................................................................263 Link, O. Winston....................................................................187, 188
Hays, George Arthur ............................................................249, 269 Little, Philip ....................................................................................396
Hazard, Arthur Merton ..................................................................352 Liu, Hung ..............................................................................579, 580
Heilmayer, Karl ..............................................................................340 Locke, Walter Ronald ....................................................................106
Hekking, Joseph Antonio ..............................................................261 Loemans, Alexander Francois ......................................................282
Helfond, Riva ..................................................................................74 Lovell, Tom ....................................................................................499
Hesse, Hermann ..........................................................................438 Lowell, Milton H.............................................................................264
Higgins, George Frank ..................................................................273 Lucioni, Luigi ................................................................................440
Hinckley, Thomas Hewes ..............................................259, 271, 311
Hockney, David ........................................................................75, 76 Maclaren, Walter............................................................................345
Hubbard, Richard William (Attributed to)........................................274 Maeght, Galerie (editor) ................................................................107
Hunt, Esther Anna ........................................................................317 Maillol, Aristide ..............................................................................494
Hunter, Robert Douglas ........................................................256, 508 Malcom, Thalia Wescott ................................................................477
Manship, John Paul ......................................................................457
Iacovleff, Alexandre Evgenievich ....................................................515 Manship, Paul Howard ..........................................................332, 316
Iené, Edgar....................................................................................559 Marcks, Gerhard ..........................................................................555
Ikeda, Masuo ..................................................................................77 Mathieu, Joe ................................................................................502
Iliazd................................................................................................78 Matisse, Henri ..............................................................................109
Indian School, 20th Century ..........................................................486 Matulka, Jan..................................................................................556
Indiana, Robert................................................................................57 Mays, Paul Kirtland ..............................................................464, 467
Inman, John O’Brien ....................................................................313 Mazur, Michael ......................................................................110-112
Insley, Albert Babb ........................................................................241 McCormick, Arthur David ..............................................................225
Italian School, 16th Century Style..................................................204 Mechau, Frank Albert, Jr. ..............................................................487
Italian School, 18th Century ..........................................................201 Meltsner, Paul Raphael ..........................................................113-116
Miró, Joan ..............................................................67, 117-121, 123
Jarrett, Charles Dixie ....................................................................498 Moore, Henry ................................................................................124
Jensen, Bill ......................................................................................79 Moreno, Michel..............................................................................532
Johns, Jasper ..........................................................................80, 81 Morrell, Wayne Beam ............357, 360-363, 382, 398, 405, 424, 426
Johnston, John Bernard................................................................308 Morris, George Ford ......................................................................125
Morse, Jonathan Bradley ..............................................................292 Schwartz, Henry....................................................................573, 574
Motherwell, Robert ..........................................................................57 Schulz, Robert E. ..........................................................................371
Mouly, Marcel ................................................................................563 Scott, John White Allen..........................................................275-277
Munut, I. W. J. ..............................................................................488 Shinoda, Toko ..............................................................................154
Singer, Hal ....................................................................................518
Nakian, Reuben ............................................................................126 Sisson, Laurence Philip ........................................................465, 466
Nash, Paul ....................................................................................553 Sloan, John French ..............................................................155, 492
Nesbitt, Jackson Lee ....................................................................127 Sonntag, William Louis ..................................................................280
Neumann, Ernst ............................................................................128 Soudeikine, Sergei Yurievich..........................................................496
Newton, Helen Florence ................................................................420 Soyer, Raphael ......................................................................156, 493
Nicholls, Burr H. ............................................................................312 Spanish Colonial School, 19th Century ................................215, 216
Nierman, Leonardo M. ..................................................................549 Spanish Colonial School, 19th/20th Century ................................217
Nisbet, Robert Hogg ....................................................................374 Spruance, Benton Murdoch ........................................................156A
Norris, Thomas Bowler..................................................................300 Stamos, Theodoros ......................................................................527
Stanwood, Franklin........................................................................278
Olitski, Jules ..................................................................................129 Stark, Melville F. ............................................................................441
Oliver, Frederick W.........................................................................478 Steele, Gordon......................................................456, 459, 461, 462
Ongley, William ..............................................................................289 Stella, Frank ....................................................................................57
Ortman, George Earl ......................................................................57 Stephens, John ............................................................................566
Owen, Carol ..................................................................................389 Sternberg, Harry............................................................................157
Owen, Robert Emmett ..................................................358, 378, 392 Stevens, William Lester ........................................................379, 381
Stevovich, Andrew ................................................................158-162
Parker, Henry Hillier ......................................................................230 Sully, Thomas ................................................................................307
Parrish, Jr., Maxfield ......................................................................485 Sutherland, Graham Vivian ............................................................558
Parsons, Sheldon ..........................................................................373 Svendsen, Svend ..................................................................372, 375
Partridge, Roi ................................................................................130
Perrault, Leon Jean Basile ............................................................234 Tait, Arthur Fitzwilliam ....................................................................283
Peterdi, Gabor F. ..................................................................131, 530 Tam, Reuben ................................................................................528
Peters, Carl William ......................................................................395 Tamayo, Rufino..............................................................................163
Picasso, Pablo ......................................................................132-138 Tanguy, Yves ..................................................................67, 164, 535
Piccillo, Joseph ............................................................................575 Teyral, Hazel Janicki ......................................................................510
Pissarro, Hughes Claude ..............................................................445 Thieme, Anthony ..........................................................................430
Pond, Dana Ripley ........................................................................399 Thompson, Albert..........................................................................272
Poons, Larry (Lawrence)..................................................................57 Tidemann, Philippe (Attributed to)..................................................222
Porter, Katherine Page ..................................................................576 Tompkins, Frank Henry (Hector) L ................................................455
Prendergast, Charles E. ........................................................329, 331 Travis, Paul Bough ........................................................................514
Prentice, Levi Wells ......................................................................279 Troyon, Constant ..........................................................................231
Prior, Scott ............................................................................139, 565 Tschernjawski, Alex ......................................................................458
Quartley, Arthur ............................................................................260 Urban, Albert ........................................................................165, 166
Radensky, Emmanuel ............................................................142, 143 van Rijn, Rembrandt......................................................................144

Rain, Charles Whedon ..................................................................507 Van Wyk, Helen ............................................................................476
Ranger, Henry Ward ......................................................262, 302, 387 Vasarely, Victor ......................................................................167, 168
Rasmussen, Georg Anton ............................................................243 Vaughan, Keith ..............................................................................561
Rauschenberg, Robert ..........................................................140, 141 Vermuelen, Andries (Attributed to) ................................................244
Ray, Man ..............................................................................142, 143 Vicente, Esteban ..........................................................................169
Reinhardt, Ad ..................................................................................57 Villon, Jacques ..............................................................................170
Reni-Mel, Léon ..............................................................................435 de Vlaminck, Maurice ............................................................171, 172
Renoir, Pierre-Auguste ............................................................58, 145
Rice, Henry Webster ....................................................407, 408, 431 Walbourn, Ernest ..........................................................................295
Richards, William Trost ..........................................................250, 257 Waldo, John Franklin ....................................................................386
Riggs, Robert ................................................................................146 Wall, Alfred Bryan ..........................................................................437
Ripamonti, Carlos Pablo................................................................401 Walt Disney Studios ......................................................501, 503, 505
Ripley, Aiden Lassell ..............................................................364-366 Warhol, Andy ........................................................................57, 172A
Rivera, Diego ................................................................................520 Waterman, Marcus A.............................................................309, 354
Rivers, Larry ..........................................................................147, 148 Whistler, James Abbott McNeill ....................................................173
Rockwell, Norman ........................................................................500 Whitman, Sarah De St. Prix Wyman ..............................................319
Roger, Suzanne ............................................................................557 Whorf, John ..................................................................................406
Rose, Howard ..............................................................................517 Widgery, Frederick John ................................................................255
Rouault, Georges ..................................................................149, 150 Wiles, Irving Ramsey ....................................................320, 335, 336
Rowlandson, Thomas (Attributed to) ............................................221 Williams, Frederick Ballard ............................................................325
van Ruisdael, Jacob (Follower of) ..................................................210 Wimpenny, George H. ..................................................................454
Ruscha, Ed ............................................................................151-153 Woolf, Samuel Johnson ................................................................174
Sargent, John Singer ....................................................................323 Yaffee, Edith Widing ......................................................................321

Sarka, Charles Nicolas ..................................................................349 Yeats, John Butler ........................................................................334
Savry, Hendrick ............................................................................239
Sawyer, Helen Alton ......................................................................397 Zadkine, Ossip ..............................................................................175
Scharl, Josef ................................................................................541 Zdanevich, Ilia ................................................................................78
Schreiber, Georges........................................................................125 Zorn, Anders ..........................................................................176-178
Skinner, Inc. - 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.
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. All purchases are subject to the Massachusetts 6.25% sales tax unless the purchaser possesses a Massachusetts sales tax exemption number.
Exemption numbers from other states are accepted in Massachusetts if presented with a business card or letterhead. Dealers, museums, and other
qualifying parties can apply for a Massachusetts exemption number prior to the auction by contacting the Massachusetts Department of
Corporations and Taxation at 100 Cambridge Street in Boston.
10. Except for property purchased via on-line Live Auctions, a premium equal to 18.5% of the final bid price up to and including $200,000, plus
10% of the final bid over $200,000, will be applied to each lot sold, to be paid by the Buyer as part of the purchase price. The buyers premium on
property purchased via on-line Live Auctions will be in the amount equal to 22.5% of the final bid price up to and including $200,000, plus 15%
of the final bid over $200,000.
11. Bidding on any item indicates your acceptance of these terms and all other terms 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 catalogue. The
copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this
catalogue, 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
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federal court sitting therein. The bidder/buyer consents to the nonexclusive jurisdiction of such courts and waives objections that it may now or
hereafter have to the venue of any such suit.
Revised September 29, 2009
314
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SKINNER
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6 3 P a r k P l a z a , B o s t o n , M A 0 2 1 1 6 Te l : 6 1 7 . 3 5 0 . 5 4 0 0 F a x : 6 1 7 . 3 5 0 . 5 4 2 9
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Appraisers of Antiques
Modernism: 1896–Present: Art Glass, Pottery, Metalwork & Furniture -
and Fine Art
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SKINNER

American & European Paintings & Prints

Robin S. R. Starr Kathy Wong Elizabeth C. Haff

American & European Paintings & Prints Department - 508.970.3206

Friday, May 21, 2010

COVER : 535 ( DETAIL ) ; FRONTISPIECE : 81 ( DETAIL ) ; BACK COVER : 548

Preview Online Absentee Bidding/Tracking Lots

1 Auction & Specialist Information

2 Web Site & Online Bidding

4-5 Event Announcements

9 Prints & Photography - Lots 1-188

81 Paintings & Sculpture - Lots 200-580

310 Glossary of Terms

311 Artist Index

314 Conditions of Sale

315 Absentee Bid Form

316 Company Directors & Specialty Departments

317 Administrative Staff & Client Services

318 Map & Driving Directions

319 Catalogue Subscription Form

Please Note: All lots sold subject to our Conditions of Sale.

Copyright © Skinner, Inc. 2010

Thursday, May 20, 2010

5:30 p.m. Reception/6:00 p.m. Gallery Walk

Gallery Walk held in conjunction with a preview of Skinner’s

For more information please contact our

Collection of Melvin B. Nessel, Boston, Massachusetts

Estate of Anne P. Owsley, Delray Beach, Florida, and Isleboro, Maine

Estate of Sir Edwin A.G. Manton

Estate of Eleanor Kanegis Levin, East Gloucester, Massachusetts

Estate of Joan E. Goody, Boston, Massachusetts

Estate of Mary Lee Ingbar, Cambridge, Massachusetts

Estate of N. David Scotti, Providence, Rhode Island

Through the Collection of Carl Augustus Weyerhaeuser, by family descent

Through the Collection of Henry Lee Higginson, by Higginson family descent

to be sold Friday, May 21st, 2010 at 12 noon

Lot of Three Images: Steam Pipes and Cat Walks, lithograph;

Still Life with Leeks, edition of 100. Signed “J Aponovich” in pencil

Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York;

Stillleben, from the DIE SCHAFFENDEN Portfolio, 1922, total

Lot of Three Images of Heads: Page Thirty-four, from A POEM

William Blake, from ETCHINGS OF TEN FAVORITE ARTISTS,

William Rimmer. Signed “Baskin” in pencil l.r., titled in pencil l.c.,

Lot of Two Images: Torso, 1967, edition of 90 (Fern & O’Sullivan,

Lot of Two Classical Subjects: Aeneas Carrying his Father from

Lot of Two Standing Figures: Olympus/The Athlete, 1974, edition

The Race, alternatively titled Homeward Bound, 1942,

Night Firing, 1943, edition of 250, published by

After the Blow, 1946, edition of 250, published by

26. Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York;

La Théogonie d’Hésiode, published in 1955 by Maeght,

Provenance: Ex-collection of Nelson Aldrich Rockefeller,

N.B. A copy of Derrière le Miroir regarding Théogonie

High Street, Oxford (Seeber, 82). Signed “George Elbert

Lot of Two Images: Untitled (Balloon Forms), 1968; and Untitled

Untitled (Spades, Hearts, Diamond and Club). Signed “Calder” in

Provenance: Through the family of the artist.

Lot of Two Views of Chartres: Porch of the Virgin of Chartres, A

Provenance: Through the family of the artist.

Early Morning Market, Senlis, 1939, edition of 300 (Chamberlain &

Provenance: Through the family of the artist.

Lot of Three Landscape Views: Winter in Southampton; Bucolic

Team, 1986, edition of 75 (Bergström et al., 656). Signed “J.

Espaces rouges 58, 1994, edition of 95. Signed “J. Coignard” in

Skinner American & European Paintings & Prints Auction 2507

Skinner American & European Paintings & Prints Auction 2507