Professional Documents
Culture Documents
839
839.
Edward Bernard Lintott (American, 1875-1951)
840.
Chaim Gross (American, 1904-1991)
Female Nude
Signed and dated “Chaim Gross/50” l.r.
Charcoal on paper, sight size 16 1/2 x 10 1/4 in. (42.0 x 26.0
cm), framed.
Condition: Not examined out of frame.
$500-700
841.
Isaac Soyer (American, 1902-1981)
Reflections
Signed “Isaac Soyer” l.r., titled l.l., inscribed “To my dear good
friend Fannie Lager” l.c.
Pastel and graphite on paper, sight size 19 1/2 x 15 in. (49.5 x
841 38.1 cm), framed.
Condition: Acid burn, tape hinged to beveled mat.
$400-600
301
842
842. 844.
Hélène Girod de L’Ain (French, b. 1926) Oronzo Vito Gasparo (American, 1903-1969)
843.
Frank Simon Herrmann (American, 1866-1942)
Terrace View
Signed “F.S. Herrmann” l.r., inscribed on the reverse.
Gouache on paper, sheet size 19 x 24 in. (48.3 x 61.0 cm),
framed.
Condition: Tacked at corners to foam core.
$400-600
843 844
302
845
845. 846.
Adelaide Lawson Gaylor (American, b. 1889) Jules Lefranc (French, 1887-1972)
847.
Claude Lepape (French, b. 1913)
846 847
303
847A
847A.
Oliver Newberry Chaffee (American, 1881-1944)
Provincetown Dunes
Signed and dated “Chaffee/1913” l.l., identified on a label from
Acme Fine Art and Design, Boston, affixed to the reverse.
Oil on canvas, 24 x 28 1/2 in. (61.0 x 72.4 cm), framed.
Condition: Good.
$12,000-18,000
848.
848 Corinne Trippetti (American, 20th Century)
Yellowtown
Signed and dated “Corinne Trippetti 1955” l.r., titled on the
stretcher.
Oil on canvas, 12 x 24 in. (30.5 x 61.0 cm), framed.
Condition: Surface grime.
$400-600
849.
Eugene R. Witten (American, 20th Century)
Le Hanger, 1955
Signed “Eugene Witten” l.r., identified on a label from Chase
Gallery, New York, affixed to the reverse, and in an accompanying
appraisal.
Oil on Masonite, 25 x 30 in. (63.5 x 76.2 cm), framed.
Condition: Retouch and/or varnish/pigment inconsistencies.
$500-700
849
304
850
850.
Charles Ephraim Burchfield (American, 1893-1967)
Provenance: Ex collection Mrs. Andrew S. Keck, Washington, DC, sold to benefit an endowment for the Livingston County
Historical Society, Genesco, New York.
Exhibitions: “Charles Burchfield,” Whitney Museum of American Art, January 11–February 26, 1956; The Baltimore Museum of
Art, March 14–April 22, 1956; Museum of Fine Arts, Boston, May 9–June 17, 1956; San Francisco Museum of Art, July
11–August 19, 1956; Los Angeles County Museum of Art, September 5–October 14, 1956; The Phillips Gallery, Washington,
DC, November 4–December 11, 1956; The Cleveland Museum of Art, January 3–February 10, 1957.
Literature: Baur, John I.H., Charles Burchfield (New York: The MacMillan Company, 1956), illus. p. 74; Baur, John I.H. and
Rosalind Irvine, Charles Burchfield [exhibition catalogue] (New York: Whitney Museum of American Art, 1956), p. 18, entry
#112.
N.B. This work recalls Burchfield’s tree and insect motifs. He often chose a lone, blasted tree trunk as its dramatic focus, such as
in In the Grove, 1916 (Trovato, 230), Fallen Tree, 1917 (Trovato, 266), and Burning Stump, 1920 (Trovato, 660). In each of
these works, trunks become animated through their anthropomorphic features—crevices become mouths, knots turn into eyes,
gnarled limbs into grasping arms. These depictions of animistic features developed directly from his 1917 sketchbook entitled,
“Conventions for Abstract Thoughts.” He experimented with abstract representations of moods, such as “fear” or “menace,” as
well as onomatopoetic ones for insect sounds.1 The Insect Chorus, 1917 (Trovato, 382) exemplifies how Burchfield could translate
the frenetic movements of insect sound-making into pure form—through continuous, sinuous line or staccato spacing.
In the present work, both tree and insect motifs come together to convey the intensity of summer. Heat waves radiate from the
branches’ grasping limbs and the trunk’s barbed “teeth.” The cicada appears fused to the living trunk, her sound traveling over
the dead, dry air. Nancy Weekly notes: “The sound of cicadas and crickets were inextricably linked with Burchfield’s impressions
of summer…every line reverberates as the cacophony of insects and oppressive heat transform a vernacular country landscape into a
bizarre, dreamlike illusion.”2 Burchfield himself notes: “…The cicada, the soul of midsummer, embodying in its song all the heat
and rhythm of a sultry day, when the sun pours down out of a pale hot lavender sky on a parched and drought-ridden earth.”3
Fallen Tree, 1944/1954 bears a strong resemblance to The Cicada, 1944 (Trovato, 978) and Midsummer Caprice, 1945 (Trovato,
991), which suggests that the image was one that held a great resonance for the artist.
1. John I.H. Baur, The Inlander [Life and Work of Charles Burchfield 1893-1967] (Newark: University of Delaware Press, 1984), 73.
2. Nancy Weekly, Charles E. Burchfield: The Sacred Woods (New York: SUNY Press, 1993), 38.
3. John I.H. Baur and Rosalind Irvine, Charles Burchfield [exhibition catalogue] (New York: Whitney Museum of Art, 1956), 53.
$30,000-50,000
305
851
851.
Jean Souverbie (French, 1891-1981)
852.
Pierre Jacquemon (Franco/American, b. 1936)
Night Sky
Signed “Pierre Jacquemon” l.r.
Oil on board, 16 x 20 in. (40.6 x 50.8 cm), framed.
Condition: Mild surface grime.
852 $2,000-4,000
853.
Bernadette Sers (French, 1928-2000)
853
306
855
854
854. 855.
Gretta Bowen (Irish, 1880-1981) Xavier Bueno (Italian, 1915-1979)
My Hallway Lot of Two Drawings: Girl Sleeping and Mother and Child
Signed “Gretta Bowen” u.l., titled, identified, and numbered Mother and Child signed “Xavier Bueno” l.r., ink on paper,
“22” on label affixed to the reverse. unframed; Girl unsigned, ink wash and gouache on paper/board,
Oil on artist board, 20 1/2 x 11 in. (52.1 x 27.9 cm), framed. adhered under glass; sizes to 11 x 8 1/2 in. (27.9 x 21.6 cm).
Condition: Losses in the l.l. quadrant, craquelure in the l.r. Condition: Toning, creases, Mother and Child adhered to back
quadrant, surface grime. mat, Girl not examined out of glass.
$1,500-3,000
Provenance: Acquired from the artist, then by descent to the
current owner.
$1,000-1,500
856.
Hubert Aicardi (French, b. 1922)
856
307
857.
Paul T. Nagano (American, b. 1938)
858.
Paul T. Nagano (American, b. 1938)
858
308
859
859. 861.
Paul T. Nagano (American, b. 1938) Paul T. Nagano (American, b. 1938)
Diamond Head from Diamond Head Circle Five Pigeons on the Beach
Signed and dated “Nagano ‘‘93” l.l., titled and identified on a Signed and dated “Nagano 88” l.r., titled and identified on a label
label affixed to the reverse. affixed to the reverse.
Watercolor on paper, sheet size 22 1/4 x 30 in. (56.5 x 76.2 cm), Watercolor on paper, sheet size 29 1/2 x 22 in. (74.9 x 55.9 cm),
framed. framed.
Condition: Deckled edges, not examined out of frame. Condition: Tape hinged to backing mat, deckled edges, not
$2,000-3,000 examined out of frame.
$2,000-2,500
860.
Paul T. Nagano (American, b. 1938)
860
861
309
863
862
862. 863.
Michail Chemiakin (Russian, b. 1943) Leonardo M. Nierman (American, b. 1932)
864.
Xavier Gonzalez (Spanish/American, 1898-1993)
854
310
865
865.
Victor Vasarely (French, 1908-1997)
311
866 867
866. 867.
Xavier Gonzalez (Spanish/American, 1898-1993) Leonardo M. Nierman (American, b. 1932)
868.
David Diao (Chinese/American, b. 1943)
Untitled
Unsigned, identified on a label affixed to the reverse.
Acrylic on canvas, 86 x 60 in. (218.5 x 152.4 cm), unframed.
Condition: Good.
$1,500-2,500
868
312
869
869.
Rodolfo Morales (Mexican, 1925-2001)
Escena de Boda
Signed “Rodolfo Morales” l.r.
Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.
Condition: Lined, scattered retouch.
$10,000-15,000
313
871
870
870. 871.
Raymond Grandjean (French, b. 1929) Alan Davie (British, b. 1920)
Lot of Three Works: Red and Green Composition, signed Finger Pie No. 2, 1978
“Grandjean.” l.l., signed and dated “Raymond Grandjean./ Signed, dated and titled “1278 Alan Davie...” u.l., identified on a
7/69” on the reverse, gouache and ink on paper, sheet size 16 label from Gimpel Fils Gallery, London, affixed to the reverse.
1/2 x 10 1/8 in. (41.9 x 25.7 cm); Orange and Violet Gouache on paper, 23 1/2 x 33 in. (59.7 x 83.8 cm), framed.
Composition, signed “Grandjean.” l.l., signed and dated Condition: Not examined out of frame.
“Raymond Grandjean./2/1969” on the reverse, sheet size 10 x 7 $4,000-6,000
5/8 in. (25.4 x 19.4 cm); Blue Composition, signed
“Grandjean.” l.l., signed and dated “Raymond/Grandjean./
1967” on the reverse, sheet size 11 3/8 x 11 1/4 in. (28.9 x
28.6 cm); all framed.
Condition: Taped to beveled mat, Red with acid burn on the
reverse.
$800-1,200
872.
Albert S. Alcalay (American, b. 1917)
Babel
Signed and dated “Alcalay 67” l.r., signed, titled and dated
“1967” on the reverse.
Oil on canvas, 42 x 42 in. (106.7 x 106.7 cm), framed.
Condition: Surface grime.
$1,000-2,000
872
314
873
873. 874.
Giorgio Cavallon (American, 1904-1989) Miklos Suba (American, 1880-1944)
875.
Charles Keeling Lassiter (American, b. 1926)
Three Figures
Signed and dated “Lassiter/64” l.r.
Ink and watercolor on paper, sheet size 15 x 22 in. (38.1 x 55.9
cm), framed.
Condition: Not examined out of frame.
$500-600
874 875
315
877
876
876. 877.
Rhoda Sklar Platt (American, 1914-2004) Albert S. Alcalay (American, b. 1917)
878.
Natalie Alper (American, b. 1937)
Tropical Landscape
Signed, dated, and inscribed “Natalie Alper 1983 Feb. #2” in
pencil l.r.
Watercolor on paper, 18 x 43 in. (45.7 x 109.2 cm), framed.
Condition: Not examined out of frame.
$400-600
878
316
879
879.
Warren Brandt (American, 1918-2002) 880
881.
Manfred Schwartz (American, 1908-1970)
Celestial
Signed and dated “Manfred Schwartz 1970” on the reverse,
identified on labels from M. Knoedler and Co. Inc. and the
Chrysler Museum at Norfolk affixed to the reverse.
Oil on canvas, 65 x 67 1/2 in. (165.1 x 171.5 cm), framed.
Condition: Good.
881
317
883
882
882. 883.
William Douglas McGee (American, 1925-1999) Joseph J. Stefanelli (American, b. 1921)
884.
Aaron Fink (American, b. 1955)
Purple Abstract
Unsigned, inscribed “AARON FINK 1989 For Phyllis,” probably
in the artist’s hand, on the reverse.
Oil on canvas, 8 x 9 in. (20.3 x 22.9 cm), framed.
Condition: Good.
884
318
885.
Dimitri Hadzi (American, 1921-2006)
Untitled
Signed and numbered “D. Hadzi/II/VII” on the reverse.
Bronze, 23 1/4 x 4 1/2 x 7 5/8 in. (61.6 x 11.4 x 19.4 cm)
(including stone base).
Condition: Minor chips to base.
$4,000-6,000
886.
Paul Shakespear (American, b. 1949)
Chamber
Signed and dated “Paul Shakespear 1988” on the reverse, titled
on a label from Howard Yezerski Gallery affixed to the reverse.
Acrylic on linen, 60 x 60 in. (152.4 x 152.4 cm), unframed.
Condition: Minor surface abrasion, laid down onto board.
$1,000-2,000
887.
Yutaka Ohashi (American, b. 1923)
885 Equilibrium
Signed “Ohashi” l.r., also signed, dated and titled “Y.
Ohashi/1956. Florence...” on the reverse.
Oil on canvas, 34 x 46 in. (86.4 x 116.8 cm), framed.
Condition: Losses, craquelure, surface grime.
$1,500-2,500
887
886
319
888 889
888.
Edward Goldman (American, 1916-2006)
Abstract #142
Signed “Goldman” l.r., identified and dated “6/69” on the
reverse.
Oil on Masonite, 21 x 24 in. (53.3 x 61.0 cm), framed.
Condition: Surface grime, craquelure.
$400-600
889.
William Horace Littlefield (American, 1902-1969)
890.
Stanley Bate (American, 1903-1972)
Abstract Composition
Signed “Stanley Bate” l.r.
Oil on canvas, 42 x 40 in. (106.7 x 101.6 cm), framed.
Condition: Craquelure, surface abrasions.
$800-1,200
890
320
891.
Barse Miller (American, 1904-1973)
891
892.
Vincent T. Smarkusz (American, 1919-1974)
Cubist Composition
Signed “Smarkusz” l.l.
Oil on canvas, 29 x 40 in. (73.7 x 101.6 cm), framed.
Condition: Tear in the u.r. quadrant, craquelure, losses.
$800-1,200
892
893.
Calvin Waller Burnett (American, b. 1921)
Still Life
Signed and dated “Calvin Burnett October 1949” l.r.
Watercolor on illustration board, 20 x 30 in. (51.0 x 76.2 cm),
framed.
Condition: Water staining, toning, not examined out of frame.
$400-600
893
321
894 895
894. 895.
James Hiroshi Suzuki (American, b. 1933) Walasse Ting (Chinese/American, b. 1929)
Composition Untitled
Signed “Suzuki” l.l., signed and dated “James Suzuki/ Signed and dated “ting ‘59” l.r., inscribed “WALASSE TING
-1958-” and identified on a label from the Provincetown Arts 1959” and identified on a label from the Chrysler Museum
Festival affixed to the reverse. affixed to the reverse.
Oil on canvas, 52 x 49 in. (132.1 x 124.5 cm), framed. Oil on canvas, 92 1/2 x 70 in. (235 x 177.8 cm), framed.
Condition: L-shaped tear in the l.l. quadrant, craquelure, surface Condition: Surface grime.
grime.
$1,000-2,000 Provenance: Property of the Chrysler Museum of Art, sold to
benefit acquisition funds.
$3,000-5,000
896.
Ronaldo de Juan (American, 1931-1989)
Untitled (Figures)
Signed and dated “R de JUAN/1974” on the reverse, a label
from the Lerner-Heller Gallery affixed to the reverse.
Acrylic on canvas, 28 x 28 in. (71.1 x 71.1 cm), unframed.
Condition: Surface grime.
$2,000-3,000
896
322
898.
Jiri Kolar (Czech, 1914-2002)
Violoncello
Initialed and dated “JK 73” on the reverse.
Mixed-media collage on board, 30 x 17 x 1/4 in. (76.2 x 43.2 x
0.6 cm), unframed.
Condition: Good.
$2,000-4,000
899.
Sam Earle (American, b. 1960)
565 Boylston
Signed and dated “Earle 2000” on the reverse, titled on a label
from the Gallery NAGA affixed to the reverse.
Mixed media on board, 80 x 24 in. (203.2 x 61.0 cm), unframed.
Condition: Good.
$2,000-4,000
897
897.
Robert Ormerod Preusser (American, 1919-1992)
Forest Fabric
Signed “Preusser” l.r., inscribed “Preusser” and titled on the
reverse, identified and dated “1965” on a label from the Joan
Peterson Gallery, Boston, affixed to the reverse.
Mixed media on canvas, 28 x 28 in. (71.1 x 71.1 cm), framed.
Condition: Surface grime.
$2,000-4,000
898 899
323
900.
Robert Rohm (American, b. 1932)
901.
Cliffton Peacock (American, b. 1953)
901
902.
Jim Huntington (American, b. 1941)
902
324
904
904.
Adriano de Aquino (Brazilian, b. 1946)
903
Lot of Two Works: Composition, signed in pencil and stamped
“Adriano D’Aquino Productions” l.r., dated “Dez 1974” l.r.,
Steinbach Malmedy blindstamp l.r., ink on paper; Color Field,
unsigned, collage on paper; both 20 1/8 x 26 in. (51.1 x 66.0
903. cm), framed.
Leo Valledor (American, 1936-1989) Condition: Not examined out of frames.
$300-500
Evidence
Initialed and dated “L.V. 1964” and titled with a label from the
Obelisk Gallery, Boston, on the reverse. 905.
Acrylic on Masonite, 24 x 24 1/2 in. (61.0 x 62.2 cm), John Hatfield (American, 20th/21st Century)
unframed.
Condition: Surface abrasions. Little Brown Jug
$300-500 Signed “John Hatfield,” titled and dated “1997” on the reverse,
identified on a label from the Obelisk Gallery, Boston, affixed to
the reverse.
Glass, ink and collage, sight size 12 x 17 1/2 in. (30.5 x 44.5
cm), framed.
Condition: Good.
$400-600
905
325
906
907
906.
Wolf Kahn (American, b. 1927)
907.
David Kroll (American, b. 1956)
908.
Gustaf Miller (American, b. 1940)
908
326
909.
Marjorie Anne Portnow (American, b. 1943)
909
910.
George Bentley Nick (American, b. 1927)
910
911.
Wolf Kahn (American, b. 1927)
911
327
912
912. 913.
Mags Harries (Welsh/American, b. 1945) Karen Canner Moss (American, b. 1944)
913 914
328
915 916
915. 916.
Joseph Barbieri (American, 20th/21st Century) Robert Jessup (American, b. 1952)
917.
Joseph Barbieri (American, 20th/21st Century)
We Meet
Signed and dated “Barbieri -79” l.r., titled on the reverse, artist’s
label affixed to the reverse.
Oil on canvas, 14 3/4 x 19 3/4 in. (37.5 x 50.2 cm), framed.
Condition: Good.
$1,000-2,000
917
329
918
918.
Jamini Roy (Indian, 1887-1972)
Provenance: Purchased from the artist’s representative in This work is paradigmatic of Roy’s native-influenced style.
Calcutta, 1963; private collection, Pittsburgh, Pennsylvania. Mother cow and calf are depicted in bold outlines that
differentiate space, and earth-toned color is applied flatly. The
N.B. The primitive styles of native Bengali art began to inspire decorative motif in the upper right flattens the space further by
Bengali-born artist Jamini Roy in the 1920s. Until then, Roy had recalling a textile pattern. In this way, Roy blurs the distinction
been working in a European academic style learned at the of art from craft. In subject matter, Roy refers directly to agrarian
Government School of Art, Calcutta. By several accounts, Roy’s culture as well as Hindu symbolism. The cow is widely
rejection of the academic style arose from an artistic dissatisfaction appreciated in Hindu culture for its bountiful labor and resources,
with naturalism and a desire for a more expressive technique. His and revered for its gentle nature. In this work, the subject matter
attraction to the Bengali indigenous arts, however, can also be is particularly appropriate for the medium-a beast of burden
explained by the political climate of his time. A sense of Indian characterized by the earth pigments in which he toils.
nationalism was growing—the stirrings of which would eventually
result in independence in 1947. Roy had come to reject the 1. Alan Bowness, Howard Hodgkin, Geeta Kapur, Six Indian Painters
(London: The Tate Gallery, 1982), 22.
$6,000-8,000
919.
Kitagawa Tamiji (Japanese, 1894-1989)
Sleeping Figure
Signed and dated “Kitagawa 1936” in Japanese u.l., a label from
the F.A.R. Gallery, New York, affixed to the reverse.
Ink wash on paper, sight size 14 x 18 in. (35.6 x 35.6 cm),
framed.
Condition: Laid down to mat board, paper losses at corners,
foxing, acid burn.
919
330
920
920.
Jamini Roy (Indian, 1887-1972)
Provenance: Purchased from the artist’s representative in Calcutta, 1963; private collection,
Massachusetts.
N.B. Roy’s “genius” is considered by many to be his assimilation of the Bengali folk painting
traditions. According to W.G. Archer, there were two characteristics styles of native Bengali art in
the mid-1920s: traditional patua painting and Kalighat pat. The traditional style was practiced by
wandering bards who created scroll paintings for solely folkloric purposes; whereas the Kalighat
pat style was created and sold by villagers outside the Kalighat temple in Calcutta specifically as
pilgrimage souvenirs. The traditional style typically depicted Hindu gods and was executed in
bold outlines and colors; Kalighat pat depicted everyday rural scenes as well as gods and legends,
executed in “rapid flowing curves and daring washes of glowing color.”1
Adopting the formal and thematic elements of both styles, Roy simplified his technique. He came
to reject the Western painting medium and support of oil on stretched canvas, opting instead for
folk materials such home-spun cloth, wood, or paper. His color palette became limited to
“yellow ochre, Indian red and cadmium green (all fashioned out of indigenous rock dust),
vermilion (from powdery mercury), gray (out of river wash), blue (from indigo) and white (from
chalk).”2
1. W.G. Archer, India and Modern Art (London: George Allen and Unwin Ltd, 1959), 102.
2. P.R. Ramachandra Rao, Contemporary Indian Art (Hyderabad: Vacha Fine Arts, 1969), 10.
$5,000-7,000
END OF SALE
331