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Session 1

Paintings

Ascribed to PIER FRANCESCO BISSOLO (Italian 1492-1554)
Madonna and Child
Oil on panel
23-3/4 x 19-3/4 inches (60.3 x 50.2 cm)

Provenance:
Newhouse Galleries, New York;
Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas;
Walsh Family Art Trust

23002

After AGNOLO BRONZINO (Italian 1503-1572)
Holy Family with Saint John the Baptist
Oil on panel
31 x 25-1/2 inches (78.7 x 64.8 cm)

23005

Manner of GILLIS VAN CONINXLOO I (Dutch 1544-1607)
Wooded Landscape with Hunter and Figures Strolling
Oil on copper
6 x 7 inches (15.2 x 17.8 cm)

23006

FRANZ CHRISTOPH JANNECK (Austrian 1703-1761)
Money Lender
Oil on copper
13-1/4 x 9-1/2 inches (33.7 x 24.1 cm)

Old Master

23007

After PIETER CORNELISZ VAN RYCK (Dutch, 1568-1628)
Kitchen Interior
Oil on hand planed oak panel
11 3/4 x 15 inches

Paintings

23008

Manner of ADRIAEN BROUWER (Flemish c. 1605-1638)
Night in the Tavern
Oil on panel
3-1/2 x 4-1/2 inches (8.9 x 11.4 cm)

Provenance:
Pieter de Klock, Amsterdam, 1744

Fine Art - Painting, European

23009

Circle of GERRIT DOU (Dutch 1613-1675)
St. Francis and Hermits in Prayer, circa 1700
Oil on beveled oak panel
11-1/2 x 9-1/4 inches (29.2 x 23.5 cm)

Paintings

23010

Circle of PHILIPS WOUWERMAN (Dutch 1619-1668)
A Hunting Party Departing from an Inn
Oil on beveled oak panel
10-5/8 x 11-3/4 inches (27.0 x 30.0 cm)
Initialed lower left: W
Wax seal on verso

Fine Art - Painting, European

23011

Manner of NICOLAES BERCHEM (Dutch 1620-1683)
Italianate Landscape with Figures Preparing for a Hunt
Oil on canvas
10-1/2 x 13-1/2 inches (26.7 x 34.3 cm)

Paintings

23012

Follower of JAN JOSEFSZ VAN GOYEN (Dutch 1596-1656)
River Landscape
Oil on beveled oak panel
15-3/4 x 22-1/4 inches (40.0 x 56.5 cm)
Signed lower right
Old auction stencil: 269LK (on verso)

Fine Art - Painting, European

23013

Attributed to LUDOLF BAKHUYZEN (Dutch 1631-1708)
Ships at Sea
Oil on beveled panel
14-1/8 x 20-1/4 inches (35.9 x 51.4 cm)
Unsigned

Paintings

23014

Follower of FERDINAND BOL (Italian 1616-1680)
Portrait of a Man with Hat
Oil on canvas
35-1/2 x 30 inches (90.2 x 76.2 cm)

This portrait is a sensitive copy after Ferdinand Bol's Portrait of a Man in the Alte Pinakothek, Munich (cat. 1967, p. 18, no. 609; Blankert, 1982, cat. no. 143, plate 154), of which there are four known copies listed in Albert Blankert's catalogue, Ferdinand Bol (1616-1680): Rembrandt's Pupil, Doornspijk, Davaco, 1982, nos. 143a-d). Dudok van Heel speculated that the sitter may be Johannes Wtenbogaert (1608-1680).

Fine Art - Painting, European

23015

DUTCH SCHOOL (17th Century)
St. Peter in the Underworld
Oil on panel
10 x 14 inches (25.4 x 35.6 cm)

Paintings

23016

Circle of GODFRIED SCHALCKEN (Dutch 1643-1706)
Two Scholars by Candlelight
Oil on canvas
13-1/2 x 11-1/2 inches (34.3 x 29.2 cm)
Old auction stencil on stretcher
James Bourlet & Sons, Ltd, London (label verso)

23017

Manner of JAN WEENIX II (Dutch 1640-1719)
Still Life with Hare and Pheasant
Oil on canvas
36 x 28-1/2 inches (91.4 x 72.4 cm)

Fine Art - Painting, European

23018

Circle of ÉTIENNE ALLEGRAIN (French 1644-1736)
Figures at Water's Edge
Oil on canvas
9-1/4 x 15 inches (23.5 x 38.1 cm)

Paintings

23019

MARCO RICCI (Italian 1676-1729)
Finding of Moses, 18th century
Oil on oval board
11 x 12-1/2 inches (27.9 x 31.8 cm)

Provenance:
Chevalier d'Henin, Venice, 1789;
Chevalier Emil Felix d'Henin, Paris, 1812

Fine Art - Painting, European

23020

School of CLAUDE JOSEPH VERNET (French 1714-1789)
Shipwreck on Stormy Sea
Oil on canvas
13-1/2 x 20 inches (34.3 x 50.8 cm)
Signed on rock at lower left : J Vernet / F. 17..

Exhibition:
Spencer Museum of Art, University of Kansas, Lawrence, Kansas, 1978

Paintings

23021

Attributed to LOUIS TOCQUÉ (French 1696-1772)
Portrait of the Duchess of Montmorency
Oil on canvas
42 x 32 inches (106.7 x 81.3 cm)

Provenance:
probably Brandus sale, New York, April 17, 1907, no. 122 ($1,600 to P. M. West);
probably Brandus sale, New York, April 1, 1908, no. 106 ($1,000 to D. Russell).

Literature:
Arnauld Doria, Louis Tocqué: biographie et catalogue critiques; l'oeuvre complet de l'artiste, Paris, 1929, cat. no. 239, pp. 127-8.

The sitter, Louise-Françoise-Pauline de Montmorency, was the only daughter of the Prince de Tingry. She was married twice, first to the Comte de Montmorency-Luxembourg with whom she had three children, and second to Louis-François-Joseph, Prince of Montmorency-Logny. She died in 1818.

Fine Art - Painting, European

23022

ANTON RAPHAEL MENGS (1728-1779)
Ismael Mengs (Portrait of the Artist's Father), 18th century
Pastel on paper laid down on panel
23 x 18 inches (58.4 x 45.7 cm)

Anton Raphael Mengs was born in 1728 to parents of German ancestry in Bohemia. His father, Ismael Mengs, who is portrayed with great sensitivity in the present work, was an accomplished artist and started tutoring his son at an early age. Raphael would become one of the leading portraitists of his period, not simply in Germany, but internationally as well. He received many royal commissions from the king of Poland, who was particulary fond of pastellists, Pope Clement XIV in Rome, and Charles III of Spain, who engaged him to decorate the Royal Palace in Madrid.

The portrait is handsomely presented in a period, carved wooden gilt frame.

Provenance:
C.D.Molesworth, The Orangery, Moore Park, Hertfordshire;
William Thuillier,Old Master Paintings & Drawings, London;
Crow Art Partnership Collection, Dallas, Texas

Paintings

23023

Circle of JEAN BAPTISTE SIMEON CHARDIN (French 1699-1779)
Still Life with Meat, Parsley and Jug, 18th century
Oil on canvas
32 x 45-3/4 inches (81.3 x 116.2 cm)
Signed lower left: G. Vincent

23024

Circle of FRANCESCO GUARDI (Italian 1712- c.1793)
Venice, a view of the Grand Canal and the Rialto Bridge
Oil on canvas
10-3/4 x 14 inches (27.3 x 35.6 cm)

23025

GERMAN SCHOOL (Eighteenth Century)
Traveler on a Path with a View of the Village
Oil on canvas
12-1/4 x 18 inches (31.0 x 45.7 cm)
Signed lower left: Kunz 1778

Fine Art - Painting, European

23026

GEORGE MORLAND (British 1763-1804)
Making Hay, 18th century
Oil on canvas
12-1/2 x 10-1/2 inches (31.8 x 26.7 cm)
Signed lower right

Paintings

23027

JOHANNES HERMANUS BAREND KOEKKOEK (Dutch 1840-1912)
Seaweed Gatherers, 1809
Oil on panel
16 x 24-1/2 inches (40.6 x 62.2 cm)
Signed and dated lower right

Fine Art - Painting, European

23028

ANTOINE BERANGER (French 1785-1867)
Les Musiciens Ambulants (The Strolling Musicians)
Oil on canvas
25-3/4 x 32 inches (65.4 x 81.3 cm)

Provenance:
Newhouse Galleries, New York;
Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas;
Walsh Family Art Trust

19th Century European

23029

Manner of FRANCESCO GUARDI (Italian, 1712-1793)
A view of the Grand Canal with Santa Maria della Salute, Early 19th century
Oil on canvas
9-3/4 x 14-1/2 inches (24.8 x 36.8 cm)

Fine Art - Painting, European

23030

Manner of FRANCESCO GUARDI (Italian 1712-1793)
View of Venice, 19th Century
Oil on canvas
10-1/4 x 15 inches (26.0 x 38.1 cm)

Provenance:
Dr. Edmund Prince Fowler

23031

Manner of FRANCESCO GUARDI (Italian 1712-1793)
Venice, the Rialto Bridge, 19th Century
Oil on canvas
12-1/2 x 16-1/2 inches (31.8 x 41.9 cm)
Unsigned

Provenance:
Chevalier de Henin

23032

Manner of FRANCESCO GUARDI (Italian 1712-1793)
Venice, The Rialto, 19th Century
Oil on canvas
12 x 18 inches (30.5 x 45.7 cm)

23033

Attributed to JOHN MARTIN (British 1789-1854)
Marcus Curtius Plunging Into the Gulf, 19th century
Oil on canvas
17 x 21 inches (43.2 x 53.3 cm)

Exhibition:
The Dallas Museum for Contemporary Arts, Dallas, Texas, "The Art that Broke the Looking Glass", November 13 through December 31, 1961.

Paintings

23034

Attributed to GEORGE CHAMBERS (British 1803-1840)
Off the South Coast
Oil on panel
20 x 27 inches (50.8 x 68.6 cm)

Fine Art - Painting, European

23035

JEAN GEORGET (French 1768-1823)
Louis XVIII, circa 1820
Oil on Paris porcelain
32-3/4 x 27 inches (83.3 x 68.6 cm)
Signed middle right: Georget

Jean Georget was an important French miniaturist and porcelain painter at the Sèvres manufactory during the reign of Louis XVIII. His most famous work, a sumptuously painted La Table des Saisons at Fontainebleu, is his unqualified masterpiece. In this portrait of LOUIS XVIII on Paris porcelain, Georget portrayed the monarch in his later years, only four years before his death. Louis had only recently been restored to the throne following the defeat of Napoleon.

Jean Georget painted this portrait during his tenure at Sèvres, near the end of his own life but at the height of his artistic powers. It dates from circa 1820 judging from the details of the sitter's costume. Louis is dressed in a blue velvet frock coat, the sheen of which Georget seems to have relished painting. He achieved rich color and textural contrasts, pairing the gold royal epaulets and the medal of the Legion of Honor, with the sharp white jabot at the nape and the blue silk moiré sash.

Provenance:
Gift from Louis XVIII to Charles of Saxony;
Thence from a royal Austrian family;
Christie's, December 16, 2002;
Crow Art Partnership Collection, Dallas, Texas

Exhibition:
(in Gobelins) Musée National du Château de Versailles.

Literature:
(La Table des Saisons) Sèvres, des Origines à nos Jours. Fribourg, 1978, p.245, pl. LVIII.

In this portrait of the monarch who would establish a legislature and allow more personal freedom in post-Napoleonic France, Georget created a likeness of grandeur and dignity while maintaining a strong sense of realism: present are the monarch's piercing brown eyes, dominant nose, and the corpulent chin. Louis surely personally approved of this work, for he presented it as a gift of thanks to Charles of Saxony who had extended him hospitality at Rastrelli Palace in Latvia, during his period of exile This portrait also served as the model for a portrait tapestry of the king produced at the Gobelins Factory.

Paintings

23036

GIUSEPPE CANELLA I (Italian 1788-1847)
Le Bibliotheque Mazarine (now the Académie Française) and La Bourse, (pair)
Oil on copper
9-1/2 x 15 inches (24.1 x 38.1 cm) (each)

Provenance:
M.R. Schwertzer

Giuseppe Canella's beautifully-designed and drawn city views owe a tremendous artistic debt to the milieu in which he grew up: Canella was the son of a distinguished architect from Verona, Giovanni Canella. Together with his father, Giuseppe designed magnificent stage sets. Indeed, as he matured as a painter of dramatic and factually accurate vedute, often painting on the small, meticulous scale of the present works, Giuseppe Canella succeeded in creating a convincing sense of deep space and enlivening it with casts of hundreds.

As a young man Canella traveled to Spain and then to France, where he stayed between 1823 and 1833, and divided his time between Paris and Fontainebleau. After returning to Italy in 1833, he settled in Milan. Toward the end of his life he became a teacher at the Accademia di Belle Arti in Venice. He died in Florence.

Canella's works are represented in public collections in Milan (Brera), Nantes, and Paris (Musée Carnavalet).

19th Century European

23037

BENEDETTI (Italian Nineteenth Century)
Piazza San Marco and View of the Basilica di San Marco (a pair)
Oil on artists' board
11-1/2 x 7-1/4 inches (29.2 x 18.4 cm) (each)
Each signed: Benedetti

Fine Art - Painting, European

23039

WILLIAM REDMORE BIGG (British 1755-1828)
New Tricks
Oil on canvas
30 x 25 inches, (76.2 x 63.5 cm)

Provenance:
Newhouse Galleries, New York;
Phillips, London, June 3, 1997, lot 26;
Sotheby's, New York, June 9, 1995, lot 88

Paintings

23040

CHARLES TOWNE (British 1763-1840)
Pair of Pointers
Oil on beveled panel
6 x 7-3/4 inches (15.2 x 19.7 cm)

Provenance:
Arthur Ackermann & Sons, New York, New York

Fine Art - Painting, European

23041

Manner of THOMAS WEBSTER (British 1800-1886)
A Good Brew
Oil on canvas laid on board
8 x 7 inches (20.3 x 17.8 cm)
Signed lower right

23042

DANIEL MACLISE (Irish 1806-1870)
Gypsy Fortune Teller, circa 1836
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)
Signed and dated on stretcher

Daniel Maclise was born in Cork, Ireland where he studied briefly at the Cork School of Art. An eager student, he moved to London in 1827 to further his studies at the Royal Academy. After becoming elected a full member of the Royal Academy in 1840 Maclise turned his focus from portraiture to dramatic subjects drawn from war and literature. Maclise painted a series based upon Shakespeare, Goldsmith, and Le Sage. The present work is one of Maclise's earlier efforts in this "literary" genre.

19th Century European

23043

JOSEPA COLE (Italian Nineteenth Century)
Landscape with Sheep Grazing
Oil on canvas
16-3/4 x 24-3/8 inches (42.5 x 61.9 cm)
Signed lower left: Josepa Cole

Fine Art - Painting, European

23044

THOMAS CRESWICK (British 1811-1869)
A Family by the River Bed
Oil on canvas
19-1/4 x 23 inches (48.9 x 58.4 cm)
Signed at lower right: T Creswick

Paintings

23045

JEAN PAUL CLAYS (Belgian 1817-1900)
Moored Ships at Harbour
Oil on panel
22 x 15-1/2 inches (55.9 x 39.4 cm)
Signed lower right: P. J. Clays

Fine Art - Painting, European

23046

PAUL JEAN CLAYS (Belgian 1817-1900)
Fishing Boats in the Harbor
Oil on canvas
26 x 19-3/4 inches (66.0 x 50.2 cm)
Signed lower right: P.J. Clays

Paintings

23047

DUTCH SCHOOL (Nineteenth Century)
Harbor Scene
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Unsigned

Fine Art - Painting, European

23048

HERMAN MEVIUS (German 1820-1864)
Waring the Storm, 1848
Oil on canvas
11-1/4 x 13-1/4 inches (28.6 x 33.7 cm)
Signed and dated lower right: H. Mevius 1848

Paintings

23049

TONY-FRANÇOIS DE BERGUE (French 1820-1890)
Moonlit Landscape, France
Oil on canvas
30 x 39 inches (76.2 x 99.1 cm)
Signed lower middle: T. de bergue

23050

GIACINTO GIGANTE (Italian 1806-1876)
Sorrento, Panoramic View
Oil on board
7-1/2 x 10-1/2 inches (19.1 x 26.7 cm)
Unsigned

Fine Art - Painting, European

23051

H.C. BRYANT (British 1812-1890)
The Tired Pet
Oil on canvas
16 x 13-3/4 inches (40.6 x 34.9 cm)
Signed lower right: H.C.B.

23052

LEOPOLD FERTBAUER (Austrian 1802-1875)
Portrait of an Elegant Gentleman in His Study, 1853
Oil on panel
17-1/2 x 10 inches (44.5 x 25.4 cm)
Signed and dated lower right

Paintings

23053

Attributed to SIR FRANCIS GRANT, PRA (Scottish 1803-1878)
Portrait of a Young Man, George Osbaldeston, Mid-19th Century
Oil on canvas
102 x 80-1/2 inches (259.1 x 204.5 cm)
Unsigned

Provenance:
Crow Art Partnership Collection, Dallas, Texas

Francis Grant was born to a wealthy Scottish landowner in 1803 at Edinburgh. While his early life was spent indulging a passion for fox hunting and collecting sporting paintings, he took up painting the outdoors he had loved so much following the death of his father. In Portrait of a Young Man, George Osbaldeston, Grant portrays a young gentleman posing beside his favorite mount, a striking white horse, while flanked by two hounds and a terrier, ready for the excitement of the next hunt. The subject of the portrait is believed to be George Osbaldeston, a famous sportsman of the period, owing to the man's resemblance to a much smaller likeness of Osbaldston by Grant, now in the National Portrait Gallery, London. Osbaldeston was famous for his antics on horseback, having once trotted his noted American horse Tom Thumb over 100 miles in 10 hours.

The detail Grant achieved in this portrait is remarkable, especially considering its monumental scale at 102 by 80 ½ inches.His flair for blending the particulars of landscape, a sporting scene, and highly refined portraiture won him tremendous fame and popularity. He was ultimately knighted soon after becoming president of the Royal Academy in 1866. Queen Victoria, Sir Walter Scott (the author of Ivanhoe), Macaulay, Disraeli, and many other lumninaries sat to him, and many of his most distinguished likenesses are preserved in the National Portrait Gallery, London.

Fine Art - Painting, European

23054

JAN HENDRIK VAN GROOTVELT (Dutch 1808-1855)
Outside the Tavern, 1831
Oil on canvas
17-3/4 x 22-1/4 inches (45.1 x 56.5 cm)
Initialed and dated lower right: J H V G 1831

23055

HENRICUS ELBERTICUS (Dutch 1817-1900)
Merry Company in a Tavern
Oil on beveled mahogany panel
11 x 15-1/2 inches (27.9 x 39.4 cm)
Signed at lower right

Paintings

23056

JULIUS NOERR (German 1827-1897)
Breaking for a meal
Oil on panel
10-3/8 x 22-7/8 inches (26.3 x 58.1 cm)
Signed lower left J. Noerr
Inscribed on verso: Julius Noerr....1600..;
Stamped on verso: Oberndorfer And / Malrequisiten Tischler / Munchen

Fine Art - Painting, European

23057

HENRICUS ENGELBERTUS REIJNTJENS (Dutch 1817-1900)
The Feast
Oil on beveled wood board
12-1/4 x 15-7/8 inches (31.0 x 40.3 cm)

23058

GORDON C. BARLOW (British Nineteenth Century)
English Country Scene
Oil on canvas
42 x 30-1/2 inches (106.7 x 77.5 cm)
Signed lower right: G. C. Barlow

Provenance:
Crow Art Partnership Collection, Dallas, Texas

Paintings

23059

GORDON C. BARLOW (British Nineteenth Century)
English Landscape
Oil on canvas
19 x 23 inches (48.3 x 58.4 cm)
Signed lower right: G. C. Barlow

Provenance:
Eric Kyte, Dallas, 1983
Crow Art Partnership Collection, Dallas, Texas

23060

RICHARD CATON WOODVILLE, SR. (British 1825-1855)
The Artist's Studio, 1853
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)
Inscribed with initials verso

Fine Art - Painting, European

23061

After ARNOLD BÖCKLIN (Swiss 1827-1901)
Self-portrait with Death Playing the Fiddle
Oil on canvas laid on panel
23-1/2 x 19-1/2 inches (59.7 x 49.5 cm)

Provenance:
Christie's, London, 2001;
Crow Art Partnership Collection, Dallas, Texas

This is a faithful nineteenth-century copy after Arnold Böcklin's well-known self-portrait of 1872 in the collection of the Staatliche Museen Preussischer Kulturbesitz, Nationalgalerie, Berlin.

Paintings

23062

LUDWIG KRAUS (German 1829-1910)
Death of a Gentleman, circa 1850
Oil on canvas
24 x 20-1/2 inches (61.0 x 52.1 cm)
Signed and dated lower right: AL. Kraus 185?

Fine Art - Painting, European

23063

Manner of EUGENIO LUCAS Y PADILLA (Spanish, 1824-1870)
The Brawl
Oil on beveled wood board
10-1/2 x 8-1/2 inches (26.7 x 21.6 cm)
Unsigned

Paintings

23064

FRANÇOIS VANDEVERDONK (Belgian 1848-1875)
Chien de Laitière
Oil on mahogany panel
7-3/4 x 10-1/4 inches (19.7 x 26.0 cm)
Signed lower left: Francois Vandeverdonk
Inscribed on verso

23065

ALEXANDER FRASER, JR. (Scottish 1828-1899)
Ben Venue
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed lower right: A. Fraser

Provenance:
Private Collection, London

23066

Attributed to JAMES WARD (British 1769-1859)
Portrait of a Cow, 1811
Oil on canvas laid on board
7 x 8-1/2 inches (17.8 x 21.6 cm)
Signed and dated lower right

23067

LOUIS EUGENE LAMBERT (French 1825-1900)
As Kittens Play, Their Mother Naps
Oil on canvas
25-3/4 x 19-3/4 inches (65.4 x 50.2 cm)
Signed lower left: L. Eugene Lambert

Fine Art - Painting, European

23068

GIOVANNI FATTORI (Italian 1825-1908)
La Madre e il Figlio
Oil on board
9 x 15-3/4 inches (22.9 x 40.0 cm)
Signed lower left: Giov Fattori

Exhibitions:
Century of Progress Exhibition, date 1934, Entry No. 714;
Exposizione di Pittura Italiana del 800, Chicago, Maggio: Novembre / 1934/ n.257 bis;
800-900 Pittura/ Roma/ 87, Via del Seminario (traveling show);
VIII.Internationale.....1901

23069

FILIPPO PALIZZI (Italian 1818-1899)
Blond Calf
Oil on canvas laid on panel
10 x 7 inches (25.4 x 17.8 cm)
Signed at lower left

Paintings

23071

Attributed to FRANZ XAVER PETTER (Austrian, 1791-1866)
Elaborate Floral Bouquet on a Marble Ledge with a Landscape Beyond, 1860
Oil on wood
25 x 15-1/2 inches (63.5 x 39.4 cm)
Monogrammed lower right: FXP / 1860

Fine Art - Painting, European

23072

ADRIEN JOSEPH VERHOEVEN-BALL (Belgian 1824-1882)
Going to Market, 1865
Oil on beveled panel
19-3/4 x 15-1/8 inches (50.2 x 38.4 cm)
Signed lower left ...Verhoeven-Ball

23073

SPANISH SCHOOL (Nineteenth Century)
Man with Cane in Pastrana, Spain
Oil on canvas laid on board
16 x 18-3/4 inches (40.6 x 47.6 cm)
Signed lower right: Q. de la Torre y Estefania
Inscribed lower right: Pastrana

Paintings

23074

JACOB SIMON HENDRIK KEVER (Dutch 1854-1922)
Mother and Child, 19th century
Oil on canvas
21-3/4 x 18 inches (55.2 x 45.7 cm)
Signed at lower right: Kever

23075

LUDWIG BLUME-SIEBERT (German 1853-1929)
The Happy Homecoming
Oil on canvas
11 x 15 inches (27.9 x 38.1 cm)
Signed lower right

23076

COLIN HUNTER (Scottish 1841-1904)
Rocky Seascape
Oil on canvas
18 x 30 inches (45.7 x 76.2 cm)
Signed lower left Colin Hunter R.A.

Fine Art - Painting, European

23077

Attributed to JOHN ATKINSON GRIMSHAW (British 1836-1893)
Gloucester Dock, 1890
Oil on canvas
12 x 18 inches (30.5 x 45.7 cm)
Signed lower left [strengthened]: Atkinson Grimshaw 1890
Signed, titled and dated on verso

John Atkinson Grimshaw scholar, Alexander Robertson, has kindly examined the present work from photographs, and has noted that it is one of five versions of this subject known to him, one of which he rejected as an autograph work by the artist some years ago. While he noted that from photographs alone he was unable to give a definitive opinion on this painting's authorship, Mr. Robertson offered the following observations in email correspondence with Heritage on October 28, 2007: "What struck me immediately about the present painting is that the signature has been 'gone over,' which is unusual but has been seen on other Grimshaws when someone has wished to change the attribution to Atkinson from his son Arthur's name. Having said this, however, the underlying name does seem to be Atkinson. The top version is a crude attempt to imitate the artist's usual way of signing. Various other parts of this work are unconvincing especially the cathedral tower which seems very wobbly! Also I do not like the various highlight effects on the end of the barge in rather crude green paint. Of course there is the possibility that this was an unfinished picture left lying around and someone else finished it later."

John Atkinson Grimshaw was a later nineteenth-century British landscape painter who worked in a meticulous manner associated with Pre-Raphaelite painting. He was born in Leeds into modest circumstances and to parents who were strict Baptists. His mother so strongly disapproved of his interest in painting that on one occasion she destroyed all his paints. Despite the resistance of his family, Grimshaw, who worked as a clerk at the Great Northern Railway office in Leeds, eventually decided to become a full-time painter in 1861. He first became popular in Leeds, working initially as a figurative painter (a la Holman Hunt, one of his earliest inspirations), then as a still-life painter, and later specialized in moonlit scenes along the Thames and other waterways, and narrow city streets illuminated by gaslight as well. When William Agnew became his dealer in London, Grimshaw's fortunes changed. By 1870 he was in a position to buy Knostrop Old Hall, a large seventeenth-century manor house two miles from Leeds. There, he and his wife Fanny had fifteen children although only six reached adulthood.

Grimshaw was a major force in establishing the Leeds City Art Gallery. He campaigned for it vigorously since it was first suggested by Edmund Bates in 1862, and after a long struggle it was eventually opened in 1888. The Gallery mounted annual spring exhibitions in which Grimshaw was always represented.

We are grateful to Alexander Robertson, former Senior Curator at Leeds City Art Gallery, for his kind assistance in cataloguing this lot. He is the author of Atkinson Grimshaw 1836-1893, exh. cat. Leeds, Southampton and Liverpool, 1980, and Atkinson Grimshaw, Phaidon, Oxford, 1988.

Paintings

23078

J. H. WEST (British Nineteenth/Twentieth Century)
In Tow for London
Oil on canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed lower right: J. H. West and titled lower left: In Tow For London

23079

CARLOS ALONSO PÉREZ (Spanish)
The Departure
Oil on canvas
23-1/2 x 28-1/2 inches (59.7 x 72.4 cm)
Signed lower right: Carlos Alonso Perez

23080

MARTÍN RICO Y ORTEGA (Spanish 1833-1908)
Promenade on the Canal
Oil on canvas laid on panel
18 x 28 inches (45.7 x 71.1 cm)
Signed lower right

Fine Art - Painting, European

23081

MARTÍN RICO Y ORTEGA (Spanish 1833-1908)
Venice, View of a Canal
Watercolor on paper
16-1/2 x 13 inches (41.9 x 33.0 cm)

23082

CONTINENTAL SCHOOL (Twentieth Century)
Seascape with Ruins, 1927
Oil on canvas
19 x 22 inches (48.3 x 55.9 cm)
Signed illegibly lower left: L. Gran(?) 1927

23083

After CHARLES FRANÇOIS DAUBIGNY (French 1817-1878)
View of St. Malo
Oil on wood panel
6-1/2 x 14 inches (16.5 x 35.6 cm)
Unsigned

Paintings

23084

HERMANN DAVID SALOMON CORRODI (Italian 1844-1905)
Prayer at Dusk, Venice
Oil on canvas
19-3/4 x 11 inches (50.2 x 27.9 cm)
Signed lower left: H. Corrodi Ro....

23085

HERMANN DAVID SALOMON CORRODI (Italian 1844-1905)
Sunset by the Ruins
Oil on canvas
44-1/2 x 30 inches (113.0 x 76.2 cm)
Signed lower left: H. Corrodi R...

Works on Paper

23086

FRANÇOIS ANTOINE BOSSEUT (Belgian 1800-1889)
Adobe by the Sea, 1874
Oil on paper laid on canvas
9-1/2 x 13 inches (24.1 x 33.0 cm)
Monogrammed lower right

Paintings

23087

BERNARDO HAY (British 1864)
Capri
Oil on canvas
10 x 16 inches (25.4 x 40.6 cm)
Signed lower right
Inscribed: Capri

Fine Art - Painting, European

23088

JULES HÉREAU (French 1839-1879)
Bateau au Port
Oil on unlined canvas
11 x 14 inches (27.9 x 35.6 cm)
Signed lower left: Jules Hereau

Paintings

23089

ALEXANDRE DUBOURG (French 1821-1891)
Le Ferdinand de Lesseps Leaving Le Havre Harbor
Oil on canvas
23-1/4 x 39-3/8 inches (59.1 x 100.0 cm)
Signed lower right: A. Dubourg
Titled lower left: Le Ferdinand de Lesseps

De Lesseps was a French diplomat who was responsible for the construction of the Suez Canal. This painting records a cruise ship named for him.

Fine Art - Painting, European

23090

THOMAS H. HAIR (British 1810-1882)
Untitled (Seascape With Single-Mast Fishing Vessel), 1870
Oil on canvas
16-5/8 x 11-3/4 inches (42.2 x 29.8 cm)
Signed and dated lower right: T.H. Hair / 1870

Fine Art - Painting, American

23091

JAMES JEBUSA SHANNON (British/American 1862-1923)
Portrait of a Young Girl with Flowers
Oil on canvas
14 x 12 inches (35.6 x 30.5 cm)
Signed at upper right: J. Shannon

Paintings

23092

CONTINENTAL SCHOOL (Nineteenth Century)
Man Playing a Flute on a Hillside Overlooking a Village
Oil on wood board
8-1/4 x 10-1/2 inches (21.0 x 26.7 cm)
Signed lower right

23093

EMILE VAN MARKE DE LUMMEN (French 1817-1890)
Cattle in the Stream
Oil on cradled wood panel
13-1/2 x 16-3/4 inches (34.3 x 42.5 cm)
Unsigned

23094

Attributed to JULES DUPRÉ (French 1811-1889)
River Landscape with Cottage
Oil on panel
11 x 14 inches (27.9 x 35.6 cm)
Signed at lower left

Fine Art - Painting, European

23095

CHARLES FRANÇOIS DAUBIGNY (French, 1817-1878)
Woodland Landscape, 1850
Oil on canvas laid on board
14-1/2 x 8-3/4 inches (36.8 x 22.1 cm)
Signed and dated lower left: C. Daubigny 1850
Wax seal on verso

23096

LOUIS AIME JAPY (Swiss 1840-1916)
Cattle Grazing by a Pond, 1882
Oil on cradled mahogany panel
12-1/2 x 16 inches (31.8 x 40.6 cm)
Signed and dated lower right: Japy 82

23097

LOUIS AIME JAPY (Swiss 1840-1916)
Shepherd's Rest
Oil on beveled panel
13-3/4 x 10-3/4 inches (34.9 x 27.3 cm)
Signed lower right: Japy

23098

LOUIS AIME JAPY (Swiss 1840-1916)
River Landscape with Birch Trees
Oil on canvas
26 x 32 inches (66.0 x 81.3 cm)
Signed lower right

Paintings

23099

HENRI VICTOR LESUR (French 1863-1900)
Untitled (Courtyard with Maidens)
Oil on panel
Signed lower right: Henri Lesur
In chalk verso: 887
16-1/4 x 12-3/4 inches (41.1 x 32.4 cm)

Provenance:
Harry Knippel, Dallas
Crow Art Partnership Collection, Dallas, Texas

Henri Victor Lesur was born in Roubaix, France in 1863 and was educated at the Écôle des Beaux Arts before he debuted at the Salon in 1887, where he won a medal for his submission. He was awarded medals for his portraits at the 1889 and 1900 Expositions Universelles as well. In addition to his primary artistic focus, Lesur also painted genre scenes of fashionably dressed women such as the two young ladies in the present courtyard vista. Lesur enjoyed depicting the more playful side of French society and he did so with a vivid use of color. He exhibited at the Salon for the last time in 1895, five years before his death.

Works on Paper

23100

BELISARIO GIOIA (Italian 1829-1906)
The Flirt, 19th Century
Watercolor on paper
21-1/2 x 15 inches (54.6 x 38.1 cm)
Signed and inscribed lower right: B. Gioia / Roma

Paintings

23101

PIETRO BARUCCI (Italian 1845-1917)
Fishing off the Italian Coast, 1895
Oil on canvas
24 x 43 inches (61.0 x 109.2 cm)
Signed and dated lower left: P. Barucci / Roma 1895

Fine Art - Painting, European

23102

GAETANO CAPONE (Italian 1845-1920)
Caught At Last, circa 1897
Oil on canvas
32 x 22 inches (81.3 x 55.9 cm)
Signed and dated lower right: G. Capone / Napoli / 97

23103

FRANCESCO COPPOLA CASTALDO (Italian 1845-1916)
Baghioli, near Naples
Gouache on paper
10-1/2 x 16 inches (26.7 x 40.6 cm)
Signed lower right: F. Coppola Castaldo

Paintings

23105

JOSÉ MARÍA JARDINES (Spanish 1862-1932)
Casas Españoles
Oil on canvas
22 x 13 inches (55.9 x 33.0 cm)
Signed lower right

23106

ANTONIO ERMOLAO PAOLETTI (Italian 1834-1912)
Young Boy with Fish, 1872
Oil on canvas
38-1/2 x 28-1/4 inches (97.8 x 71.8 cm)
Signed lower right: A. Ermolao Paoletti, Venezia 72

Provenance:
Private Collection, San Antonio

Paoletti was known for his paintings of Venetian street vendors, usually young and impoverished. This model appears in several of his works.

23107

GEOFFREY DOUGLAS GILES (British 1857-1941)
The Puppy Show
Oil on canvas
41 x 56 inches (104.1 x 142.2 cm)
Signed lower left: G. D. Giles

Fine Art - Painting, European

23108

ROSA BONHEUR (French 1822-1899)
The Monarch of the Herd, 1868
Oil on canvas
31-1/4 x 39 inches (79.4 x 99.1 cm)
Signed and dated lower left: Rosa Bonheur / 1868

Provenance:
Geraldine Rockefeller Dodge

Rosa Bonheur was born into a family of artists and progressive thinkers. Her father was a believer in Saint-Simonianism, a Christian-socialist sect that promoted the education of women alongside men. In spite of her difficulties with formal education, Rosa was taught to read by her mother by drawing animal illustrations for the alphabet. She was disruptive in the classroom and was expelled from numerous schools. Her father agreed to train her as an artist. She copied images of animals from books, models, and from the animals in the rural areas close by Paris. She studied animal anatomy and osteology by visiting the slaughterhouses and by dissecting animals. Her paintings of animals met with great acclaim due to their realistic portrayals. Bonheur became famous as an animalière and realist artist, even while the actual scenes of wildlife were rapidly disappearing due to the increasing industrialization of Europe.

23109

ERNEST GIROUX (French 1851)
The Favorite
Oil on canvas
9-1/2 x 12-1/2 inches (24.1 x 31.8 cm)
Signed lower left: E. Giroux

23110

NARCISSE BERCHÈRE (French 1819-1891)
Arab Village
Oil on canvas laid on board
6-3/4 x 9-1/2 inches (17.1 x 24.1 cm)
Signed lower right

23111

ALFRED W. ELMORE (British 1815-1881)
Judith at the Tent of Holofernes, circa 1871
Oil on canvas
36 x 26 inches (91.4 x 66.0 cm)

Exhibition:
Royal Academy, London, 1871

Works on Paper

23112

GIULIO ROSATI (Italian 1858-1917)
Stopping for Rest in the Desert
Watercolor and pencil on paper
21 x 14 inches (53.3 x 35.6 cm)
Signed lower right: Giulio Rosati

Paintings

23113

JOHN WILLIAM GODWARD (British 1861-1922)
Girl in Yellow Drapery, 1901
Oil on canvas
12 x 24 inches (30.5 x 61.0 cm)
Signed and dated lower left: J.W. Godward 1901

Provenance:
The estate of the artist, 1901;
Messrs. Thomas McLean, London, July 15, 1901;
bt. George Gill, Park House, Sutton Coldfield, Warwickshire;
Frost & Reed, London (no. 20638);
Alexander Raydon, New York, New York

Literature:
Vern Grosvenor Swanson, PhD, John William Godward: The Eclipse of Classicism, including catalogue raisonne, Woodbridge, Suffolk, England, 1997, cat. no. 7 (under paintings produced in 1901 at 410 Fulham Road, Fulham, London). p. 205; ill. color Plate 44, p. 69;
To be included in Dr. Vern Swanson's forthcoming new and revised catalogue raisonné on the artist.

23114

JOSÉ GARCIA Y RAMOS (Spanish 1852-1912)
Orientalist Nude, 1875
Oil on canvas
14 x 20 inches (35.6 x 50.8 cm)
Signed lower left: garcia y ramos / Roma / 1875

23115

FERENOZ FRANZ EISENHUT (Hungarian 1857 -1903)
Harem Girl, 1882
Oil on canvas
28 x 15 inches
Signed and dated lower right
Inscribed: Munchen

23116

JEAN JACQUES HENNER (French 1829-1905)
Ideal Head, circa 1879
Oil on panel
13-1/2 x 10 inches (34.3 x 25.4 cm)
Signed lower right

Exhibition:
Mississippi Museum of Art, Collectors Choice, 1978-79.

The model for this painting is most likely Dolly Tennant, a Victorian neoclassical painter and student of Henner's, who was married to the African explorer Henry Morton Stanley Tennant. Dolly Tennant frequently modeled for Henner, and posed for La Source, arguably one of Henner's most famous works which won him great notoriety when it was first exhibited in the Paris Salon of 1881. The Musée national Jean-Jacques Henner preserves a number of oil studies for La Source, among them a study of Dolly Tennant's head which has certain affinities with the present work, although it is comparatively sketchier and less finished. (That work is reproduced in Isabelle de Lannoy, Musée national Jean-Jacques Henner. Catalogue des peintures, 2nd revised ed., Paris, 2003, cat. no. 301, p. 174.) Tennant's long red hair and flawless pale complexion also appealed to the Victorian painter, George Frederic Watts (1817-1904), for whom she also posed.

23117

Attributed to JEAN JACQUES HENNER (French 1829-1905)
Portrait, Red Haired Beauty Standing in Profile
Oil on canvas
18 x 12 inches (45.7 x 30.5 cm)
Signed lower left

Fine Art - Painting, European

23118

Attributed to LUDOVICO MARCHETTI (Italian 1853-1909)
Peasant Dance
Oil on canvas
20-1/2 x 42-1/4 inches (52.1 x 107.3 cm)
Unsigned

23119

LOUIS ROBERT CARRIER-BELLEUSE (French 1848-1913)
A Rest in the Garden
Oil on canvas
21-1/2 x 29 inches (54.6 x 73.7 cm)
Signed lower left: Louis Carrier Belleuse

23120

LÉON GOUPIL (French 1834-1890)
Profile of an Elegant Woman in Red
Oil on beveled wood board
12-7/8 x 9-3/8 inches (32.7 x 23.9 cm)
Signed upper left
Parisian supplier's stamp verso

Paintings

23121

HENRI RONDEL (French 1857-1919)
Portrait of a Young Woman
Oil on canvas
18-1/4 x 15 inches (46.4 x 38.1 cm)
Signed lower left: A mo[n] Ami B....iet / H. Rondel

Fine Art - Painting, European

23122

R. MORELLI (Italian, 19th century)
A Hopeful Glance
Oil on canvas
23-1/2 x 13 inches (59.7 x 33.0 cm)
Signed lower left

23123

LUIGI SCAFFAI (Italian 1837-1899)
The Flirt, Interior Scene
Oil on panel
17-3/8 x 12-3/5 inches (44 x 32 cm)
Signed lower right: Scaffai / Firenze

Provenance:
Ketterer Kunst, Hamburg, May 27, 1998, lot 443

Born in Livorno, Scaffai trained at the academy in Florence, where he established himself as a specialist in genre painting.

Paintings

23125

FRANÇOIS MARTIN-KAVEL (French 1861-1931)
Portrait de jeune femme, 1890
Oil on canvas
21-3/4 x 15 inches (55.2 x 38.1 cm)
Signed and dated lower right: Martin Kavel 1890

This is a fine example of Martin-Kavel's elegant pseudo-portraits of idealized women which made his reputation.

Fine Art - Painting, European

23126

MARIE FRANÇOIS FIRMIN-GIRARD (French 1838-1921)
Workers in the field
Oil on linen
15 x 22 inches (38.1 x 55.9 cm)
Signed lower left: Firmin-Girard

Paintings

23127

ADRIEN SAUZAY (French/Barbizon School, 1841-1928)
Bord de rivière
Oil on canvas
15 x 25 inches (38.1 x 63.5 cm)
Signed lower left

Provenance:
Private Collection, Paris, France

Sauzay was a student of Jules André and Alberto Pasini who became an accomplished landscapist. He favored quiet subjects such as river scenes of this type.

Fine Art - Painting, European

23128

CHARLES EDMOND RENAULT (French/Barbizon School 1829-1905)
Le retour du pêcheur, le soir (Return of the Fisherman, Evening)
Oil on canvas
38 x 44 inches (96.5 x 111.8 cm)
Signed at lower left

Provenance:
Private Collection, Paris, France;
Castellana, September 28, 1999

This is the work of an accomplished landscape painter who trained under Corot and Rousseau.

Paintings

23129

EDMOND VAN COPPENOLLE (Belgian 1846-1914)
Le bouquet de Dahlias
Oil on canvas
25-3/4 x 19-3/4 inches (65.4 x 50.2 cm)
Signed lower right: E. Coppenolle

Born in Belgium, Van Coppenolle moved to France to work in a porcelain factory. His oil paintings of flowers were balanced compositions using rich earthy colors inspired by the Dutch and Flemish works of the 17th century.

Fine Art - Painting, European

23130

SIMON SAINT-JEAN (French 1808-1860)
Grappes de raisins, 1840
Oil on artists' board
22 x 14-1/2 inches (55.9 x 36.8 cm)
Signed and dated lower right: Saint-Jean 1840

Provenance:
Private Collection, France

Saint-Jean began his career as a textile designer, but became renowned for his paintings of fruit and flowers. He was one of the leading artists and teachers in Lyon.

Paintings

23131

HENRY PIERRE PICOU (French, 1824-1895)
Confidences champêtre entre amies (Secrets between Friends in the Countryside)
Oil on panel
13 x 9-1/4 inches (33.0 x 23.5 cm)
Signed lower right: henry picou

Born in Nantes, France, Picou was a genre painter who favored pastoral subjects in a classical style.

23132

AUGUSTE TOULMOUCHE (French 1829-1890)
Interior
Oil on canvas
11-1/2 x 12-3/4 inches (29.2 x 32.4 cm)
Signed lower left

Provenance:
Private collection, Fontainebleau, France

Toulmouche specialized in paintings of beautiful women in interiors, a genre which evolved into a later nineteenth-century movement known as Costume painting. The work of Costume painters focused upon sentimental, romantic scenes of daily life. Here, a woman is having her hair wrapped in linen strips, twisted, and then tied to produce ringlets.

Fine Art - Painting, European

23133

FANNY GAMBOGI (French Nineteenth Century)
A Rest On The Journey, 1882
Oil on canvas
19-1/4 x 25-1/2 inches (48.9 x 64.8 cm)
Signed and dated lower left margin: Fanny Gambogi / 1882

Provenance:
Christie's South Kensington, March 20, 2003, lot 106;
Christie's South Kensington, April 5, 2001, lot 151;
Christie's South Kensington, December 7, 2000, lot 163

Paintings

23134

PAUL LOUIS-NARCISSE GROLLERON (French 1848-1901)
Soldiers Around the Campfire, 1887
Oil on canvas
61-3/4 x 82-3/4 inches (156.8 x 210.2 cm)
Signed and dated lower right P. Grolleron 87

Provenance:
Sotheby's, New York, October 31, 2000, lot 89;
Private collection, Dallas, Texas

Fine Art - Painting, European

23135

ÉTIENNE PROSPER BERNE-BELLECOUR (French 1838-1910)
Soldiers Talking Round a Campfire, 1890
Oil on panel
13-3/8 x 18-1/2 inches (34.0 x 47.0 cm)
Signed lower right: E. Berne-Bellecour. 1890.
Label verso: P. Hombert Fils / Doreur / Encadreur / ......Specialité d'Encadrements / Paris

23136

ÉTIENNE PROSPER BERNE-BELLECOUR (French 1838-1910)
French Cuissier Attending to his Helmet, 1902
Oil on panel
14-3/4 x 10-1/4 inches (37.5 x 26.0 cm)
Signed lower left: E. Berne-Bellecour. 1902

Paintings

23137

JEAN-JACQUES BERNE-BELLECOUR (French 1874)
Officers Outside a Town
Oil on panel
18 x 16 inches (45.7 x 40.6 cm)
Signed lower left: Jean Berne-Bellecour
Stamped on verso: Christie's

23138

ALFRED DE BREANSKI (British 1852-1928)
Loch Lomond and Loch Katrine
Oil on canvas
24 x 42 inches (61.0 x 106.7 cm)
Signed lower left: Alfred de Breanski

23139

ALFRED DE BREANSKI (British 1852-1928)
"A Misty Morning", The Tow Path at Shepperton
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower left: Alfred de Breanski
Inscribed on verso on the stretcher and canvas: No. 3 "A Misty Morning", the Tow-Path at Shepperton / Alfred de Breanski

Provenance:
Christie's, South Kensington, March 9, 2005, lot 155

Fine Art - Painting, European

23140

Attributed to ALFRED DE BREANSKI (British 1852-1928)
Heysham Abbey, Morecambe Bay
Oil on canvas
20-1/4 x 30-1/4 inches (51.4 x 76.8 cm)
Unsigned

Paintings

23141

ALFRED DE BREANSKI (British 1852-1928)
A Quiet Loch
Oil on canvas
38-1/4 x 60-1/4 inches (97.2 x 153.0 cm)
Signed lower left: Alfred de Breanski

23142

ARTHUR TREVETHIN NOWELL (Welsh 1862-1940)
Untitled Rural Scene (2)
Oil on board
21 x 17-3/4 inches (53.3 x 45.1 cm)
Signed lower right: A. Nowell
Arthur Trevethin Nowell exhibited at the Royal Academy between 1882 and 1939 and extensively in New York City. He attended the Manchester School of Art before entering the Royal Academy Schools and winning the Gold Medal and the Turner Prize for his work. With the stipend accompanying that award, he toured Europe and studied in Paris. Ultimately he would paint the portraits of King George V and Queen Mary, some of which remain in the royal collections. He also produced landscapes and rural scenes of this type. Nowell maintained a studio in the Singer Skyscraper in New York.

Provenance:
Clements Gallery, Forney, Texas
Crow Art Partnership Collection, Dallas

23143

GEORGE DUNLOP LESLIE (British 1835-1921)
Day of Rest, Wallingford, 1897
Oil on canvas stretched over board
38 x 52-3/4 inches (96.5 x 134.0 cm)
Signed lower right: G.D. Leslie 97

Provenance:
Kurt E. Schon, Ltd., New Orleans, Louisiana, March 2, 1988

Fine Art - Painting, European

23144

R. B. PASQUELL (French 19th century)
Leading the Cows to Pasture
Oil on canvas laid on board
13-3/4 x 12 inches (35.1 x 30.5 cm)
Signed lower right: R. Pasquell

Works on Paper

23145

FRENCH SCHOOL (Nineteenth Century)
Interior of a Ballroom
Pastel on paper supported by wood board
23-1/2 x 28 inches (59.7 x 71.1 cm)
Signed lower right: Laury(?)

Paintings

23146

MARGARET LINDSAY WILLIAMS (British ?-1960)
The Devil's Daughter
Oil on canvas
44-1/2 x 55 inches (113.0 x 139.7 cm)
Old label verso: (Miss) Margaret Lindsay Williams / 'Elm Grove' Dinas Powes S. Wales
Stamp on canvas: Soho Square, Newman, London

Fine Art - Painting, European

23147

JOHN CHARLES MAGGS (British 1819-1845)
Ye George Inn, Glastonbury, 1883
Oil on canvas
21 x 17 inches (53.3 x 43.2 cm)
Signed lower left: J.C. Maggs/ Bath 1883

23148

ÉMILE VERNON (British 1872-1919)
Tennis Anyone
Oil on canvas
36 x 26-3/8 inches (91.4 x 66.7 cm)
Signed lower left: Vernon

Provenance:
Christie's, New York, April 19, 2005, lot 213

Paintings

23149

LUDWIG KNAUS (German 1845-1933)
A Sweet Lady
Oil on panel
12-1/4 x 9-1/2 inches (31.1 x 24.1 cm)
Unsigned

Provenance:
Private Collection, Morristown, New Jersey
Roughton Gallery, Dallas, Texas (label verso)

This masterfully-rendered portrait of a mature woman dressed in her finery exemplifies Ludwig Knaus's talent for achieving sympathetic likenesses. A painter of the younger Dusseldorf school, Knaus modified his dark palette after studying in Paris and Italy. In 1853 he received a second gold medal at the Paris Salon. Upon returning to Berlin, he became a professor at the Academy there.

Fine Art - Painting, European

23150

ARTIST UNKNOWN
Queen Mother
Oil on canvas
40 x 30 inches (101.6 x 76.2 cm)
Unsigned

Paintings

23151

FABIO CIPOLLA (Italian 1854-1914)
Arrival at the Villa Borghese 1878, Rome
Oil on canvas
23 x 17-1/4 inches (58.4 x 43.8 cm)
Signed lower left: F. Cipolla Roma

Provenance:
Private Collection, Rome;
Christie's New York, February 5, 2002, lot 137

23152

LUIS JIMÉNEZ Y ARANDA (Spanish 1845-1928)
The Presentation, 1883
Oil on canvas
25 x 40-1/8 inches (63.5 x 101.9 cm)
Signed and dated lower left: Luis Jimenez / Paris 1883

Fine Art - Painting, European

23153

Manner of VALENTIN DE ZUBIAURRE (Spanish, 1879-1963)
Young Spanish Woman, circa 1926
Oil on canvas
19 x 13 inches (48.3 x 33.0 cm)
Unsigned

Paintings

23154

ITALIAN SCHOOL (Late 19th century)
The Serenade
Oil on canvas
18 x 12 inches (45.7 x 30.5 cm)
Frame bears plaque: E. de Luise

23155

GIOVANNI MADONINI (Italian 1915-1989)
La Mia Bambola Preferita, 1962
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)
Signed lower right: G. Madonini
Signed and titled on verso: G. Madonini / '62

Provenance:
Collection of Father Roberto Reiser

Fine Art - Painting, European

23156

M. SALAS (Spanish)
Portrait of a Gypsy Girl with Sack
Oil on original unlined canvas
36-1/2 x 24 inches (92.7 x 61.0 cm)
Signed lower left: M. Salas

Provenance:
Roldan Galerie, Sevilla, Spain (label verso);
Private Collection, San Antonio, Texas

23157

CHARLES ROWNOTHAM (British 1856-1921)
The Castle of Canero, Lake Maggiore, 1901
Watercolor on paper
6-1/8 x 10-3/4 inches (15.6 x 27.3 cm)
Signed and dated lower left: Chas Rownotham / 1901

Exhibition:
The Lower Nupend Gallery, Fine English Nineteenth Century Watercolors, September 1979, Upper Montclair, New Jersey

23158

ITALIAN SCHOOL (Nineteenth Century)
Man Cutting His Quill
Oil on canvas backed by masonite
10-1/2 x 7-1/2 inches (26.7 x 19.1 cm)

23159

ARNALDO TAMBURINI (Italian 1843-1901)
The Daily Papers, c.1890
Oil on beveled panel
10 x 7-1/2 inches (25.4 x 19.1 cm)
Signed and inscribed at upper right: A. Tamburini Florence

Paintings

23160

GERBRAND FREDERICK VAN SCHAGEN (Dutch 1880-1968)
At Pasture, 1899
Oil on canvas
19-5/8 x 27-1/2 inches (50 x 70 cm)
Signed and dated lower left: Van Schagen 1899

This quiet landscape by van Schagen depicts a herd and its shepherd in West Friesland where the artist frequently painted.

23161

ACHILLE TOMINETTI (Italian 1848-1917)
A Herder and Flock Grazing in the Alps
Oil on canvas
13-1/2 x 23-1/2 inches (34.3 x 59.7 cm)
Signed lower left: A Tominetti

Fine Art - Painting, European

23162

WILLIAM A. BREAKSPEARE (British 1855-1914)
Nocturnal Seductions
Oil on canvas
17-1/2 x 10 inches (44.5 x 25.4 cm)
Signed lower left: W.A. Breakspeare

Paintings

23163

ETIENNE ADOLPH PIOT (French 1850-1910)
The Secret Admirer
Oil on canvas
18 x 15 inches (45.7 x 38.1 cm)
Signed middle left: A. Piot

Provenance:
Phil Olain, 1998

23164

HANS ZATZKA (Austrian 1859-1945)
Venus with Putti and Attendants
Oil on canvas
31 x 23 inches (78.7 x 58.4 cm)
Signed lower right: H. Zatzka
Inscribed and signed verso

23165

Attributed to EMILE AUGUSTE PINCHART (French 1842-1924)
Untitled, Allegory of Spring
Oil on artists' board
10-3/4 x 13-3/4 inches (27.3 x 34.9 cm)

Fine Art - Painting, European

23166

FRANCIS SYDNEY MUSCHAMP (British 1851-1929)
Preparing to Depart
Oil on canvas
14-1/8 x 10-1/8 inches (35.9 x 25.7 cm)
Signed lower left: Sydney Muschamp

23167

JOSEF WENGLEIN (German 1845-1919)
Extensive Landscape with Cattle, circa 1889
Oil on canvas
20 x 42 inches (50.8 x 106.7 cm)
Unsigned

23168

ERULO EROLI (Italian 1854-1916)
The Martyrdom of Saint Sebastian
Oil on canvas
80 x 110 inches (203.2 x 279.4 cm)
Signed lower left: Erulo Eroli / Roma

Erulo Eroli was a Roman figurative painter who was involved in the revival of tapestry weaving in Italy. He founded the Eroli weaving mill in his former painting studio in the Via del Babbuino, and was assisted by former female students from the Roman Institute of San Michele at Ripa, where he had previously been a teacher. By the 1920s, his sons Pio and Silvio inherited the mill, which was the only tapestry works left in Italy. Like their father, the sons worked exclusively in a monumental figurative style which can be seen in the present painting. Further research may reveal that the present painting had been translated into a tapestry design.

23169

CHARLES CHAPLIN (French 1825-1911)
Sweet Innocence, 1881
Oil on canvas
25-3/4 x 18 inches (65.4 x 45.7 cm)
Signed and dated lower right: Ch. Chaplin / 1881

This portrait of Marie-Thérèse Pierre Burdin, the daughter of Eugene Gasle, shows Chaplin's talent for painting magical portraits of women and children, which earned him distinction as one of France's most fashionable portraitist of his time. He used soft pastel hues, particularly white, silvery gray, and pink. At his own school, he taught women exclusively, including Mary Cassatt.

Paintings

23170

VICTOR GABRIEL GILBERT (French 1847-1933)
Le Grand Repose (Dominical), Mrs. Victor Gilbert, 1902
Oil on canvas
24 x 19-1/2 inches (61.0 x 49.5 cm)
Signed and dated lower left: Victor Gilbert

Provenance:
Private Collection, Houston

23171

MAURICE LEVIS (French 1860-1940)
Nightfall (Tombée de la nuit)
Oil on canvas
16 x 20-1/8 inches (40.6 x 51.1 cm)
Signed lower right: M. Levis

23173

ALFRED GEORGE STEVENS (British, 1823-1906)
Ships, Sun Breaking Through Clouds, 1896
Oil on panel
13 x 19-1/2 inches (33.0 x 49.5 cm)
Signed and dated lower left: A. Stevens 96

23174

EUGENE CHIGOT (French 1860-1927)
Boats in the Harbor, 1905
Oil on wood panel
9-1/4 x 13 inches (23.4 x 33.0 cm)
Signed and dated lower right: Eugene Chigot 1905

23175

EUGENE GALIEN-LALOUE (French 1854-1941)
Along the Riverbank, Normandy
Oil on canvas
18 x 15 inches (45.7 x 38.1 cm)
Signed lower left
Black ink stamped on stretcher: (illegible) Fine arts Ltd., 40 East 76th street, New York, NY 10021
Black ink on stretcher: 8F/K5308

Provenance:
Private Collection, Paris
Roughton Galleries, Dallas, Texas (label verso)

23176

WALTER J. WATSON (British 1879)
Moel Siabod, North Wales, 1905
Oil on canvas
16-1/2 x 26 inches (41.9 x 66.0 cm)
Signed and dated lower right: Walter J. Watson 1903
Inscribed verso

Fine Art - Painting, European

23177

WILLIAM MELLOR (British 1851-1931)
A Rushing Gorge in the Highlands
Oil on original unlined canvas
50 x 40 inches (127 x 101.6 cm)
Signed lower left: W. Mellor

23178

VINCENT MANAGO (French 1880-1936)
A City Passage
Oil on board
13-1/2 x 10-1/4 inches (34.3 x 26.0 cm)
Signed lower left: V. Manago
Study of a woman in oil on verso
Inscribed verso: 700/356 /Painting Street/ in Martique

Paintings

23181

NICHOLAS BASIL HARITONOFF (Russian/American, 1880-1944)
Landscape
Oil on canvas
15-3/4 x 21 inches (40.0 x 53.3 cm)
Signed lower right: N. Haritonoff
Inscribed on the stretcher on verso: Kyokaaa Cuokala / beetven St. Petersburg and Finland

23182

IVAN FEDOROVICH CHOULTSE (Russian, 1877-1932)
Evening Light
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower left: l W.F. Choultse

Fine Art - Painting, European

23183

HUGO UNGEWITTER (German 1869-1944)
Frederick the Great Surveying the Field of Battle, 1922
Oil on canvas
32-1/2 x 43-1/4 inches (82.6 x 109.9 cm)
Signed and dated at lower left: UNGEWITTER. BERLIN.1922

Hugo Ungewitter, a well-known German painter of military, hunting, animal and sporting scenes, studied at the Düsseldorf Academy from 1888 to 1897. This historical painting depicts Frederick the Great (1712-1786) of the House of Hohenzollern upon his horse looking into the foggy field of battle. He is accompanied by his brother, Prince Henry, and Prussian Generals.

Paintings

23184

JULES RENÉ HERVÉ (French 1887-1981)
Gendarmerie Nationale
Oil on canvas
11 x 9 inches (27.9 x 22.9 cm)
Signed lower left: Jules R. Hervé

23185

JULES RENÉ HERVÉ (French 1887-1981)
Church Spire
Oil on canvas
11 x 9 inches (27.9 x 22.9 cm)
Signed lower right: Jules R. Hervé
Signed on verso: Jules R. Hervé

23186

PIÉRRE GASTON RIGAUD (French 1874-1949)
Le Pont Neuf 4h. Matin, Juin, 1901
Oil on canvas
12-3/4 x 18-1/4 inches (32.4 x 46.4 cm)
Signed and inscribed lower left: Le pont neuf 4h. matin, juin, 1901, P. G. Rigaud

Provenance:
Private Collection, Corsica, France

Rigaud painted en plein-air around his home in Corsica, and other picturesque spots in an Impressionist style. For a time he worked in Paris, where he shared a studio with Henri de Toulouse-Lautrec to save money. Although he won numerous academic awards for his art, he sold very few paintings during his lifetime.

Fine Art - Painting, European

23187

LUIGI LOIR (French 1845-1916)
La Place du Delta, Paris
Oil on canvas
19-3/4 x 25-3/4 inches (50.2 x 65.4 cm)
Signed lower right: Loir Luigi

Provenance:
The Leicester Galleries, London (label verso);
Kurt Schon Gallery, New Orleans, Louisiana (labels verso);
Drs. Ray and Alice Drum, Lancaster, Pennsylvania

After the re-development of Paris in the 1860s planned by Baron Georges Haussmann, artists began painting scenes of street life as portraits of the new face of Paris. Wider roads and gas lighting introduced light and air to the previously dark, dirty neighborhoods. In Loir's painting, the twilight mottles the sky and reflects off the wet snow on the pavement of the open square. For works such as this, Loir was credited with creating a genre called 'parisianism', the showcasing of the city itself in art. He was also a graphic designer who used the newly invented chromolithographic print as an art form.

23188

ANTON WRABETZ (Austrian 1876-1946)
Still Life with Roses in a Bohemian Vase, 1923
Oil on panel
16-1/2 x 20-1/2 inches (41.9 x 52.1 cm)
Signed and dated lower right

Paintings

23189

FRANÇOIS RICHARD DE MONTHOLON (French 1856-1940)
Summer Landscape
Oil on canvas
21 x 31-3/4 inches (53.3 x 80.6 cm)
Signed lower right

23190

GEORGES FREDERICK ROTIG (French 1873-1961)
Deer at Sunrise, 1926
Oil on original unlined canvas
16-1/4 x 24-1/2 inches (41.3 x 62.2 cm)
Signed and dated lower left: GR Rotig / 26

Framer's label verso: Cadres Anciens & Modernes/ Edouard Hautecoeur Paris

Fine Art - Painting, European

23191

FRITZ JOHANNES BENTZEN-BILLKVIST (Danish 1865-1934)
October, After Midday, 1930
Oil on canvas
17-1/2 x 25-7/8 inches (44.5 x 65.7 cm)
Signed lower right: Bentzen-Billkvist 30

23192

JOHN FALCONE SLATER (British 1857-1940)
Raging Sea, 1911
Oil on panel
26 x 35-1/2 inches (66.0 x 90.2 cm)
Signed lower right: J.F.Slater, 1911

Provenance:
Crow Art Partnership Collection, Dallas, Texas

John Falconer Slater was a well-known marine and landscape painter in his native England. He was originally a bookkeeper at his father's corn mill before traveling to South Africa and the diamond fields where he set up a shop. He returned to Tyneside, England to pursue a career as a professional artist and produced a body of work he exhibited at Liverpool, Manchester, in Scotland and the Royal Academy in London.

23193

EMANUEL A. PETERSEN (Danish 1894-1948)
Barcelona
Oil on canvas
23-1/2 x 36-1/4 inches (59.7 x 92.1 cm)
Signed lower left: EM A Petersen
Inscribed lower right: Barcelona

Paintings

23194

ROELEF DOZEMAN (Dutch b.1924)
Boats in the Harbour
Oil on original unlined canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: Roel Dozeman

23195

YOLANDE ARDISSONE (French b.1927)
Les Jardins de Cadaqués, Espagne
Oil on canvas
28-3/4 x 36-1/4 inches (73.0 x 92.1 cm)
Signed lower right: Ardissone
Titled on verso: Les Jardins de Cadaqués (Espagne)

23196

PAUL MICHEL DUPUY (French 1869-1949)
At the Beach
Oil on artistboard
8-7/8 x 7-1/8 inches (22.5 x 18.1 cm)
Signed lower right: P.M. Dupuy
Stamped on verso and frame: Vente 1988 Atelier / Paul-Michel Dupuy (1869-1949) ....

23197

PAUL MICHEL DUPUY (French 1869-1949)
Wading in the Water
Oil on canvas
8 x 12 inches (20.3 x 30.5 cm)
Signed lower right: P. M. Dupuy
Stamped on verso and frame: Vente 1988 Atelier / Paul-Michel Dupuy (1869-1949) ....

Fine Art - Painting, European

23198

SIR WILLIAM ROTHENSTEIN (British 1872-1945)
Boboli Gardens, Florence, 1943
Watercolor on paper
24 1/4 x 16 1/2 inches
Dated at upper right

Paintings

23199

JULES CHAPOVAL (French 1919-1951)
Still Life with Teapot and Cup, 1946
Oil on canvas
20 x 25-1/2 inches (50.8 x 64.8 cm)
Signed land dated lower right

23200

JOSÉ GUTIÉRREZ SOLANA (Spanish 1886-1945)
Los Trabajadores (The Wine Loaders), circa 1930
Oil on linen
18-1/4 x 15 inches (46.4 x 38.1 cm)
Signed at lower left: J Solana
Parisian artists' supplier's stamp verso

23201

EMILIO GRAU SALA (Spanish 1911-1975)
Woman Ironing, circa 1950s
Oil on canvas
23 x 28 inches (58.4 x 71.1 cm)
Signed lower right: Grau Sala

Fine Art - Painting, European

23202

EMILIO GRAU SALA (Spanish 1911-1975)
Mother and Child, circa 1964
Oil on canvas
19-7/8 x 39-1/4 inches (50.5 x 99.7 cm)
Signed lower left: grau sala

Provenance:
Galerie Drouant -David, Paris (label verso);
Galerie Pierre Estades, Paris (label verso)

Paintings

23203

JOSEP MARÍA MALLOL SUAZO (Spanish 1910-1986)
Bodegón, circa 1950
Oil on canvas
19-3/4 x 25-1/2 inches (50.2 x 64.8 cm)
Signed lower left Mallol Suazo
Paper labels on verso for: Marcos, Petritxol, 8 / 1950; and Sala Parés - Barcelona - Petritxol, 5 / October 1960 / Registro E.M.S.A. / 11369

Provenance:
Sala Parés - Barcelona - Petritxol, 5, October 1960;
Private collection

23204

BLASCO MENTOR (Spanish, 1918-2003)
Tome I, 1960
Oil on unlined canvas
24 x 19-1/2 inches (61.0 x 49.5 cm)
Signed: Mentor 60
Label verso: Galerie Urban / 18 Faubourg-Saint-Honoré (8e) / TOME I

Blasco Mentor was born in Barcelona and studied at the Barcelona School of Fine Arts before moving to Paris in 1954. Once settled in Paris, he became acclimated to the 'Paris School' of modernism. Mentor received the Prix du dessin in 1953 and the Prix des peintres témoins de leur temps in 1966.

Fine Art - Painting, European

23205

FRANÇOIS GALL (French 1912-1987)
Along the Seine
Oil on canvas
10-7/8 x 18 inches (27.6 x 45.7 cm)
Signed lower right: F. Gall

Paintings

23206

FRANÇOIS GALL (French 1912-1987)
Banks of the Seine, Girl in Pink
Oil on canvas
8-3/4 x 10-3/4 inches (22.2 x 27.3 cm)
Signed lower left: F Gall

23207

FRANÇOIS GALL (French 1912-1987)
The Blue Vase
Oil on original unlined canvas
26-1/2 x 21-1/2 inches (67.3 x 54.6 cm)
Signed lower right: F. Gall

Provenance:
Private collection, Paris, France

23208

FRANÇOIS GALL (French 1912-1987)
Jeune Femme à sa Toilette
Oil on canvas
24-1/2 x 20 inches (62.2 x 50.8 cm)
Signed lower left: F. Gall
Label verso:Hahn Brothers Fireproof Warehouses, Inc.
Ink on stretcher: B 5695

Provenance:
Private Collection, Oregon, Circa 1950

In this painting, Gall explored his favorite genre, a woman engaged at her toilette. Although influenced by an admiration for Impressionist art, Gall used flat blocks of color to delineate the woman's figure and the space of wall behind in the manner of School of Paris painters.

23209

M. ALLEROUX (French mid twentieth century)
Mother and Child in the Park, 1956
Oil on canvas
29 x 24 inches (73.7 x 61.0 cm)
Signed lower right: M. Alleroux

Provenance:
From the artist, 1956;
Private Collection, Dallas, Texas

23210

JULES RENÉ HERVÉ (French 1887-1981)
Place de la Concord
Oil on original unlined canvas
17 x 21-1/4 inches (43.2 x 54.0 cm)
Signed lower right: Jules R. Hervé
Signed in black on canvas verso: Jules R. Hervé

Provenance:
Dominion Gallery, (Montreal, Quebec) (label and stamp on stretcher verso);
Private collection, (GA)
Roughton Galleries, (Dallas, Texas) (label verso)

Jules René Hervé painted charming scenes of Parisian life continuing the Impressionist tradition into modern times. With small, light touches, he applied shimmering colors to create a harmony of color and light.

23212

EDOUARD LEON CORTES (French 1882-1969)
Rue Royal, Paris
Oil on canvas
18 x 22 inches (45.7 x 55.9 cm)
Signed lower right: Edouard Cortes
Stamped on verso: The Copyright Of This Painting Is The Property Of The Artist And Is Strictly Reserved
This lot is accompanied by a letter of authenticity from David Klein.

23213

PIERRE DE CLAUSADE (French 1910-1978)
Pont Neuf, Neige sur Paris, 1959
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower left: P. de Clausade

23214

LAZZARO DONATI (Italian 1926-1977)
Group Lot of Three Works San Spirito
Oil on panel
11 3/4 x 13 1/2 inches (29.8 x 34.3 cm)
Signed top right: Lazzaro Donati
Signed verso in black ink: S. Spirito #1 Lazzaro Donati, Firenze

Signora y Bambini
Lithograph on paper
27 1/2 x 19 inches (69.9 x 48.3 cm)
Signed lower right: Lazzaro Donati
Printed on lower right: DONATI
Numbered illegibly lower left
Stamped lower left: Lazzaro Donati, Firenze

La Signora con le Penne
Bronze
16 1/2 x 8 x 10 inches (41.9 x 20.3 x 25.4 cm)
Inscribed: © DONATI

Florentine artist Lazzaro Donati was trained at the Academy of Fine Arts in Florence where he lived for most of his career. He used a colorful palette for his modern style. A favorite subject was mother and child.

23215

OTAKAR (OTHON) COUBINE (Czechoslovakian 1883-1969)
Country Landscape
Oil on canvas
23-1/2 x 28-7/8 inches (59.7 x 73.3 cm)
Signed lower right: Coubine

Works on Paper

23217

MSTISLAV VALERIANOVICH DOBUZHINSKY (Russian 1857-1957)
Giselle, 2nd Act Stage and Set Design, 1944
Gouache on cardboard
19 1/2 x 29 1/2 inches
Signed lower right

Paintings

23218

HÉLÈNA ADAMOFF (Russian b.1906)
Maison sur Pilotis
Oil on canvas
16 x 22 inches (40.6 x 55.9 cm)
Signed lower right: Hélèna Adamoff

Fine Art - Painting, European

23219

PHILIP NAVIASKY (British 1894-1983)
Untitled (Group of Mexican Villagers), 20th Century
Oil on panel
23-1/4 x 52-1/2 inches (58.9 x 133.4 cm)
Unsigned
Provenance:
Crow Art Partnership Collection, Dallas

Exhibition:
Verandah Club, Hilton Anatole Hotel, Dallas

Philip Naviasky was born in Leeds, England, the son of Polish immigrants. Accepted to the Royal Academy at the age of eighteen, he went on to study at The Royal College of Art after receiving a Royal Exhibition Award from the Board of Education. He traveled the world producing works of art and exhibiting widely.

23220

PHILIP NAVIASKY (British 1894-1983)
Untitled (A Group of Mexican Villagers) , 20th Century
Oil on panel
23-1/2 x 46-1/4 inches (59.7 x 117.3 cm)
Unsigned

Exhibited:
Verandah Club, Hilton Anatole Hotel, Dallas

Provenance:
Crow Art Partnership Collection, Dallas, Texas.

Sculpture

23221

DIEGO GIACOMETTI (Swiss 1902-1985)
Chat maître d'hôtel
Bronze with brown patina
12 inches (30.5 cm)
Inscribed on base: Diego

Accompanied by a letter of authenticity from James Lord.

Diego and his brother, Alberto, worked together most of their lives. Diego's sobriety and balance were the perfect reflection of Alberto's extroverted ways. Diego had a passion for animals, both wild and domesticated. Late in his life, after the death of Alberto, he returned to his childhood passion and modeled animals in expressive forms.

Fine Art - Painting, European

23222

JEAN-PIERRE JOUFFROY (French b.1933)
Sailboat, 1963
Oil on board
10 x 8 inches (25.4 x 20.3 cm)
Signed and dated lower left: Jean-Pierre Jouffroy 63

Sculpture

23223

JOAN MIRÓ (Spanish 1893-1983)
Femme, 1970
Bronze with green patina
Ed. 1/4
7-1/2 x 7-1/2 inches (19.1 x 19.1 cm)
Signed verso lower right: Miró
Inscribed: Clement Fondeur

Provenance:
Paper label for Perl's Galleries, New York, New York; No. 11712 / Artist Miró / Femme (no. 1/4) / green / 1970

How fortunate for modern art, that Joan Miró did not follow the wishes of his parents and become a book-keeper. Miró produced a massive output of art during his lifetime. His works were a reflection of the turbulent and fast-moving times in which he lived. He wanted to reach people by experimenting with all genres of art and by using many different media. Remembered dreams and hungry hallucinations became his muse. He explored surrealism. His work became increasingly abstract and his forms organic. He had an immense influence on his fellow artists. This bronze is both humorous and vaguely unsettling - a small representation of the oeuvre of the artist.

23226

ANDREW LORD (British b.1950)
Two Teapots in Morning Light, 1981
Glazed ceramic
11 x 11 inches (27.9 x 27.9 cm) and 8 x 11 inches (20.3 x 27.9 cm)
Both inscribed on the base: Andrew Lord 1981

Fine Art - Painting, European

23227

ARTHUR VERSEY (British 1873-1900)
Skyline at Night
Oil on canvas laid on board
13 x 22 inches (33.0 x 55.9 cm)
Signed lower right: A. Versey

Paintings

23228

MICHAEL AYRTON (British 1921-1975)
Abstract Landscape, 1964
Paper, oil and fabric collage on board
17-3/4 x 22 inches (45.1 x 55.9 cm)
Signed lower left: Michael Ayrton Sept. 64

Ayrton was an important English artist who worked as a painter, sculptor, and printmaker, as well as a critic and novelist. He was a designer and illustrator for books by Wyndham Lewis and William Golding. Ayrton's works are currently in the collections of the Tate Gallery, London, National Portrait Gallery, London and the Museum of Modern Art, New York.

23229

MICHAEL AYRTON (British 1921-1975)
Abstract Landscape, 1965
Acrylic and collage on paper laid on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower right: Michael Ayrton June '65

Fine Art - Painting, European

23230

EDWARD POVEY (Welsh b.1951)
The Singing Russian Woman, 1990
Oil on canvas
20 x 16 inches (50.8 x 40.6 cm)
Signed and dated upper right: Edward Povey 90

Ed Povey, an internationally recognized Welsh artist, is influenced by Fauvism, Neo-Classicism and the Art Deco movements. Theater, dance and masks are central themes. His love of theater and dance inspired him to experience New York's Broadway, London's West End and carnival in Venice and Trinidad. His works are in hundreds of private collections throughout the world as well as several corporate collections including MasterCard, Europe, JP Morgan, New York, Goldman Sachs, London, and Proctor and Gamble, Venezuela.

23231

Attributed to MICHEL DE BOUILLON (Franco/Flemish 17th/18th Century)
Kitchen Still Life with Mother and Children, Infant Nursing, 1702
Oil on wax relined canvas
29 x 23-1/2 inches (73.7 x 59.7 cm)
Strengthened signature and date at upper left: : A [...] Fe / M. Bou[...]lon / Ob. 31. A / 1702.

Biographical details about the Franco/Flemish painter of still-life, kitchen, and interior subjects are few. He was apparently born in Ere near Tournai, where he was admitted to the Guild of St. Luke in 1638. It is possible that he was the son of Jean Bouillon, the teacher of the much better known 17th-century painter, Philippe de Champagne. It appears that he spent the greater part of his life in Tournai where, in 1670, he participated in creating the elaborate painted decorations produced for a visit by Louis XIV. His oeuvre has never been systematically studied or reconstructed, and few secure works are known, including an accomplished Vase of Flowers dated 1650, a fruit piece dated 1653 in the Musée d'Arras, a floral bouquet with butterflies of 1654 in a private collection, Brussels, and an elaborate fruit and flower piece set against an architectural background in the Doucet Collection, Paris.

Paintings

23232

School of RUBENS (Flemish 17th Century)
Meeting of Two Military Companies
Oil on hand-planed beveled oak panel
25 x 39.5 inches

Fine Art - Painting, European

23233

SIR PETER FRANCIS BOURGEOIS (British 1756-1811)
Conversion of St. Paul, 1794
Oil on original unlined canvas
49-1/2 x 39 inches (125.7 x 99.1 cm)
Signed on verso: "Sir Peter Francis Bourgeois, R. A. pinxit 1794"

Bourgeois was elected to the Royal Academy the same year he painted the present picture. He was admitted under the presidency of Benjamin West, whose work exerted a stylistic influence upon his own.

Bourgeois was born in London of Swiss descent. He was a pupil of Loutherbourg, traveled in France, Holland and Italy in 1776, and upon his return received his first recognition for landscapes with cattle and figures. In 1791 he was appointed painter to the King of Poland and knighted, and subsequently began to receive increased recognition in his own country. He became landscape painter to King George III in 1793, the year before he painted this ambitious religious subject.

In his 1832 History of the Royal Academy of Arts from Its Foundation in 1768 to the Present Time, Willliam Sandby provided an extensive biography of Bourgeois, which made note of his fine collection of 350 Old Master paintings bequeathed to him by his friend Noel Desenfans. These the artist in turn bequeathed to Dulwich College, together with 12,000 pounds to build a gallery for them. The handsome result of his gift was the Dulwich Picture Gallery, designed by Sir John Soane, where the Bourgeois collection remains among the museum's most distinguished holdings.

Paintings

23234

Attributed to FRANZ ANTON MAULPERTSCH (Austrian 1724-1796)
Triumph of the Arts: Modello for a Ceiling Decoration
Oil on canvas
16 x 13 inches (40.6 x 33.0 cm)
Unsigned

Provenance:
Deaccessioned from the California Palace of the Legion of Honor, The Fine Arts Museums of San Francisco, accession number 1930.12

Although this painting has traditionally been attributed Giovanni Battista Tiepolo (Italian 1692-1769), it is in fact closer in style to the work of the Austrian painter Franz Anton Maulpertsch (Maulbertsch). Its free, painterly manner strongly suggests it was a working sketch.

Franz Anton Maulpertsch was baptized at Langenargen on Lake Constance (Germany), June 7, 1724, and died in Vienna, August 8, 1796. He was the main representative of late Austrian baroque painting, son of the painter Anton Maulpertsch. He continued to develop and perfect the Austrian baroque tradition of P. Troger. From 1739 he was active in Vienna where he was a student of P. van Roys, later of van Schuppens. Maulpertsch worked in Vienna, Lower Austria, Hungary, Bohemia, Moravia, Dresden, and Innsbruck, creating ceiling paintings in palaces, churches, and monasteries. His style was profoundly influenced by the Italian painters G. B. Piazetta, G. B. Pittoni, and notably G. B. Tiepolo, as well as Bavarian and Austrian painters (J. E. Holzer, P. Troger) and Rembrandt, whose works he knew from copper engravings. Maulpertsch created dramatic, bold paintings in splendid colors, genre paintings, portraits, and graphic works. From the middle of the 1760s onwards, he tended towards greater clarity and order and finally adopted a more classical manner.

Fine Art - Painting, European

23235

Circle of ANGELICA KAUFFMANN (Swiss 1741-1807)
Hebe on Jupiter's Eagle
Oil on canvas
39 x 31-1/2 inches (99.1 x 80.0 cm)
Unsigned

Paintings

23236

NAZARENE SCHOOL (Late Eighteenth/Early Nineteenth Century)
Holy Family (Sacra Conversazione)
Oil on canvas
28-1/2 x 34-1/4 inches (72.4 x 87.0 cm)
Unsigned

23237

ITALIAN OR FRENCH SCHOOL (Eighteenth Century)
Portrait of Don Angiolo Antoni
Oil on canvas
39 x 29 in.
The paper held in the left hand of the sitter bears an inscription identifying him as Don Angiolo Antoni.

The Italian cleric depicted in this portrait is possibly Angiolo Onofrio Melchiorre Natalie Giovanni Antonio. He was a member of the distinguished but impoverished Braschi family, and eventually rose through the church hierarchy to become Pope Pius VI. Pompeo Batoni painted his portrait and Canova sculpted his bust. He died in France.

23238

After THOMAS GAINSBOROUGH (British 1727-1788)
Portrait of Lady with her Children
Oil on canvas
56-1/2 x 46 inches (143.5 x 116.8 cm)
Unsigned

Provenance:
Unidentified Sotheby's sale, lot 524 (label verso)

Fine Art - Painting, European

23239

GIUSEPPE PURICELLI GUERRA (Italian 1825-1894)
Hawking, 1868
Oil on canvas
51 x 98 inches (129.5 x 248.9 cm)
Signed and dated lower left: G. Puricelli Guerra, 1868

Giuseppe Puricelli Guerra was a genre and landscape painter based in Lombardy who belonged to a distinguished lineage of painters. The monumental landscape is sold in a magnificent carved oak and gilt frame.

Other

23240

Attributed to ANTONIO MARTINETTI
Mountain Pass
Oil on canvas mounted on board
64-1/4 x 56-1/4 inches (163.2 x 142.9 cm)
Unsigned

Provenance:
Purchased from an estate in Monaco

Fine Art - Painting, European

23241

Circle of ALLAERT VAN EVERDINGEN (Dutch 1621-1675)
Watermill in a Rocky Landscape
Oil on canvas
43-1/2 x 37 inches (110.5 x 94.0 cm)
Unsigned

Provenance:
Christie's, Kasteel van Rumbeke sale, Koortrijk, Belgium, May 20-23, 1997 (collection sold on the premises).

23242

GIUSEPPE GHERARDI (Italian Circa 1788-1884)
Italian Landscape with Beggars, 1831
Oil on canvas
19-3/4 x 30-3/4 inches (50.2 x 78.1 cm)
Signed lower center on rock: G Gherardi 1831
Inscribed verso: Veduta dell Ponte di Tooi a Valleonborsa G. Gharardi Fece 1851 No 11 (n.b. The original inscription was strengthened, which accounts for the misspellings.)

Provenance:
Richard Kappus, 4 Herbert, White Plains, New York, 10606

Gherardi was active in Florence around 1850. His painting The Terni Waterfall is preserved in the museum in Weimar.

Paintings

23243

J. MCGREGORY (Scottish Nineteenth Century)
The Ambush
Oil on original unlined canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed lower left: J. McGregory
Inscribed verso in the artist's hand: The Ambush

23244

Monogrammist JFC (British School Nineteenth Century)
Rural Landscape, 1860
Oil on canvas laid on board
9-1/2 x 13 inches (24.1 x 33.0 cm)
Inscribed lower right: J.F.C / 1860

19th Century European

23245

VINCENT DE VOS (Belgian 1829-1875)
The Cardinal at Chess, 1849
Oil on canvas
15 x 17-3/4 inches (38.1 x 45.1 cm)
Signed and dated lower left V. De Vos 1849
Canvas supplier stamp verso with Greek letters

Fine Art - Painting, European

23246

LAJOS KOLOZSVARY (Hungarian 1871-1937)
Village Taverna, circa 1900
Oil on canvas
22 x 27 inches (55.9 x 68.6 cm)
Signed lower left: Kolozsvary L.

Kolozsvary was born in Budapest, and trained at the Viennese Academy under the distinguished Austrian portraitist Christian Ludwig Griepenkerl and August Eisenmenger. From 1891 on he was based in Budapest where he enjoyed popularity for his humorous genre scenes, often featuring figures in an interior exemplified by the present work. The permanent collection of the Landesmuseum in Münster, Germany contains several of his works.

Paintings

23247

J.M. BAUR (German Late Nineteenth/Early Twentieth Century)
The Loving Couple
Oil on canvas
11-3/4 x 8-1/4 inches (29.8 x 21.0 cm)
Signed lower left: J.M. Baur

23248

J.L. RONAY (Hungarian, Nineteenth Century)
Seated Man with Violin
Oil on original unlined canvas
31 x 25 inches (78.7 x 63.5 cm)
Signed lower right: J.L. Ronay

23249

J.L. RONAY (Hungarian, Nineteenth Century)
Boy with a Violin
Oil on original unlined canvas
32 x 25-1/4 inches (81.3 x 64.1 cm)
Signed lower right: J.L. Ronay

19th Century European

23250

P. LANZONI (Italian Nineteenth Century)
Monastic Cobbler, circa 1890
Oil on board
11-1/4 x 14-1/2 inches (28.6 x 36.8 cm)
Signed lower left: P Lanzoni

Paintings

23251

VICTOR ANTHONIS (OR ANTHOONS) (Belgian 1862-1941)
Domestic Interior with Woman Knitting, 1928
Oil on original unlined canvas
29 x 23-3/4 inches (73.7 x 60.3 cm)
Signed and dated lower right: V. Anthonis 1928

Fine Art - Painting, European

23252

Monogrammist CSM after SIR DAVID WILKIE (British 1785-1981)
Gypsies and the Baliff
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: C S M / David Wilkie / London

Paintings

23253

C. MORRIS (British Nineteenth Century)
Figure on a Country Road
Oil on board
15-3/4 x 11 inches (40.0 x 27.9 cm)
Signed lower right: C Morris

Provenance:
Phillips-Selkirk, St. Louis, Missouri, #471 (label verso)

Fine Art - Painting, European

23254

NORTHERN EUROPEAN (Nineteenth Century)
A Late Afternoon View of a Rustic Dwelling on a Lake, 1888
Oil on canvas
25-1/2 x 36 inches (64.8 x 91.4 cm)
Signed and dated lower left: Ludv Eduvarts(?) 88

This luminous painting captures the strong, late afternoon light in a fashion that suggests that it may have been done in Northern Europe, possibly Russia, Germany, or Scandinavia.

23255

KARL ALTMANN (German 1800-1861)
The Hunt, 1846
Oil on paper laid on board
8-1/8 x 10-3/4 inches (20.6 x 27.3 cm)
Signed and dated lower right: Altman[...] 1846
Labels on verso: #10 / Altmann, Carl / [...] 1846

Provenance:
Red Baron's Antiques CP 315

Paintings

23256

JOHANNES BARTHOLOMAÜS DUNTZE (German 1823-1895)
Winter Landscape, 1849
Oil on original unlined canvas
31 x 39 inches (78.7 x 99.1 cm)
Signed lower right: J. Duntze 1849

The landscape painter was born at Rablinghausen (near Bremen). He studied in Munich, with Krause in Berlin, and from 1851-55 with Calamé in Geneva. He interrupted his studies to travel extensively, visiting Paris, Norway, Switzerland, the Tyrol, Holland, and Belgium. He exhibited in Switzerland, Germany, and England, and resided in Düsseldorf after 1876.

19th Century European

23257

FRANÇOIS (PIERRE BERNARD) BARRY (French 1813-1905)
Departing for the Flight into Egypt, 1878
Oil on artists' board
10-1/2 x 14-3/4 inches (26.7 x 37.5 cm)
Signed, dated, and inscribed lower right: St. Petersbourg, T. Barry 1878
Inscribed lower left: [...] yager a Debut fuite Egypte

Barry was born in Marseille, where he started his professional life as a hairdresser who studied painting in his free time at the local arts academy. In 1840 he moved to Paris and studied under Gudin. That same year, he exhibited at the Paris Salon and won a bronze medal for two seascapes. In 1862, Barry traveled to Egypt in the company of Prince Jerome Napoleon and returned with several paintings including Ruins at Karnak, View of the First Cataract, and Valley of the Tombs of the Caliphs. Orientalist subjects became one of his specialties, often featuring extensive vistas such as the one in the present work--also an Egyptian subject. Barry's paintings are in the collections of the Louvre, Versailles, Lyons, Algiers, and Marseilles.

23258

A. A. MILLS (British Mid-Nineteenth Century)
Man Strolling in a Wooded Landscape
Oil on original unlined canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower right: A.A. Mills

Paintings

23259

SIR JOHN HENRY FOLEY (Irish 1818-1874)
Sunday Morning in an Alpine Village, circa 1860
Oil on original unlined canvas
12 x 18 inches (30.5 x 45.7 cm)
Signed lower left: Foley

23260

HENRY DE NOBELE (Belgian Circa 1820-1870s)
Portrait of a Young Aristocrat, 1851
Oil on canvas
36-1/2 x 29-1/2 inches (92.7 x 74.9 cm)
Signed and dated lower right: H. De Nobele / 1851

The gold stick pin, watch chain, and fob worn by a gentleman in a dark suit would suggest an aristocratic lineage.

Henry de Nobele was born in Ghent and died in Brussels. A pupil of Jozef Geirnaert and Leon Cogniet, he painted both portraits and genre scenes in a meticulous manner characteristic of Belgian art of the period. The museum at Pontoise possesses five small gouaches depicting the banks of the Lys, dated 1878 and signed "Nobelo" which may be attributable to the artist. A genre scene by de Nobele entitled Surprising Declaration is in the museum collection at Courtrai.

23261

FRANÇOIS XAVIER BRICARD (French, Nineteenth/Twentieth Century)
The First Cigar
Oil on original unlined canvas
32-3/8 x 19-1/2 inches (82.2 x 49.5 cm)
Signed lower right: [...] Bricard
Paper label on verso with inventory number 5426935

Bricard was born in Angers, and painted a wide variety of subjects including portraits, flowers, landscapes, genre scenes and nudes. He studied under Fernand Cormon and Jean Tournoux. From 1904 he exhibited at the Salon des Artistes Français and became a member of the Societé. He was awarded a gold medal in 1920 and the Prix Henner in 1921. He also exhibited, though less regularly, at the Salon des Artistes Français and the Salon d'Automne. In 1933 he was made a Chevalier of the Legion of Honor.

Fine Art - Painting, European

23262

WILLIBALD WEX (German 1831-1899)
An Alpine Farm, 1871
Oil on original unlined canvas
34 x 45 inches (86.4 x 114.3 cm)
Signed lower left: Will. Wex München 1871

Provenance:
N.M. Vose Gallery Providence, Rhode Island, Inv.#6065B, label verso on stretcher;
Skinner, September 26, 1997, lot 212

23263

AUGUST LANG (Austrian 1837-1895)
Landscape with Mountain Vista
Oil on canvas
29 x 39-1/2 inches (73.7 x 100.3 cm)
Unsigned

Lang was a Viennese artist who specialized in mountain landscape subjects.

19th Century European

23264

J. MALL (French Nineteenth Century)
Peasant Cottage near a River, circa 1880
Oil on canvas
18 x 12 inches (45.7 x 30.5 cm)
Signed lower right: J. Mall

Provenance:
Rawlings Antiques (label verso), Louisville, Kentucky

Fine Art - Painting, European

23265

PAOLO SALA (Italian 1859-1929)
Evening Village Scene
Oil on original unlined canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower right: Sala

The artist was born and died in Milan where he was a landscape, marine, portrait, and genre painter who worked both in oil and in watercolor. He exhibited his paintings in both media at Naples, Rome, Venice, and Milan.

23266

ANNA ZELLERIN (Swiss/German 19th Century)
Family with Horses Fording a River, c. 1880
Oil on canvas
23-1/4 x 31-1/2 inches (59.1 x 80.0 cm)
Signed lower right Anna Zellerin

23267

Monogrammist J.R. (Austrian, Nineteenth Century)
Family in a Riverboat, 1876
Oil on canvas painted in oval format
19 x 25 inches (48.3 x 63.5 cm); 17 3/4 x 23 1/4 visible oval format
Monogrammed lower left on the boat: J.R. 1876
Contemporary Viennese newspaper lines the original frame verso: Die Wahrheit pages 4 and 5, dated: 3 Jänner 1876

Paintings

23268

CHARLES RENARD (French Nineteenth Century)
Norwegian Strandscene
Oil on canvas
18-3/4 x 29 inches (47.6 x 73.7 cm)
Signed lower right: Ch. Renard
Label on stretcher: Title and No. 458...Norvegian strandscene

23269

CARLO BRANCACCIO (Italian 1861-1920)
Coastal View with Boats Along the Shore
Oil on canvas
27 x 39-1/2 inches (68.6 x 100.3 cm)
Signed lower right C. Brancaccio Paris

Brancaccio was a versatile and spirited Neapolitan painter who specialized in seascapes rendered in oil, watercolor and gouache. Initially trained in the sciences, Brancaccio later became fascinated with painting and trained under the talented Eduardo Dalbano, who advocated working directly from nature and was skillful in creating picturesque landscapes. Carlo Brancaccio exhibited regularly in Naples between 1887 and 1900. From 1902 on, his landscapes and seascapes were regularly included in the Paris salons, as well as in international exhibitions in Berlin, London, Monaco and Buenos Aires. Czar Nicholas was an enthusiast of Brancaccio's work, and acquired several examples for his personal collection.

Fine Art - Painting, European

23270

Attributed to DAVID DELLEPIANE (French 1866-1925)
Royal Naval Battle
Oil on canvas
28 x 36 inches (71.1 x 91.4 cm)
Signed lower right: -ELLEPI-

The style of this painting has affinities with the work of the early twentieth-century illustrator, painter and poster designer, David Dellepiane. The signature inscribed in the lower right corner is possibly a strengthening of a partial signature that was obscured.

Paintings

23271

ORESTE COSTA (Italian 1851-1901)
Cupid
Oil on canvas
31 x 24-3/4 inches (78.7 x 62.9 cm)
Signed lower right: O. Costa/Firenze

Provenance:
Sotheby's, New York, January 19, 1995, Old Master and 19th Century European Paintings, lot 618

Oreste Costa was a popular and versatile Florentine painter who specialized in still-life painting and genre subjects. He and his brother Antonio, who specialized in genre painting, were both students of Cisieri. In the present work, Oreste Costa's skill in painting texture can be regarded as a carry-over from his work as a still-life specialist.
A certificate of authentication from Galerie Michael, Rodeo Drive, Beverly Hills, California accompanies the lot.

23272

EUROPEAN SCHOOL (Nineteenth Century)
Cupid Takes Aim: The Besotted Painter, c. 1880
Oil on original, unlined canvas
28-1/2 x 37-1/2 inches (72.4 x 95.3 cm)

This painting belongs to the well-known theme of the artist falling in love with his model, and subsequently falling in love with the work of art made from the model (à la Pygmalion), treated extensively during the Renaissance. One of the most famous works of art to explore this subject is Ingres'1813 painting, Raphael and his Fornarina.

23273

L. DUBOIS (Continental School Nineteenth Century)
Chambre Separée
Oil on original unlined canvas
13-3/4 x 17-3/4 inches (34.9 x 45.1 cm)
Signed lower center: L DuBois
Old label on verso: Chambre Separee

23274

A. RAGOUIN after FRANÇOIS BOUCHER (French Nineteenth Century)
Pastoral Scene, 1897
Oil on original unlined canvas
22-1/2 x 30 inches (57.2 x 76.2 cm)
Signed and dated lower left: A. Ragouin 1897

23275

P.H. ANDREIS (Belgian 19th Century)
Cavaliers Playing Chess, c. 1890
Oil on canvas
15.75 x 20 inches
Signed lower right P.H. (in ligature) ANDREIS

Fine Art - Painting, European

23276

After THOMAS GAINSBOROUGH (British 1727-1788)
Portrait of Mary, Countess Howe, c. 1870
Oil on original unlined canvas
44 x 27-3/4 inches (111.8 x 70.5 cm)
Unsigned

Provenance:
Harry Glass Collection, Old Westbury, New York, 11568;
Unidentified Sotheby's sale, Department 8890 (label verso)

Gainsborough's portrait of 1763-4 is in Kenwood House, London (Iveagh Bequest).

23277

JOSEPH H. NITSCHNER (Austrian 1805-1877)
Portrait of Ernst Hansy, 1870
Oil on original, unlined canvas
27 x 21-1/2 inches (68.6 x 54.6 cm)
Inscribed verso: Ernst Hansy/Gemalt 18 Juli 1870 J. H. Nitschner

The artist was a still-life and portrait painter, as well as a miniaturist who also practiced lithography. He trained at the Vienna Academy, where he was employed until 1851.

23278

RAFAEL ARROYO Y FERNÁNDEZ (Spanish, active 1869-1895)
Female Saint, c. 1880
Oil on canvas
71-1/4 x 35 inches (181.0 x 88.9 cm)
Signed lower right R. Arroyo Fernandez

Rafael Arroyo was active both as a painter and printmaker (for the artist's exhibition history, see Spanish Artists from the Fourth to the Twentieth Century. A Critical Dictionary, vol. I, Frick Art Reference Library, New York, in association with G.K. Hall & Co., 1993, p. 81).

Paintings

23279

ROBERT ALOTT (Austrian 1859-1910)
By the Garden Wall and Huntsmen at the Garden Edge, 1882 (a pair)
Oil on canvas
24 x 19 inches each (61.0 x 48.3 cm)
Each Signed and dated lower right: Robert Alott 1882

Although there are numerous auction records for the work of the Austrian painter Robert Alott, very little is known about his life. He was an accomplished and prolific painter of landscapes animated with small figures, who was active both in Italy and his native Austria between 1874 and 1900. His work, as the present pair demonstrates, is 18th-century in spirit, and owes a strong stylistic debt to figures such as Hubert Robert. Technically, however, Alott's handling is firmly nineteenth century--meticulous and highly detailed.

Fine Art - Painting, European

23280

JAMES JACQUES TISSOT (French 1836-1902)
Renée Mauperin: Renée and Reverchon Swimming in the Seine
Oil on paper laid down on canvas [en brunaille], circa 1881-82
15 x 11 inches (38.1 x 27.9 cm)
Signed lower right: J. Jacques Tissot

Provenance:
Sotheby's, New York, October 24, 1996, lot 373

Literature:
Michael Justin Wentworth, James Tissot: Catalogue Raisonné of His Prints, Minneapolis, 1978, p. 256-277 (illustrations to Renée Mauperin).

Tissot produced an etching of this painting, in reverse, that served as the frontispiece to a limited edition printing of the novel Reneé Mauperin by Edmond and Jules de Goncourt. The etching derived from the present preliminary study was one of ten original etchings Tissot produced to illustrate the special 1884 edition of the Goncourt brothers' 1875 novel which was published by G. Charpentier et Cie, Paris in a run of 500 numbered copies.

Tissot's choice to illustrate this particular work by the Goncourts was likely driven by powerful personal circumstances. The Goncourts' story chronicles the inexorable decline and ultimate death of Reneé Mauperin from tuberculosis, which paralleled the fearful condition of Tissot's greatest, and ultimately most tragic love, his mistress Kathleen Newton, who had been the inspiration for some of the artist's very finest works, including over two dozen of his most accomplished etchings. Their affair was profound and passionate. She had married a surgeon Isaac Newton in India in 1871, but having confessed to a continuing liaison with a Captain Palliser they were divorced the same year. In late 1871, back in England, Kathleen had a daughter Violet by Palliser but did not continue the relationship. In 1876 she had a son, George, and it was in the same year that she started to live with Tissot. Whether Tissot was George's father is not known. However from 1876 she and Tissot shared an intense and deeply loving life together.

Because Newton's past was seen as disreputable by Victorian standards, her life with Tissot had to be hidden from the public eye. In Tissot's large house and garden in north London they created a private world together. This private world is the atmospheric background to many of Tissot's compositions of this period.

In the autumn of 1882, shortly after Tissot created the present work, Kathleen died of consumption at the age of 28. After her death, a shattered Tissot returned to his native Paris, and after producing his illustrations for Reneé Mauperin largely abandoned graphic work entirely, working nearly exclusively on illustrating the Old and New Testaments. On November 15, 1882, Edmond de Goncourt recorded in his journal a visit from Tissot, freshly back from England:'Visite, ce matin, de Tissot arrivé dans la nuite d'Angleterre et que me dit, dans le conversation, être très affecté de la mort de la Mauperin anglaise, qui, déjà bien souffrante, lui avait servi de modèle pour l'illustration de mon livre.'

Recent scholarship has revealed that Tissot's etchings for Renée Mauperin, and by extension this surviving painting made prior to the etched frontispiece, were apparently based upon photographs Tissot had taken as compositional "sketches." Although only one photograph survives (collection of Marita Ross, London), it shows Tissot and Kathleen Newton seated on a bench and closely relates to the etching of Renée and her father sitting in the porch of the Church at Morimond (Wentworth, cat. no. 70). As Michael Wentworth has noted, the Mauperin etchings as a group possess formal qualities that strongly point to a "photographic origin." Apart from technical issues, the presence of Kathleen Newton in the single extant photograph connected directly with this project documents a tangible, not simply an associative relationship with it.

This work is presented in an ornate gilt Rococo frame.

Paintings

23281

LÉONARD SAURFELT (French b. 1840)
Blind Man's Bluff
Oil on canvas
21-1/4 x 21-1/4 inches (54.0 x 54.6 cm)
Signed lower right: L. Saurfelt

Saurfelt was a genre painter born at Varenne-Saint-Maur. He exhibited between 1864 and 1868 at the Paris Salon. He seems to have also signed his work "Saurfelz." A work signed in this manner is preserved in the museum in Nice.

Fine Art - Painting, European

23282

VITTORIO TESSARI (Italian Late Nineteenth Century)
Bust of an Italian Peasant Woman
Oil on poplar panel
14-1/4 x 10-1/2 inches (36.2 x 26.7 cm)
Signed lower left: V. Tessari
Four stamps verso: Weisz Leo Arad [Romania]

Vittorio Tessari was born in Castelfranco, Veneto, October 7, 1860. He was a student of Eugene von Blaas.

Paintings

23283

CHARLES OLIVIER DE PENNE (French 1831-1897)
Pointers in the Field
Oil on beveled panel
12-1/2 x 9-1/2 inches (31.8 x 24.1 cm)
Signed lower right: Ol. de Penne
Stamped on verso: Fabrique de Couleurs / [...] / Maison Merlin / Paul Denis Succ. / Paris rue de Medices [?] 19

Penne was a talented draftsman and painter who distinguished himself both as a caricaturist for L'Illustration before moving onto historical subjects, and eventually achieved most artistic celebrity for animal paintings, particularly dogs. As the present work attests, Penne was able to translate his abilities as a keen observer of human personality as a cariacarturist to a superb dog painter. Such paintings reveal not simply his love for the animals but his understanding of their character.

Charles Penne was a pupil of Leon Cogniet and Charles Jacque. In 1857 he was awarded second prize in the Grand Prix de Rome for his painting Jesus and the Samaritan Woman. He exhibited at the Paris Salon and at the Salon des Artistes Français, and was awarded a bronze medal in 1872, a silver medal in 1883, and a silver medal at the Exposition Universelle of 1889.

Fine Art - Painting, European

23284

RUDOLF ERNST (Austrian 1854-1932)
Portrait of a Man in Armor
Oil on board
13 x 9-1/2 inches (33.0 x 24.1 cm)
Signed lower right: R. Ernst
Artist suppliers stamp on verso: Blanchet Paris
Provenance:
Skinner, October 18, 1997, lot 430

The artist was a noted Orientalist painter, whose sub-specialty was portraiture. As a devoted Orientalist, Ernst concentrated almost exclusively on mosque and harem interiors, as well as other scenes of daily life in North Africa and the Middle East. He based his paintings on photographs and prints, as well as on his own memories and sketches of Morocco and Constantinople (present-day Istanbul), frequently relying upon favorite patterns or objects. Unlike some of his peers, whose approach to these subjects was strictly topographical or ethnographic, Ernst often blended the architecture, artifacts, and costumes of diverse cultures. His intensely detailed images glow with jewel-like color and are energized by the complex interplay of rich fabrics, decorative tiles, and intricate metalwork. His love of painting such materials and textures is expressed in the attention awarded to the armor in the present portrait.

Paintings

23285

JUAN DIOS DEL VALLE (Spanish b. 1856)
Granada Street Scene with Donkey and Chickens, circa 1880s
Oil on artist's board
20 x 27-1/2 inches (50.8 x 69.9 cm)
Signed lower right: J. del Valle/8[ ]

23286

JUAN PABLO SALINAS Y TERUEL (Spanish 1871-1946)
Tea with his Excellency
Oil on mahogany panel
10 x 16 inches (25.4 x 40.6 cm)
Signed lower left: Pablo Salinas / Roma

Provenance:
Della Rocca, Turin, June 22, 1998, lot 236;
Christie's, London, June 15, 2005, lot 149;
Galleria Fogliato (Opera Autentica), wood-burned stamp verso, inv. no. 912

Salinas, who was born in Madrid and died in Rome, enjoyed a successful career painting a wide variety of subjects including portraits, religious themes, allegories, nudes, genre scenes, and sumptuous interiors featuring figures in lavish costumes and accoutrements. He trained at the Escuela Especial de Pintura, Escultura y Grabado in Madrid, and subsequently at the Accademia Chigi in Rome. He was in Rome in 1886 before moving to Paris.

Although he painted a number of orientalist compositions, it was Salinas' paintings of this variety, featuring courtly or ecclesiastical subjects in sumptuous settings, which made his reputation. As the present work demonstrates, Salinas' meticulous technique was perfectly matched with his obvious relish in recording luxurious textures, glints of gilding, lace, and satins and silks. An ambitious landscape by Salinas, View of the Roman Campagna, is in the permanent collection of the Prado Museum, Madrid.

Fine Art - Painting, European

23287

WILLIAM HENRY MANDER (British 1850-1932)
On the Llugwy, North Wales
Oil on canvas
24 x 38 inches (61.0 x 96.5 cm)
Signed lower left W. H. Mander

William Henry Mander was a prolific landscapist who painted extensively in Wales. His subjects usually featured waterways and rushing streams, often composed in views that focused upon a confluence. He was active from 1880 until his death, and exhibited his work widely, though never at the Royal Academy.

23288

GEORGES DELOY (French 1856-died after 1930)
Vieilles Maisons à Semur
Oil on original unlined canvas
37 x 64-1/4 inches (94.0 x 163.2 cm)
Signed lower right: G. Deloy
Label on verso: Nancy Buchard Paris [...]

23289

ROBERT GALLON (British 1845-1925)
Landscape, circa 19th century
Oil on canvas laid on board
20 x 30 inches (50.8 x 76.2 cm)
Signed lower right: R. Gallon

23290

ERICH THEODOR HOLTZ (German 1885-1956)
Mountain Stream
Oil on original unlined canvas
14-1/4 x 28 inches (36.2 x 71.1 cm)
Signed lower left: Holtz

23291

J. HOBERT (Austrian Late Nineteenth/Early Twentieth Century)
Bath Time
Oil on canvas
14-3/4 x 11-7/8 inches (37.5 x 30.1 cm)
Signed: J. Hobert. Wien

Paintings

23292

ALFRED ARTHUR BRUNEL DE NEUVILLE (French 1851-1942)
Three Kittens Playing in a Sewing Basket
Oil on original unlined canvas
18 x 15 inches (45.7 x 38.1 cm)
Signed lower left: Brunel Neuville

23293

HENRY BAYLY GARLING (British Twentieth Century)
Fruit Still Life in Crystal Compote, 1921
Oil on canvas
26-1/4 x 18-1/2 inches (66.7 x 47.0 cm)
Signed and dated lower right: H. Garling 1921

Fine Art - Painting, European

23294

GIUSEPPE SIGNORINI (Italian 1857-1932)
Posing Cavalier, 1926
Watercolor on paper
12-1/2 x 8-1/4 inches (31.8 x 21.0 cm) (site)
Signed and dated lower right: Giuseppe Signorini 1926 Paris

A native Roman, Signorini enjoyed tremendous popularity as a spirited watercolorist and fine oil painter both in Italy and France, where he lived for 33 years. He trained at the Accademia di Belle Arti in Rome under Aurelio Tiratelli. A painter known equally well for his genre scenes and interiors with meticulously detailed figures, fabrics, and furnishings, Signorini earned considerable celebrity for the scenes of North Africa he exhibited in France at the Salon des Artistes Français. His Orientalist subjects gained him recognition, including a bronze medal at the Exposition Universelle in 1900.

Paintings

23295

SCHOOL OF PARIS (French Twentieth Century)
Goats at a Stream in a Rocky Landscape, circa 1940
Oil on canvas
23-3/4 x 31-1/2 inches (60.3 x 80.0 cm)
Signed lower right:: E. Tantan (?)

23296

Biblia Sacra vulgatae editionis in Five Folio Volumes
Illustrated with 105 Sumptuous Color Lithographs by Salvador Dalí

[BIBLE IN LATIN]. DALÍ, Salvador (1904-1989). Biblia Sacra vulgatae editionis. Sixti V pont. max. iussu recognita et Clementis VIII auctoritate edita. imaginibus Salvatoris Dalí exornata. I [II, III, IV, V]. [Rome]: Sumptibus et typis Rizzoli editoris - Mediolani, 1967-1969.

Magni Luxus Edition, being one of 199 numbered copies (this number xxxix) on handmade paper (from a total edition of 1,677). Five folio volumes (19 x 14 inches; 485 x 365 mm.). Collates complete with 105 spectacular color lithographs by Salvador Dalí with captioned guards of handmade tissue. The lithographs are from original gouaches by Dalí, printed on thick handmade paper with Dalí's signature watermark, and are signed in the block. Laid in to the rear of Volume V is the original parchment bifolio authenticating this copy No. XXXIX as being from the Magni Luxus edition of 199 copies, and signed by the publisher.

Original publisher's deluxe binding of full green crushed morocco, spines with raised bands, compartments with gilt and inlaid morocco floral designs in various colors, gilt lettering, gilt dentelles, pale green watered silk moire doublures and endliners, top edges gilt, others rough-trimmed, original green morocco and pale green watered silk moire slipcases. Minor rubbing and light wear to the spines and extremities, a few short tears or blemishes to the leather, else a wonderful example of Dalí's exquisite Bible, and a superb specimen of modern fine printing and binding. A magnificent production in near fine condition.

R. Michler and L.W. Lopsinger, Salvador Dalí, Catalogue Raisonne of Prints II, Lithographs and Wood Engravings 1956-1980, New York, 1995, p. 180, no. 1600; A. Field, The Official Catalog of the Graphic Works of Salvador Dalí, New York, 1996, pp. 201-208, no. 3-12. (5)

Fine Art - Painting, American

23297

Attributed to THOMAS SULLY (American 1783-1872)
Portrait of Mrs. Mary Ann Wright
Oil on canvas
30 x 25 inches (76.2 x 63.5 cm)
Unsigned
Labels on verso: Gilbert Stuart; [...]sister of Mrs. Thomas Thorpe de Lasaux; Mrs. Mary Ann Wright / sister to Mrs. Thomas Thorpe de Lasaux; Mrs. Mary Ann Wright

Provenance:
Bob Sammon Collection, New York

23298

AMERICAN (Nineteenth Century)
Portrait of a Woman before a Landscape
Oil on canvas
30 x 24-1/2 inches (76.2 x 62.2 cm)
Unsigned

Provenance:
Acquired by the current owner from the the Bob Sammon Collection, New York

The sitter is holding a pair of eyeglasses which are attached to a long gold chain around her neck.

23299

AMERICAN SCHOOL (Nineteenth Century)
Portrait of a Mother with Child
Oil on canvas
36 x 28-3/4 inches (91.4 x 73.0 cm)
Unsigned

23300

WILLIAM THOMPSON BARTOLL (American 1817-1859)
Portrait Mary Farra, age 19 months, 1838
Oil on panel
20 x 17-1/2 inches (50.8 x 44.5 cm)
Signed lower left: W.T. BARTOLL
Inscribed lower right: Aged 19 months/1838

Mary Farra, the subject of this portrait, was the daughter of Lt. Farra of the Frigate Essex, War of 1812. An old label on verso indicates the painting was produced in Marblehead, Massachusetts. According to this label the painting came from a private family in Marblehead who were descendants of Mary B. Farra, the sitter. Bartoll produced another nearly identical portrait of Mary Ferra, although unlike the present work it was unsigned. It sold through Sotheby's, New York on January 27, 1990 for $26,400.

William Thompson Bartoll was the son of John and Rebecca Bartoll and was baptized in Marblehead, Massachusetts on June 22, 1817. He married Sally L. Selman in April of 1835. Bartoll, like his father, uncle and brother, was a house painter, as well as a portraitist and mural painter. He is known to have exhibited at the Boston Athenaeum between 1841 and 1855 and he died in 1859 in Marblehead. (For further information see George C. Croce and David H. Wallace, The New-York Historical Society's Dictionary of Artists in America 1564-1860, New Haven, 1957, p. 34).

23301

AMERICAN SCHOOL (Nineteenth Century)
Primitive Baby with Rattle
Oil on original unlined canvas
30-1/4 x 25-1/2 inches (76.8 x 64.8 cm)
Unsigned

23302

EDMUND DARCH LEWIS (American 1835-1910)
Fisherman by Mountain Stream, 1878
Oil on canvas
30-1/4 x 20-1/4 inches (76.8 x 51.4 cm)
Signed lower left: Edmund D. Lewis, 1875

Paintings

23303

WILLIAM LOUIS SONNTAG (American 1822-1900)
View of the White Mountains, 1866
Oil on canvas laid on cradled masonite panel
19-1/4 x 32-1/2 inches (48.9 x 82.6 cm)
Signed lower left: W.L. Sonntag 1866
Label verso: Chapellier Galleries, New York
Label verso: Vose Galleries, Boston, inventory # 15034
Sotheby's Park Bernet label verso: SPB 543

23304

WILLIAM LOUIS SONNTAG (American 1822-1900)
Adirondack Mountain Landscape
Oil on canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed lower left: W.L. Sonntag

23305

WILLIAM LOUIS SONNTAG (American 1822-1900)
New England Mountain Lake at Sunrise
Oil on original unlined canvas
12 x 20 inches (30.5 x 50.8 cm)
Signed lower right: W. L. Sonntag
Inscribed with former owner's name verso on frame: W. Scholls
Canvas supplier's stamp verso Theodore Kelley Artist's Colorman #172 Greene New York
Label verso Mcleery Galleries, Philadelphia
Sotheby's label verso: 7

23306

WILLIAM LOUIS SONNTAG (American 1822-1900)
The Old Mill
Oil on original unlined canvas
17-1/2 x 30-1/2 inches (44.5 x 77.5 cm)
Unsigned

Provenance:
Onondaga Historical Museum, Syracuse, New York, cat. no. 217;
Robert E. Slack Collection

Literature:
Nancy Dustin Wall Moure, William Louis Sonntag: Artist of the Ideal 1822-1900, catalogue raisonné, Goldfield Galleries, Los Angeles, 1980, as "Adirondack Scene," cat. no. 217, p. 113; ill. Plate 13, p. 78

23307

WILLIAM LOUIS SONNTAG (American 1822-1900)
Conestoga Wagon
Oil on canvas
20 x 31 inches (50.8 x 78.7 inches)
Signed lower right: W. L. Sonntag, NA

Provenance:
Kennedy Galleries, New York in 1956 (listed in their 1956 catalogue, The Western Legend);
Christie's, New York, September 23, 1992 sale, lot 74

Literature:
Nancy Dustin Wall Moure, William Louis Sonntag: Artist of the Ideal 1822-1900, catalogue raisonné, Goldfield Galleries, Los Angeles, 1980, as "Landscape with Covered Wagon," cat. no. 257, p. 116.

23308

WILLIAM LOUIS SONNTAG (American 1822-1900)
Hudson River Landscape with River Traffic
Oil on original unlined canvas
22 x 36-1/4 inches (55.9 x 92.1 cm)
Unsigned

23309

WILLIAM LOUIS SONNTAG (American 1822-1900)
Fishing at Sunrise and Landscape
Double sided oil on canvas
20 x 26-1/4 inches (50.8 x 66.7 cm)
Signed lower right: W. L. Sonntag N.A.

Provenance:
Unidentified Sotheby's sale, New York, lot 17 (label verso)

Fine Art - Painting, American

23310

Attributed to WILLIAM LOUIS SONNTAG (American 1822-1900)
Mountain Landscape with Lake
Oil on board
6-1/2 x 11-3/4 inches (16.5 x 29.8 cm)
Unsigned

23311

WILLIAM SMITH JEWETT (American 1812-1873)
Romantic Encounter, 1848
Oil on canvas
36 x 29 inches (91.4 x 73.7 cm)
Signed and dated lower left on a rock: W.S. Jewett N.Y. 1849

William Smith Jewett was born in South Dover, New Jersey. He moved to New York City as a young man and studied at the National Academy of Design. In 1845 he was elected an associate member. In 1849, at the height of the gold rush, he sailed from New York to San Francisco where he resided for years, enjoyed a painting career, and also prospected for gold. He died in Springfield, Massachusetts.

Fine Art - Painting, European

23312

F. BAKER (British or American Nineteenth Century)
South Bridge at Concord
Oil on canvas
18 x 40 inches (45.7 x 101.6 cm)
Signed lower right: F. BAKER

Provenance:
Young Fine Arts Gallery, May 8, 1993, lot 33

There are several nineteenth-century landscape painters who sign similarly as "F. Baker." Consequently, this painting cannot be attributed definitively to a specific figure. The strongly horizontal format and the rich atmospheric shadows do point to a painter who had been familiar with artists associated with the etching revival.

Paintings

23313

AMERICAN SCHOOL (Nineteenth Century)
Southern Landscape, circa 1870s
Oil on original unlined canvas
23 x 19 inches (58.4 x 48.3 cm)
Unsigned

23314

SARAH E. SILL (American 19th Century)
Along Weber River, Utah 1871
Oil on original, unlined canvas
15 x 22 inches (38.1 x 55.9 cm)
Signed lower center Sarah E. Sill 1871
Stamp verso Whitlock & Keenan, Brooklyn

23315

CLINTON LOVERIDGE (American 1824-1902)
Grazing Sheep, circa 1875
Oil on canvas
16 x 24 inches (40.6 x 61.0 cm)
Signed lower left: C. Loveridge

23316

HENERY MORRIS (Irish or Canadian Nineteenth Century)
Stag at Mountain Stream, 1883
Oil on original unlined canvas
19-3/4 x 30 inches (50.2 x 76.2 cm)
Signed lower left: Henery Morris 83

Fine Art - Painting, American

23317

GEORGE C. PEDRICK (American Nineteenth Century)
The Old Mill, 1891
Oil on original unlined canvas
12-1/4 x 14-1/4 inches (31.1 x 36.2 cm)
Signed and dated lower left: Geo. C. Pedrick 1891

Impressionism & Modernism

23318

WILLIAM HOSCINSON (American, Late Nineteenth Century)
Shipwreck Against a Rocky Coast, 1893
Oil on original unlined canvas
29 x 43-1/2 inches (73.7 x 110.5 cm)
Signed lower left: William Hoscinson 1893

Paintings

23319

Attributed to EASTMAN JOHNSON (American 1824-1906)
Copy after Rubens Religious Composition of St. John The Evangelist and a Young Boy, 1852
Oil on canvas
18-1/4 x 26 inches (46.4 x 66.0 cm)
Inscribed lower right: E. J. from Ru[...] 1852

The present work is monogrammed in Eastman Johnson's traditional manner (E. J.) and dated 1652, which places it within his six-year period of study abroad in Europe. In 1849 he moved to Düsseldorf, Germany where he and many American painters trained in the studio Emanuel Gottlieb Leutze, the German author of Washington Crossing the Delaware who had lived in the United States for awhile before returning to his native country. Johnson then moved to The Hague and studied 17th century Dutch and Flemish masters, and notably fell under the lasting influence of Rembrandt. He ended his European travels in Paris, studying with the academic painter Thomas Couture in 1855. The present work, which is inscribed as being based upon a composition by Rubens, is dated 1652, a year in which Johnson was based in The Hague apart from a short trip to Venice.

23320

WALTER FRANKLIN LANSIL (American 1846-1933)
Sunset Venice, 1897
Oil on original unlined canvas
12 x 18-1/4 inches (30.5 x 46.4 cm)
Signed and dated lower left: Walter F. Lansil, 1897

Inscribed verso in the artist's hand: Sunset Venice Walter F. Lansil 1897

23321

WALTER FRANKLIN LANSIL (American 1846-1933)
In Dordrecht Harbor, Holland, 1900
Oil on original unlined canvas
14 x 24 inches (35.6 x 61.0 cm)
Signed lower left corner: Walter F. Lansil
Signed and inscribed verso in the artist's hand: In Dordrecht Harbor, Holland Walter F. Lansil, 1900

23322

AMERICAN SCHOOL (Nineteenth Century)
Newport Coastline, circa 1880-1900
Oil on original unlined canvas
22 x 36 inches (55.9 x 91.4 cm)
Unsigned

This lively seascape records part of the rocky coastline of Newport Harbor.

Fine Art - Painting, American

23323

THOMAS TRUMAN SPEAR (American 1803-1882)
Berry Gatherers , 1875
Oil on original unlined canvas
27 x 22-1/4 inches (68.6 x 56.5 cm)
Signed on verso: Painted by Thomas T. Spear Boston, Mass. 1875

23324

JENNIE AUGUSTA BROWNSCOMBE (American 1850-1936)
Tea in the Garden
Oil on original unlined canvas
20-1/4 x 29 inches (51.4 x 73.7 cm)
Signed lower right: Jennie Brownscombe

Provenance:
Quester Gallery, Connecticut

The American painter Jennie Brownscombe has been called a "Norman Rockwell of her era" owing to her skillful drawing, attention to detail, and the nostalgic mood of her imagery.

Brownscombe's early life can be regarded in many ways as the inspiration for the imagery she favored in her paintings for most of her career. Born in a log cabin in rural northeastern Pennsylvania, she was the only child of William Brownscombe, an English-born farmer, and Elvira Kennedy, a direct descendant of a Mayflower passenger, who encouraged her daughter to write poetry and draw. Brownscombe won her first awards as a high school student, exhibiting her work at the Wayne County Fair. When her father died in 1868, Brownscombe began supporting herself through teaching, creating book and magazine illustrations, and selling the rights to reproduce her watercolor and oil paintings as inexpensive prints, Christmas cards, and calendars. More than 100 of Brownscombe's works were distributed this way, spreading her images into homes throughout the nation.

A prize-winning student at the Cooper Institute School of Design for Women and the National Academy of Design, both in New York City, Brownscombe became in 1875 a founding member of the Art Students League, where she later served on the faculty. Her oil paintings met with immediate success, as both her subjects (sentimental genre pictures and scenes from colonial American history) and her style appealed to prevailing Victorian tastes. Brownscombe studied art in France in 1882, spent the winters of 1886 through 1895 in Rome, and exhibited her pictures there and in London, New York, Chicago, and Philadelphia. She continued working until virtually the end of her long life, completing her final large oil painting at the age of 81 after recovering from a stroke.

23325

W. H. SMITH (America, active in Tennessee circa 1900)
Eve, 1900
Oil on canvas
88 x 54 inches (223.5 x 137.2 cm)
Signed and dated lower left: W. H. Smith / 1900

Accompanied by a framed period photographic portrait of the self-taught Tennessee artist.

23326

JANE PETERSON (American 1876-1965)
In a Cafe, c. 1908
Oil on original unlined canvas
49-1/2 x 30 inches (125.7 x 76.2 cm)
Signed upper right: Jane Peterson

This ambitious full-length view of a woman in a large-brimmed hat before a mirror probably dates from circa 1908. A portrait by Peterson of a similar subject at three-quarter length (40 x 30 in)--possibly even depicting the same buxom model--was a work she produced shortly after her return from her formative Europe sojourn in 1908 (illustrated in J. Jonathan Joseph, Jane Peterson. An American Artist, Boston, 1981, p. 82).

Jane Peterson was nationally recognized for her gouaches as well as her paintings during the 1905-1925 period. She studied with the great Spanish Impressionist painter, Joaquin Sorolla, and at the Pratt Institute, New York, 1895-1901. She was a member of the prestigious National Academy of Design, New York, and was an instructor at the Art Student's League, New York, 1914 to 1919. Jane Peterson had two one-person exhibitions at the Art Institute of Chicago in 1910 and 1914. She painted in a brightly hued painterly, Post-Impressionist style during the height of her career, from circa 1910-1925, which the present work strongly anticipates. The artist was well known for her Gloucester harbor scenes, Venetian vignettes, New York subjects, and her exotic Orientalist paintings of North African and Constantinople.

Her work was exhibited in all the major national and international juried watercolor and oil exhibitions in the United States. The Metropolitan Museum of Art, High Museum of Art, Pennsylvania Academy of Fine Art, Philadelphia Museum of Art, and The Princeton University Museum are a few of the museums that possess works by Jane Peterson in their permanent collections.

Paintings

23327

CHARLES WILSON KNAPP (American 1823-1900)
Sunset - Little Miami Valley
Oil on canvas
12 x 20 inches (30.5 x 50.8 cm)
Signed lower left: C. W. Knapp
Titled on verso: Sunset - Little Miami Valley

Charles Wilson Knapp was a noted landscape artist of great ability. He was born in Philadelphia in 1823 and spent most of his life in that city. He worked primarily in Pennsylvania, New York State, New Jersey, the Susquehanna River Valley, the area around the Delaware Water Gap, and the Berkshire Mountains, although the present work was painted in southern Ohio. He especially enjoyed painting the hills and rocky valleys of the Susquehanna River area, a favorite region for generations of artists prior to Knapp and his contemporaries. While the area was becoming increasingly urbanized, Knapp was one of several artists who continued to set forth on canvas the serenity and calm of the place which had initially drawn them there. These landscapes were exhibited at the National Academy of Design between 1859 and 1861 and at the Pennsylvania Academy of the Fine Arts from 1877 until 1887.

Knapp shows the beauty of nature in his paintings, whether in the vastness of the landscapes or in their detail. He was accomplished at achieving the effects of light and atmosphere. His work follows in the tradition of mid-19th century painting and of the Hudson River School.

In 1880 his address was 1510 Chestnut Street, Philadelphia, PA. Charles Knapp died in his native Philadelphia on May 15, 1900.

His work is represented in the permanent collections of the Pennsylvania Academy of the Fine Arts, the Albany Institute of History and Art, the Robert Hull Fleming Museum at the University of Vermont in Burlington, VT, and the Hood Museum at Dartmouth College in Hanover, NH.

23328

Attributed to GEORGE INNESS (American 1825-1894)
Pasture at Dawn, 1891
Oil on canvas
8 x 10 inches (20.3 x 25.4 cm)
Signed and dated lower left: G. Inness 1891

23329

GEORGE HERBERT MCCORD (American 1848-1909)
Boston Harbor at Sunset
Oil on canvas
10 x 12 inches (25.4 x 30.5 cm)
Signed at lower right: G.H. McCord

George McCord was a noted American landscape and marine painter from New York City. He studied at the Hudson River Institute, the Claverack Academy, and with Samuel F.B. Morse and James Fairman. A member of the second generation of Hudson River School painters, McCord traveled widely throughout the United States and Europe during his productive career. He was primarily a Brooklyn resident, although he maintained studio space at the famous 10th Street Studio Building in Manhattan as well, which was home to many of the greatest landscapists, including Frederic Church. Beginning about 1883 he had another studio in Morristown, NJ where he also taught art classes. He painted landscapes in the Berkshire, Adirondack and Laurentian mountain ranges, as well as in Florida and the Upper Mississippi. McCord was also among the select group of artists who painted the Grand Canyon for the Santa Fe Railroad. He spent much time in England, France, the Netherlands, Italy, and Scotland (where he was commissioned in 1890 to paint landscapes around the castle of Andrew Carnegie). He exhibited regularly at the National Academy for three decades. The present work is one of the artist's later efforts.

23330

WILLIAM PRESTON PHELPS (American 1848-1923)
Brittany Coast
Oil on canvas laid on board
12-3/4 x 22 inches (32.4 x 55.9 cm)
Signed lower right: W.P. Phelps

Fine Art - Painting, American

23331

Attributed to CHARLES E. DUNCAN RODICK (American Early Twentieth Century)
Wharf Scene
Oil on original unlined canvas
16-1/4 x 20 inches (41.3 x 50.8 cm)
Signed lower left: E. D. Rodick

Rodick was a Massachusetts-based artist.

Paintings

23332

WILLIAM COLUMBUS EHRIG (American 1892-1942)
Spindrift, circa 1930
Oil on original unlined canvas
22 x 28 inches (55.9 x 71.1 cm)
Signed lower left: Wm. C. Ehrig
Label verso: Salmagundi Club, Auction exhibition Wm. C. Ehrig Title: Spindrift

Fine Art - Painting, American

23333

AARON DEAN FLETCHER (American 1817-1902)
Sunrise in the Rockies
Oil on original unlined canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed lower right: A. Fletcher

Paintings

23334

Attributed to HERMANN HERZOG (German/American 1831-1932)
Alpine Landscape Mountain Hut, 1872
Oil on original unlined canvas
22 x 36 inches (55.9 x 91.4 cm)
Vestige of a signature lower right on rocks: H. Herzog 1872

Provenance:
Unidentified Sotheby's sale (label verso)

23335

JANE PETERSON (American 1876-1965)
Louis Comfort Tiffany's Garden, c. 1911
Oil on original unlined canvas
18 x 14 inches (45.7 x 35.6 cm)
Signed lower right: Jane Peterson

This marvelously spontaneous plein-air painting records both a significant artistic friendship between two American artists as well as a magnificent garden which is no longer in existence. The friendship is that of American designer Louis Comfort Tiffany and the American painter Jane Peterson, while the landscape records a view of Tiffany's extraordinary country estate Laurelton Hall, built in Oyster Bay, New York, between 1902 and 1905. He embarked on the design for this ambitious fully integrated work of art at the height of his career, which had already seen the development of a successful design firm and the production of artwork in a wide variety of mediums--leaded-glass windows, blown-glass vases, enamelwork, lighting, jewelry, and pottery. The generous inheritance Tiffany received on the death of his father, Charles Lewis Tiffany (1812-1902), the founder of Tiffany and Company, the enormously successful jewelry and silver firm that still thrives, allowed the fifty-four-year-old artist to think on a grand scale. The resulting house, with eighty-four rooms on eight levels, was carefully sited on a rise amidst nearly six hundred acres on Long Island's North Shore and afforded panoramic views of Long Island Sound. Although Tiffany moved into Laurelton in 1905, he continued to alter and enhance both the house and the gardens in the following years. The evolving designs affirmed his belief that a work of art is never finished. One of the most significant changes Tiffany made ten years after Laurelton Hall was completed was the addition of the Daffodil Terrace, a structure made up of exotic elements that united the house and the gardens.

According to the account of Tiffany's chauffeur, James Ryan, the American painter Jane Peterson may have assisted with the painting of the stenciled cedar planks in the elaborate Moorish-inspired ceiling of the exotic Daffodil terrace structures. After graduating from Pratt Institute and beginning a teaching career, Peterson studied with Frank Brangwyn (1867-1956) in London in 1907 and two years later with Sorolla in Spain, both of whom had artistic associations with Tiffany. When traveling with Sorolla to New York after March 1911, Peterson met Tiffany, who invited her to spend several months at Laurelton Hall painting views of the house and gardens. The current work dates from this period. One of her works, Turkish Fountain with Garden (from Louis C. Tiffany Estate, Laurelton Hall, Oyster Bay) depicts the Daffodil Terrace. Tiffany's invitation to Peterson presaged the spirit of the Louis Comfort Tiffany Foundation, which he founded to support artists in residence at Laurelton in 1918.

Interestingly, the present painting makes no reference to any of the exotic, richly-embellished architectural elements of Tiffany's garden, and is unspecific in its vantage point. Rather, it celebrates the fresh beauty of the vegetation itself, and is quite modern in its conscious avoidance of the overtly picturesque.

Fine Art - Painting, American

23336

ANTHONY THIEME (American 1888-1954)
Snow Scene
Oil on canvasboard
16 x 20 inches (40.6 x 50.8 cm)
Signed lower left: AThieme
Inscribed in pen on verso: Art Class-Art demonstration painting by Anthony Thieme and giving to one of the class

Works on Paper

23337

REYNOLDS BEAL (American 1867-1951)
Circus Scene
Crayon on paper
11-1/2 x 13-3/4 inches (29.2 x 34.9 cm)
Signed in pencil lower left: REYNOLDS BEAL

Provenance:
Lapham & Dible Gallery, Inc., Shoreham, Vermont;
The Heritage on the Garden, Boston, Massachusetts, lot 212

Fine Art - Painting, American

23338

LILLIAN MATHILD GENTH (American 1876-1953)
Spanish Women on Balcony
Oil on artists' board
10 x 9 inches (25.4 x 22.9 cm)
Signed lower right: L. Genth

Lillian Genth, a pupil of Whistler, was a well-known American genre painter who was elected to the National Academy. This painting is an interesting example of the Goya revival spearheaded by the Havemeyers and other prominent American collectors.

Latin American

23339

J. SOLE ESTEVA (South American Twentieth Century)
Argentinean Townscape with Church and Piazza, c. 1950
Oil on artist's board
25 x 18-1/4 inches (63.5 x 46.4 cm)
Signed lower left Sole Esteva
Sticker verso: La Paloma, Buenos Aires, Argentina Inv.#539

Fine Art - Painting, European

23340

GIOSUE DE BENEDICTIS (Italian/American 1874-1958)
The Innocent, 1940
Oil on canvas
40-1/4 x 54 inches (102.2 x 137.2 cm)
Signed lower right: G. De Benedictis 1940

Provenance:
Acquired by the current owner from the artist's estate, Boston, MA.

Exhibition:
The Boston Arts Club, 1940

Giosue De Benedictis was born in Vittorito, Italy, the son of a woodworker. He was educated in the United States where he studied art at the Boston Museum School.

Paintings

23341

GIOSUE DE BENEDICTIS (Italian/American 1874-1958)
The Empty Sleeve, c. 1930
Oil on canvas
34 x 28 inches
Signed lower left G. De Benedictis
Label verso: Boston Tercentenary, Boston Academy of Fine Arts, 1930, Fine Arts Exhibition, Price $1,000, Benedictis' address given as 485 Boylston St., Boston

Provenance:
Acquired by the current owner from the artist's estate, Boston, MA

Giosue De Benedictis was born in Vittorito, Italy, the son of a woodworker. He was educated in the United States where he studied art at the Boston Museum School.

Fine Art - Painting, European

23342

GIOSUE DE BENEDICTIS (Italian/American 1874-1958)
In Flanders Fields, c. 1945
Oil on canvas
27 x 34 in.
Signed lower right: G. De Benedictis Provenance:
Acquired by the current owner from the artist's estate, Boston, MA

Exhibition:
Boston Arts Club, Members Exhibition May 2-25, no year given.

Giosue De Benedictis was born in Vittorito, Italy, the son of a woodworker. He was educated in the United States where he studied art at the Boston Museum School.

Paintings

23343

GIOSUE DE BENEDICTIS (Italian/American 1874-1958)
Self Portrait
Oil on canvas
36 x 28 inches (91.4 x 71.1 cm)
Unsigned

Provenance:
Acquired by the current owner from the artist's estate, Boston, MA.

Giosue de Benedictis was born in Vittorito, Italy, the son of a woodworker. He was educated in the United States where he studied art at the Boston Museum School.

Session 2

23344

ROBERT WALTER WEIR (American 1803-1889)
Last of the Mohicans
Oil on canvas
49-1/2 x 40 inches (125.7 x 101.6 cm)

Born in New York City, Robert Weir studied under John Wesley Jarvis and Robert Cooke. Weir was a leading painter of religious subjects in America during the years 1830 to 1880, and renowned for his history paintings, portraits and images with literary themes from the novels of James Fennimore Cooper and Washington Irving. Weir taught painting at the U.S. Military Academy at West Point. In addition to his own sons, John Ferguson and Julian Alden Weir, his students included Ulysses S. Grant, Robert E Lee, and James Whistler.

Last of the Mohicans refers to the subject of James Fennimore Cooper's novel of the same title. In this attractive work, Weir conveys the romantic narrative of the story by portraying a lone Mohican against a background of open sea in the distance. The composition points to the cause of the Mohican tribe's demise-the arrival of the American colonists from a land beyond the sea.

Prints

23345

KARL BODMER (Swiss 1809-1893)
Chef Der Blutindianer / Crih Indianerinn, 1840
Hand colored lithograph
9-3/4 x 13-3/4 inches (24.8 x 34.9 cm)
No. 36
Signed in the plate lower left: C.Bodmer n.d. Nat. and lower right: Lith.u. Honegger

Paintings

23346

FORSHAW DAY (Canadian 1837-1903)
Indian Encampment
Oil on canvas
9-1/4 x 16-1/4 inches (23.4 x 41.1 cm)
Signed lower left: Day

23347

LESLIE JAMES SKELETON (American 1848-1929)
View of the Rocky Mountains at Sunset
Oil on canvas
13 x 16 inches (33.0 x 40.6 cm)
Signed lower left: L.J. Skeleton

23348

THOMAS HILL (American 1829-1908)
Yosemite
Oil on canvas
6-1/2 x 10-1/2 inches (16.5 x 26.7 cm)
Signed lower left: T. Hill
Inscribed on verso: Thomas Hill / Yosemite and with a paper label for William O'Leary Fine Arts

Provenance:
DuMouchelles, Detroit, circa 1950
William O'Leary Fine Arts, Detroit
Private Collection, Warren, Michigan

23349

GRAFTON TYLER BROWN (American 1841-1918)
Grand Canyon Yellowstone, 1889
Oil on canvas laid on board
16 x 10 inches (40.6 x 25.4 cm)
Signed lower left: G.T. Brown '89
Stamped Verso: G.T. Brown Helena, Montana

Provenance:
Estate of the Artist, Montana;
Private Collection, New York

Exhibition:
Springfield Art Association, Springfield, IL, 1980.

23350

GRAFTON TYLER BROWN (American 1841-1918)
Yellowstone Geyser, 1890
Oil on canvas laid on board
16 x 10 inches (40.6 x 25.4 cm)
Signed and dated lower left: G.T. Brown 90

Provenance:
From the estate of the artist, Montana;
Private collection, New York

Exhibition:
Springfield Art Association, Springfield, IL, 1980.

Fine Art - Sculpture, American

23352

After CHARLES MARION RUSSELL (American 1864-1926)
Group of Ten Silver Sculptures: Buffalo, Monkey, Wild Turkey (2), Pig, Rams, Deer, Elk, a group of bears, and an Indian
Silver and black marble
5-1/2 x 4-1/2 inches (14.0 x 11.4 cm) (largest)
Ed. 50/100
All inscribed: 50/100 © Trigg-Russell Foundation

Western

23353

JOSEPH HENRY SHARP (American 1859-1953)
Willows and Weeds, 1910
Oil on canvas board
12 x 17 inches (30.5 x 43. 2 cm)
Unsigned

Provenance:
Nedra Mattecucci Galleries, Santa Fe, New Mexico
Byram T. Crosby, Indiana
Manitou Gallery, Cheyenne, Wyoming
Frau Dana, Dana Ranch, Montana

Willow and Weeds depicts the "Sioux Pass Creek" in Montana. The Sioux used the cover of the tall willows and weeds of the creek bed to pass without notice by Custer's Calvary while en route to Little Big Horn.

This work's initial owner was Frau Dana of the Dana Ranch in Montana, which still remains one of the largest cattle ranches in the state. This lot is accompanied by a letter of authenticity.

Paintings

23354

JOSEPH HENRY SHARP (American 1859-1953)
Sangre de Cristo Mountains, circa 1934
Oil on panel
15-1/2 x 19-1/2 inches (39.4 x 49.5 cm)
Signed lower right: JH Sharp

In this work Sharp used an impressionistic style of loose brushstrokes and slight impasto. The Sangre de Cristo mountains of northern New Mexico were among his favorite subjects.

23355

JOSEPH HENRY SHARP (American 1859-1953)
Taos Landscape, 1934
Oil on panel
16 x 20 inches (34.24 x 42.8 cm)
Signed at lower right: J H Sharp
Inscribed on verso: To Mr & Mrs Matkin/ From Mr. & Mrs. J.H. Sharp / Oct. 14th 1934 / with a sketch of an American Indian

Taos Landscape is an idyllic depiction of a New Mexican landscape in springtime, distinguished by the fresh yellow and green grass in the foreground that extends to the blue-green sloping mountain range in the distance. On the reverse is a small ink sketch of a Native American adorned in headdress, accompanied by a personal inscription dedicating the artwork to Mr. and Mrs. Watkins from Sharp and his wife.

Western

23356

JOSEPH HENRY SHARP (American 1859-1953)
Clouds over the Sangre de Cristos
Oil on canvas
11-1/2 x 17-1/2 inches (29.2 x 44.5 cm)
Signed lower right: JH Sharp
Inscribed verso: Right by Laguna Pueblo / J.H. Sharp

Provenance:
Otto Nodding, Bent Gallery, Taos, New Mexico

An impressionistic landscape of a southwestern arroyo, the compositional focus is on the sky, emphasizing the rolling clouds that hint of an imminent late afternoon thunderstorm.

Fine Art - Painting, American

23357

ALBERT LOREY GROLL (American 1866-1952)
Arizona Desert
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed lower right: A L. Groll
Signed and titled verso

Paintings

23358

WILLIAM HERBERT (BUCK) DUNTON (American 1878-1936)
In the Tetons
Oil on canvas
14-1/8 x 14-1/8 inches (35.9 x 35.9 cm)
Signed lower right: Dunton
Old paper label on verso: In the Tetons / by / W. Herbert Dunton

Provenance:
Acquired directly from the artist by the parents of the present owner of Dallas, Texas

In the Tetons relates to a group of elk paintings and a lithograph that William Herbert "Buck" Dunton produced between 1925 and his death in 1936, including his well-known October in the Canyon Bottom (National Museum of Wildlife Art) and Elk in the Aspens (Harrison Eiteljorg collection on view at the Smithsonian American Art Museum). Dunton was a contract meat hunter who operated in Montana and Wyoming in the late 1890s, and somewhat later in the Sangre de Cristos as an organizer of pack-horse trips. He hunted elk for much of his life and knew them perhaps better - inside and out - than any artist in the West. For his art, Dunton shot animals only when it was absolutely necessary. After making numerous sketches of the animal, both living and dead, he would skin the animal often allowing it to freeze in a particular position in order to study its musculature.

After he had become head of the Taos fish and game conservancy in the late teens, and his health began to fail in the 1920s, Dunton preferred to "dry" hunt. He only "took" big game with palette and brush, pencil and paper. In fact, he gave a radio address in
Kansas City in 1924 called "Hunt But Don't Kill All". Moreover, beginning in the mid-1920s, mature works such as In the Tetons give an increased prominence to the elk. Perhaps at some level this shift functioned as a sort of compensation for his no longer hunting the animal. In the Tetons belongs to a group of oils Dunton painted during the mid-to-late 1920s which measure 14 inches square. He found this to be an attractive format for his wild and domesticated animal subjects including not simply elk, but deer, black bears, and grizzlies.

Literature on this painting:
In her 1985 study of Dunton, Julie Schimmel lists In the Tetons as unlocated, but formerly owned by Dr. Rice Jackson of Houston. Schimmel also erroneously reproduced another Dunton painting (On the Great Plains) as In the Tetons (Schimmel, 1985, p. 105). While researching Dunton for the Texas chapter of his Taos Artists and Their Patrons, 1898-1950 (Notre Dame, 1999), Michael R. Grauer located In the Tetons in 1998 in a private collection. He learned that the painting had been in the same family collection since the late 1920s. Dunton toured In the Tetons along with a group of his paintings through Texas in 1925 and 1926. For an exhibition at the Museum of Fine Arts, Houston in March 1925, In the Tetons was reproduced on the cover of the exhibition catalogue.

We are grateful to Michael R. Grauer for his kind assistance in cataloguing the present work.

Fine Art - Painting, American

23359

EDGAR ALWIN PAYNE (American 1883-1947)
Spring in the Mountains
Oil on canvas
15 x 48 inches
Signed lower right: EDGAR PAYNE

Paintings

23360

EDGAR PAYNE (American 1882-1947)
Sierra Nevada Mountains
Oil on canvas
9-1/2 x 13 inches (24.1 x 33 cm)
Signed lower left: Edgar Payne

Provenance:
Private Collection, Montana

California plein air painter Edgar Payne is known for his depictions of the High Sierra, Native American-inspired scenes, and harbor views produced in Italy and France. In the present work, Payne, a self-taught artist, captures the dramatic scene of the High Sierras landscape using a vibrant palette to record the intense light of the American Southwest. His confident impressionistic style suggests extensive academic training.

23361

KATHRYN WOODMAN LEIGHTON (American 1876-1952)
Pawnee Chief
Oil on canvas
27 x 36 inches (68.6 x 91.4 cm)
Signed lower right: Kathryn W. Leighton

Works on Paper

23362

ALLEN TUCKER (American 1866-1957)
Leaves
Watercolor on paper
18 x 22 inches (45.7 x 55.9 cm)
Signed lower center: Allen Tucker

Provenance:
Private collection, Connecticut

Allen Tucker studied and first began working as an architect in New York, his hometown. Dissatisfied, he left his architectural firm to pursue a career as an artist. Painting in a Post-Impressionistic style, he captured with his energetic brushwork a rhythm in his compositions. Tucker viewed nature from a mystical and pantheistic perspective.

23363

ALLEN TUCKER (American 1866-1957)
Taos
Watercolor on paper
18 x 22 inches (45.7 x 55.9 cm)
Signed lower right: Allen Tucker

Provenance:
Private Collection, Connecticut

Allen Tucker has been described as an Impressionistic painter, but his use of color and his view of nature made him more a Symbolist. He helped to organized the Armory Show of 1913 in New York and also was one of the founders of the Society of Independent Artists in 1917. Tucker's use of color in this scene of adobe buildings in Taos gives a mystical sense to a quiet scene.

23364

CARL OSCAR BORG (American 1879-1947)
Untitled, Bucking Horse, 1943
Ink and watercolor on paper
6-1/2 x 4-1/8 inches (16.5 x 10.5 cm)
Signed and dated lower right: Carl Oscar Borg / 1943

23365

HENRY F. FARNEY (American 1847-1916)
Indian Scout on Horseback
Pen and ink on paper
7-1/2 x 9 inches (19.1 x 22.9 cm)
Signed lower left: FARNY

23366

LEONARD HOWARD REEDY (American 1899-1956)
The Vaquero
Watercolor on paper
8 x 10 inches (20.3 x 25.4 cm)
Signed lower left: Leonard H. Reedy

23367

EDWIN WILLARD DEMING (American 1860-1942)
Indian Encampment
Gouache on paper
7-1/2 x 12-1/2 inches (19.1 x 31.8 cm)
Signed lower right: E W Deming

Provenance:
Graham Gallery, New York, New York (label verso)

Fine Art - Painting, American

23368

PAUL A. GRIMM (American 1891-1974)
Sierra Sentinels
Oil on board
9 x 12 inches (22.9 x 30.5 cm)
Signed lower left: Paul Grimm

23369

HARVEY B. COLEMAN (American 1884-1959)
High Sierra
Oil on canvas laid on masonite
30 x 40 inches (76.2 x 101.6 cm)
Signed lower left: Harvey B. Coleman

Paintings

23370

LAJOS MARKOS (American 1917-1993)
Attack on the Stage
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: L. Markos

Provenance:
Simpson's Fine Antiques & Objets d'Art 4/06, 221
Private collection, Houston

Fine Art - Painting, American

23371

FRANK HAGEL (American b.1932)
Splitting up the Herd, 1985
Oil on board
18 x 32 inches (45.7 x 81.3 cm)
Signed and dated lower left: Hagel 1985

Paintings

23372

CARL ADOLPH HJALMER PERSSON REDIN (American 1892-1944)
Aspens in Autumn
Oil on canvas
28 x 24-1/8 inches (71.1 x 61.3 cm)
Signed lower right: Carl Redin
Paper label on verso for the Swedish-American Art Association, with artist's name, address, title of work, and original price

Western

23373

KEN OTTINGER (American b. 1945)
Portrait of Chief Charging Bear
Mixed media painting
12 x 15-1/2 inches (30.5 x 39.4 cm)
Signed: K. Ottinger

Provenance:
The Chris Kortlander Collection, Garryowen, MT

23374

KEN OTTINGER (American b. 1945)
Portrait of Sitting Bull
Mixed media painting
12 x 22-1/2 inches (30.5 x 57.2 cm)
Signed: Ken Ottinger

Provenance:
The Chris Kortlander Collection, Garryowen, MT

Works on Paper

23375

HARLEY BROWN (American b. 1939)
Young Indian Girl, 1984
Pastel on paper
23 x 17-1/2 inches (58.4 x 44.5 cm) (sight)
Signed and dated lower left: Harley Brown © 1984

Paintings

23377

THOMAS LORIMER (American b. 1941)
High Country
Oil on canvas board
17 x 13 inches (43.2 x 33.0 cm)

23378

GARY LYNN ROBERTS (American b.1953)
Overland Stage
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower left: Gary Lynn Roberts

23379

Attributed to HENRY PETERS GRAY (American 1819-1877)
Paris and Helen
Oil on canvas
10 x 8 1/2 inches

Fine Art - Painting, European

23380

Attributed to HENRY INMAN (American 1801-1846)
Portrait of the Artist's Father, circa 1840
Oil on canvas
22 x 18 inches (55.9 x 45.7 cm)
Unsigned

Fine Art - Painting, American

23381

Manner of ISAAC NUTTMAN (American b. 1801)
Primitive Fruits
Oil on canvas
14 x 21 inches (35.6 x 53.3 cm)

This painting was lent to the set for the filming of the 'Adams Chronicles.'

23382

HENRY CHEEVER(S) PRATT (American 1803-1880)
Untitled, Plantation, 1853
Oil on canvas
17 x 24 inches (43.2 x 61.0 cm)
Signed lower right: H. C. Pratt / 1853

Paintings

23383

AMERICAN SCHOOL (Nineteenth Century)
Autumn Landscape
Oil on canvas
12 x 18 inches (30.5 x 45.7 cm)
Unsigned

23384

In the style of ALBERT BIERSTADT (Nineteenth Century)
Cathedral Rock
Oil on canvas
12 x 20 inches (30.5 x 50.8 cm)
Inscribed on stretcher: ABierstadt

23385

CHARLES WILSON KNAPP (American 1823-1900)
Pennsylvania Landscape
Oil on canvas
18-1/2 x 32-1/2 inches (47.0 x 82.6 cm)
Signed lower right: C.W. Knapp
Old label verso: Bernard Black Gallery, 1062 Madison Avenue, NY, NY 10028

23386

JAMES CRAWFORD THOM (American 1853-1898)
The Meadow Grass, Atlantic Highlands, New Jersey, 1892
Oil on panel
10 x 18 inches (25.4 x 45.7 cm)
Signed and dated on verso: J. C. Thom / 92

23387

HUGH BOLTON JONES (American 1848-1927)
Village at Sunset
Oil on panel
8-1/2 x 12-1/2 inches (21.6 x 31.8 cm)
Signed lower left: H.B. Jones

23388

Attributed to HERMAN HERZOG (German/American 1832-1932)
Canoe at Water's Edge
Oil on canvas laid on panel
11-1/4 x 1415 inches (28.6 x 3,594.1 cm)
Signed lower right: H. Herzog

23389

AMERICAN SCHOOL (Late Nineteenth Century)
Pair of Landscapes
Oil on canvas
16 x 20 inches oval (40.6 x 50.8 cm)

Pair of American landscapes depicting a beautiful sunrise over the mountains. One painting has a lone fisherman and the other a heron each after the first catch of the day.

23390

WILLIAM HOLBROOK BEARD (American 1824-1900)
Bear in the Forest, 1868
Oil on canvas
11 x 17 inches (27.9 x 43.2 cm)
Signed and dated lower left

Provenance:
Bernard Dannenberg, New York

Exhibitions:
The Cragsmoor, SUNY, New York, 'Vision of Nature,' August 12 through September 7, 1977
Butler Institute of American Art, Youngstown, Ohio, 1976
Art Gallery, Myers, SUNY, Plattsburgh, New York
Danforth Museum of Art, Framingham, MA, 1982

Fine Art - Painting, American

23391

OTTO SOMMER (American 1811-1911)
The Struggle of Life, 1865
Oil on canvas
24 x 28 inches (61.0 x 71.1 cm)
Signed at lower right: Otto Sommer NY 1865
Canvas prepared by Edward Dechaun, New York

Born in Munich, Sommer emigrated to New York where he would exhibit at the National Academy of Design from 1862 to 1866. Sommer was greatly influenced by the Hudson River School, especially German-born Albert Bierstadt (1830-1902). A break in the clouds produces a ray of light that adds to the dramatic scene of a pack of wolves ferociously attacking a herd of wild horses.

Paintings

23392

ANDREW FISHER BUNNER (American 1841-1897)
Venetian Fishing Boats, San Lazarro
Oil on canvas
15 x 30 inches (38.1 x 76.2 cm)
Signed lower right: A. F. Bunner

Works on Paper

23393

ALEXANDER JOHN DRYSDALE (American 1870-1934)
Louisiana Bayou
Watercolor on paper
10 x 29 inches (25.4 x 73.7 cm)
Signed lower left in pencil: A J Drysdale

Fine Art - Painting, American

23394

STACY TOLMAN (American 1860-1935)
Deer in a Winter Forest
Oil on canvas
38 x 18 inches (96.5 x 45.7 cm)
Signed lower right: Stacy Tolman

Paintings

23395

CHARLES P. APPEL (American 1857-1928)
End of the Day
Oil on canvas
30 x 25-1/4 inches (76.2 x 64.1 cm)
Signed lower left corner
Labels verso:
Paper label in pencil on stretcher: 6
Pencil on stretcher: B.R./E.C. #6 - West Wall / Mrs. Grants / Red Room / between Reds # 28 / 81 NKO

One of Charles Appel's signature sunset scenes, this painting captures the romantic landscape in Tonalist and Impressionist styles. The clouds swirl in activity, while the trees stand peacefully. Both reflect the orange and yellow palette of the setting sun. Born in New York, Appel spent most of his life in New Jersey.

23397

STEPHEN JAMES FERRIS (American 1835-1915)
Grandma's Spinning Wheel, 1867
Oil on wood panel
17 x 14 inches (43.2 x 35.6 cm)
Signed lower right James Stephen Ferris 1867

Fine Art - Painting, European

23398

PETER FREDERICK ROTHERMEL (American 1817-1895)
Venezia, 1863
Oil on canvas
11 x 19 inches (27.9 x 48.3 cm)
Signed and dated at lower right

Exhibitions:
Pennsylvania Academy of Fine Arts, 1863
National Collection Fine Arts, Washington, DC, 1975
Wichita Art Museum, Kansas, 1978
Danforth Museum, Framingham, Massachusetts, 1982

Paintings

23399

EDWARD LAMSON HENRY (American 1841-1919)
Village Square, 1870
Oil on artists' board
14 x 11-3/4 inches (35.6 x 29.8 cm)
Signed lower left: Henry 70
Winsor & Newton, London (label verso)

Provenance:
G.F. Tyler 1871

Exhibition:
National Academy of Design, New York, 1871, # 333

Literature:
Elizabeth McCausland, The life and work of Edward Lamson Henry, N.A., 1841-1919, New York State Museum, Albany, N.Y., The University of the State of New York, 1945, p. 164, no. 93.

23400

EDWIN LORD WEEKS (American 1849-1903)
Untitled, Street life , circa 1890s
Oil on artistboard
18 x 11-3/4 inches (45.7 x 29.8 cm)
Signed lower right: E. L. Weeks
Stamped on verso: Edwin Lord Weeks Sale / March 15, 16 & 17, 1905

23401

EDWIN LORD WEEKS (American 1849-1903)
Early Morning Camp Near The Shore of Lake Urumiyah, circa 1892
Oil on canvas laid on board
10-5/8 x 15-3/4 inches (27.0 x 40.0 cm)
Signed lower left: E.L. Weeks
Stamped on verso: Edwin Lord Weeks Sale / March 15, 16 & 17, 1905

Literature:
Harper's New Monthly Magazine, October 1893, Vol. 87, Issue 521, "From the Black Sea to the Persian Gulf by Caravan," p. 671

A painting of the same subject by Weeks dated 1892 (oil on canvas, 20 x 30 inches, signed) sold at Doyle New York, December 5, 2001, lot 58 for $10,000 (hammer.) The present work en grisaille was probably a study for the larger-scale painting.

23402

JOHN HENRY DOLPH (American 1835-1903)
Mending Nets, 1875
Oil on canvas
32 x 48 inches (81.3 x 121.9 cm)
Signed lower left: J.Dolph

Exhibitions:
Greenwich National Museum (label verso)
Hammer Galleries, New York, 'Seen and Not Heard Children in Nineteenth Century European and American Paintings,' April 11 through April 29, 1978 (label verso).

23403

SAMUEL S. CARR (American 1837-1908)
Girl Fetching Water with Goat, 1873
Oil on canvas
12 x 10 inches (30.5 x 25.4 cm)
Signed lower right: S.S. Carr / 1873

23404

JULIE HART BEERS (American 1835-1913)
Still Life, 1866
Oil on canvas
10 x 18 inches (25.4 x 45.7 cm)
Signed and dated upper right: Julie H. Beers 1866

23405

EDWARD CHALMERS LEAVITT (American 1842-1904)
Still Life with Grapes and Yellow Pears, 1884
Oil on canvas
10 x 14 inches (25.4 x 35.6 cm)
Signed lower right E. Leavitt 1884

23406

ROBERT SPEAR DUNNING (American 1829-1905)
Still Life with Fruit, 1889
Oil on canvas
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right R.S. Dunning 1889

23407

JOSEPH TUBBY (American 1821-1896)
View of the Atlantic off the Jersey Shore
Oil on canvas
26 x 20 inches (66.0 x 50.8 cm)

Provenance:
From a descendant of the artist, Montclair, New Jersey

Joseph Tubby, an American Realist, studied with artists associated with the Hudson River School. His paintings were exhibited at the National Academy of Design and the Pennsylvania Academy.

23408

FREDERICK RONDEL (American 1826-1892)
Sailboats in Moonlight, 1877
Oil on canvas
29 x 25 inches (73.7 x 63.5 cm)
Signed and dated lower right: F. Rondel 77

23409

FREDERICK BALLARD WILLIAMS, NA (American 1871-1956)
Arcadian Lyric
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Signed lower right: FredR Ballard Williams, NA

Fine Art - Painting, European

23410

ELIZABETH JANE GARDNER BOUGUEREAU (American 1837-1922)
Jeune fille au Lys (Young Girl with Lilies)
Oil on canvas
9 x 6-1/2 inches (22.9 x 16.5 cm)
Signed upper left: Elizabeth Gardner

Provenance:
Private collection, Bordeaux, France
Private collection, Paris, France

Elizabeth Gardner was an American-born woman raised in privileged circumstances and received a proper young lady's education. In pursuit of more rigorous artistic training, she followed a teacher to Europe and became a student of William Bouguereau, and eventually, his wife. She became the first woman to exhibit in the Paris Salon in 1866, and in 1877 she was the first woman to win a gold medal. According to her obituary in the New York Times, this remarkable artist "literally opened Paris ateliers to the women of the world."

Paintings

23411

SAMUEL S. CARR (American 1837-1908)
Child Feeding the Sheep
Oil on canvas
12 x 18 inches (30.5 x 45.7 cm)
Signed lower left: S.S. Carr

Fine Art - Painting, American

23412

MARCUS A. WATERMAN (American 1834-1914)
Figures in the Woods
Oil on canvas
17 x 29 inches (43.2 x 73.7 cm)
Signed lower left: M WATERMAN

Paintings

23413

ALBERT FITCH BELLOWS (American 1829-1883)
A Full Wagon, 1867
Oil on canvas
15 x 11-1/2 inches (38.1 x 29.2 cm)
Signed and dated lower left: A Bellows/ 1867

23414

WILLIAM ANDERSON COFFIN (American 1855-1925)
The Close of Day, circa 1883
Oil on canvas
55-1/2 x 39-1/2 inches (141.0 x 100.3 cm)
Signed lower left: W.A. Coffin
Old label verso: The Close of Day/ Old Church at Grez, France / Date from about the 13th century / William A. Coffin

After studying painting at Yale University, Coffin traveled to Paris to continue his education. Coffin exhibited at the Salons of 1879, 1880 and 1882 and studied at the atelier of Leon Bonnat (1833-1922). This painting was completed before he returned to New York in 1883 and shows influence of French Barbizon paintings.

By 1875, the Barbizon artists colony had fallen out of favor and a new artists' colony was founded in Grez-sur-Loing. At Grez artists could find a sympathetic inn keeper and several picturesque sites including the local church, the subject of this painting, castle ruins, and the bridge over the Loing. Grez was an international artists colony with French, Scandinavian, Japanese and American painters such as Robert Vonnoh (1858-1933), whose The Bridge at Grez of circa 1907-1911 is in the collection of the Metropolitan Museum of Art, New York.

Fine Art - Painting, American

23415

WILLIAM LAMB PICKNELL (American 1854-1897)
Spring in Pont-Aven, circa 1879
Oil on canvas
22 x 18 inches (55.9 x 45.7 cm)
Signed lower left: W.L. Picknell

Provenance:
Mrs. R. Drake;
Professor Henry Tonks (Long time professor at the Slade School in London)

Exhibitions:
Vassar College, Poughkeepsie, New York
The University of Kansas, Spencer Museum of Art, Lawrence, Kansas, 1978

Landscape painter, William Picknell, is known for the quality of light in his plein-air paintings, which is often intense, clear, and crisp. Picknell's love of nature was nourished by two American painters associated with the Hudson River School, George Inness (1825-1894) and Robert Wylie (1839-1897)--although both of them actually spent large parts of their careers abroad. An active member of the expatriate community of American landscapists in Europe, Picknell studied with Inness in Rome and Wylie, who was a curator at the Pennsylvania Academy of Fine Arts, Philadelphia, in Pont-Aven, Brittany.

Pont-Aven, a small tidal river port in France's westernmost region, was ripe with beautiful scenery and hospitable people. A recent invention of the paint tube enabled artists such as Wylie and Picknell to work outdoors. Pont-Aven attracted numerous influential artists in the late nineteenth century including Paul Gauguin (1848-1903), Emile Bernard (1868-1941) and Paul Serusier (1864-1927).

Paintings

23416

JAMES GALE TYLER (American 1855-1931)
Vessel at Sea, circa 1925
Oil on canvas
20 x 16 inches (50.8 x 40.6 cm)
Signed lower left: James G. Tyler

Fine Art - Painting, American

23417

ANTONIO NICOLO GASPARO JACOBSEN (American 1850-1921)
Ship 'Jona', 1884
Oil on canvas
22-1/4 x 36-1/4 inches (56.5 x 92.1 cm)
Signed lower right: A. Jacobsen 1884 / 70.5 Palisade Av. West Hoboken

23418

ANTONIO NICOLO GASPARO JACOBSEN (American 1850-1921)
The Knickerbocker Steamboat, 1892
Oil on canvas
22 x 36 inches (55.9 x 91.4 cm)
Signed and dated lower right: A. Jacobsen 1892 / 70 Palisade Av. West Hoboken Inscribed verso: Steamship Knickerbocker by Antonio Jacobsen

Paintings

23419

CARL CHRISTIAN BRENNER (American 1838-1888)
A Wintry Sunglow, 1888
Oil on canvas
14 x 18 inches (35.6 x 45.7 cm)
Signed and dated lower right: Carl C Brenner 1888

23420

ERNEST PARTON (American 1845-1933)
Strolling by the Stream, 1890
Oil on canvas
22-1/4 x 36 inches (5.7 x 91.4 cm)
Signed and dated lower right: Ernest Parton, 1890

23421

CLAIRE SHUTTLE (American 1868-1930)
Hollyhocks, circa 1890s
Oil on canvasboard
8-1/8 x 10-1/8 inches (20.6 x 25.7 cm)
Signed lower left: Claire Shuttleworth

Provenance:
Richard York Gallery, New York, New York
Linda Hyman Fine Arts, New York, New York

Exhibition:
John Pence Gallery, San Francisco, California, '"Tradition"' American Realism: Past and Present," February 1 - March 30, 1996.

23422

MARCUS A. WATERMAN (American 1834-1914)
Dutch Country Scene
Oil on original canvas
17 x 23-1/2 inches (43.2 x 59.7 cm)
Signed lower left: M. WATERMAN
Period stretcher stamped: Bay State Stretcher/ Wadsworth Howland/ Boston, MA

Exhibition:
Partial exhibition label verso: ...Museum of Fine Arts [Boston]/ 2352.16/ Lent by / Mrs. Waterman

Fine Art - Painting, American

23423

WILLIAM ANDERSON COFFIN (American 1855-1926)
Early Spring
Oil on canvas
14 x 20 inches (35.6 x 50.8 cm)
Signed lower right: W.A. Coffin

Paintings

23424

JOHN FRANCIS MURPHY (American 1853-1921)
The Fruit Farm
Oil on canvas
10-1/2 x 14 inches (26.7 x 35.6 cm)
Signed at lower left: J. Francis Murphy

Provenance:
J. F. Murphy sale New York, 1926
Milch Galleries, New York

23425

Attributed to FRANK DUVENECK (American 1848-1919)
Still Life with Apples
Oil on artist's board
8-1/2 x 10-1/2 inches (21.6 x 26.7 cm)
Unsigned

23426

JOHN HUBBARD RICH (American 1876-1954)
Woman Tidying the Kitchen, 1912
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Signed and dated lower right: J.H. Rich / 1912

Fine Art - Painting, American

23427

PAUL CORNOYER (American 1864-1923)
Untitled, Two Old Homes
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed lower left: Paul Cornoyer

23428

PAUL CORNOYER (American 1864-1923)
The Old Inn
Oil on panel
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left

Provenance:
Salmagundi Club Auction (label verso)

Paintings

23429

Attributed to HOMER DODGE MARTIN (American 1836-1897)
Moonlight Reflecting on Water
Oil on canvas laid on board
13-1/2 x 15-1/2 inches (34.3 x 39.4 cm)
Initialed lower right

23430

WILLIAM STARBUCK MACY (American 1853-1945)
Fisherman at Lake's Edge
Oil on canvas
12 x 18 inches (30.5 x 45.7 cm)
Signed lower left: W Macy

23431

ELLIOT DAINGERFIELD (American 1859-1932)
Landscape at Dusk
Oil on illustrator's board
8 x 10 inches (20.3 x 25.4 cm)
Signed lower right: Daingerfield

Fine Art - Painting, American

23432

GEAN SMITH (American 1851-1928)
Ann Direct Vs. Kinstress, 1908
Oil on canvas
20 x 26 inches (50.8 x 66.0 cm)
Signed and dated lower right: Gean Smith 1908

Paintings

23433

WILLIAM AIKEN WALKER (American 1838-1921)
Cotton Picker
Oil on board
12 x 6 inches (30.5 x 15.2 cm)
Signed lower left: WAWalker

23434

ALFRED MONTGOMERY (American 1857-1922)
Sheep in a Stable
Oil on canvas
27-1/2 x 37-1/2 inches (69.9 x 95.3 cm)
Signed lower left: A. Montgomery

23435

ALFRED MONTGOMERY (American 1857-1922)
Hanging Ears of Corn
Oil on canvas
24 x 18 inches (61.0 x 45.7 cm)
Initialed: A.M.

23436

ARTHUR FITZWILLIAM TAIT (American 1819-1905)
Spring Pets, 1901
Oil on panel
8 x 12 inches (20.3 x 30.5 cm)
Signed and dated lower right: A. F. Tait / N.Y. 1901
Inscribed verso: (CL) 1901 / "Spring Pets" / A.F. Tait, N.A. / Ludlow Park / N.Y.; and with a label numbered: H82.7 / 8A.152B

Provenance:
Bessie Heard, McKinney, Texas
Bessie Heard Trust

23437

ROBERT DAVID GAULEY (American 1875-1943)
Horse with Carriage, 1902
Oil on board
12 x 16 inches (30.5 x 40.6 cm)
Signed and dated lower right: William David Gauley 1902

Fine Art - Painting, American

23438

THOMAS BIGELOW CRAIG (American 1849-1924)
Near Great Barrington
Oil on canvas laid on panel
36-1/4 x 59 inches (92.1 x 149.9 cm)
Signed lower left: Thos. B. Craig

Exhibitions:
The Berkshire Museum, Pittsfield, Massachusetts, 1970
The New Britain Museum of American Art, New Britain, Connecticut, 1983
The Hudson River Museum, Yonkers, New York, 1990

Thomas Bigelow Craig is best-known for his pastoral scenes of cattle grazing in a sunlit landscape. Primarily a self-taught artist, Craig was a member of the National Academy, Salmagundi Club and the Artists Fund Society. His works are in the collections of the Pennsylvania Academy of Fine Arts and the Newark Museum.

Paintings

23440

JAMES GALE TYLER (American 1855-1931)
American Ships Meet at Sea, 1903
Oil on canvas
28 x 40 inches (71.1 x 101.6 cm)
Signed and dated lower left: James G. Tyler / 1903

23441

FRANK ALFRED BICKNELL (American 1866-1943)
Mountain Laurel, June 1903
Oil on artist's board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: FRANK A. BICKNELL
Titled, dated and signed by artist on verso

Provenance:
Marie Jentza Seery

23442

ALEXIS JEAN FOURNIER (American 1865-1948)
Autumn Landscape
Oil on canvas
15 x 15 inches (38.1 x 38.1 cm)
Signed at lower left

23443

WALTER GAY (American 1856-1937)
The Pink Room, Le Breau
Oil on canvas
21-3/4 x 18 inches (55.2 x 45.7 cm)
Signed at lower left: Walter Gay

Provenance:
Lytle Sloatsburg, New York

Exhibition:
Grey Art Gallery, New York University, 1980

Literature:
William Rieder, A Charmed Couple: The Art and Life of Walter and Matilda Gay, Harry N. Abrams, Inc, New York, 2000, p. 64.

Born in Massachustes, Walter Gay moved to Paris in 1876 to study painting. Ignoring modern art trends in Paris, he quickly became known for his meticulously detailed paintings of stylish interiors. By the 1890's Gay specialized in painting fashionable homes--both his own and those of his friends--which were lavishly decorated with 18th-century furniture and objets d'art. In 1928, Henry and Helen Clay Frick commissioned Gay to paint three rooms of the Frick residence in New York City (now the Frick Art Museum).

In 1905 he and his wife, Matilda, rented a chateau, Le Breau, in the French countryside near Fontainebleau. The house was built in 1705 and surrounded by 300 acres filled with old poplars and multiple, themed gardens. The present work depicts the Pink Room located on the ground floor of the the north wing that served as apartments for their frequent guests. The room was named for the luscious pink and cream toile de Jouy that Matilda had purchased from a fashionable store in Paris.

Le Breau served as a sanctuary for Walter and Martha Gay as well as their many notable guests who included Edith Wharton, Geoffrey Dodge, the Marquis de Ganay, Nelie Jacquemart Andre, Henry Adams and Ralph Curtis.

Fine Art - Painting, American

23444

BRENETTA HERRMAN CRAWFORD (American 1875-1956)
Basilica Saint Michel, Menton, A.M., France
Oil on canvas
30 x 24 inches (76.2 x 61.0 cm)
Signed lower right: B.H. Crawford

23445

JOHANNES SCHIEFER (Dutch/American 1896-1974)
Coastal Landscape
Oil on original unlined canvas
37 x 53 inches (94.0 x 134.6 cm)
Signed lower left: Johannes Schiefer

Paintings

23446

ARTHUR VIDAL DIEHL (American 1870-1929)
Ruins at dawn, 1924
Oil on artists' board
18-3/4 x 25-1/2 inches (47.6 x 64.8 cm)
Signed lower right: Arthur V. Diehl / 1924

23447

WILLIAM EDWARD BLOOMFIELD STARKWEATHER (American 1879-1969)
At Belle-isle-en-Mer, Monbihon, France, 1907
Oil on canvas board
10-1/2 x 14 inches (26.7 x 35.6 cm)
Signed lower right

Fine Art - Painting, American

23448

ERNEST CLIFFORD PEIXOTTO (American 1869-1940)
View of the Garden
Oil on canvas
32 x 25 inches (81.3 x 63.5 cm)
Signed lower right: Ernest Peixotto

23449

EDWARD ALFRED CUCUEL (American 1875-1954)
Luncheon at Water's Edge
Oil on canvas
40 x 50 inches (101.6 x 127 cm)
Signed lower right: Cucel

Exhibition:
Kunstmesse Hamburg, Germany, 2006

A languid afternoon by the water's edge is a favorite subject for Cucuel. His women are portrayed in repose, usually in flowing pastel dresses glowing with sunlight. His own Impressionist style was developed while studying in Paris and then in Germany. Early employment as an illustrator for newspapers in San Francisco influenced his later paintings. His compositions are often reminiscent of advertisements for "the good life." This painting will be included in the forthcoming catalogue raisonné by Helmut Krause.

Paintings

23450

EDWARD ALFRED CUCUEL (American 1875-1954)
Feeding Time in Central Park, New York
Oil on canvas laid on wood panel
28 x 35 inches (71.1 x 88.9 cm)
Signed lower right: Cucuel

Provenance:
Acquired from the artist directly by Adolf Scheinfeld, Berlin, 1937
Jack Wan collection of TWK Enterprises, USA
Private Collection, Denmark
Oyvind Vithus Collection, Norway
Private collection, Dallas, Texas

Fine Art - Painting, American

23451

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
Girl Playing the Harpsichord, 1899
Oil on canvas laid on masonite
30 x 21 inches (76.2 x 53.3 cm)
Signed upper right: Mar... / Paris 1899

Provenance:
Mary Louise Fairchild MacMonnies Low
Thence by descent to the present owner

Paintings

23452

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
Giverny Orchard, circa 1888-1909
Oil on canvas laid on masonite
18 x 32 inches (45.7 x 81.3 cm)
Signed lower right: Mary MacMonnies / Giverny

Provenance:
Mary Louise Fairchild MacMonnies Low
Thence by descent to the present owner

23453

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
Frederick MacMonnies in his studio, circa 1888-1909
Oil on canvas laid on masonite
15 x 18 inches (38.1 x 45.7 cm)
Signed lower right: Mary MacMonnies

Provenance:
Mary Louise Fairchild MacMonnies Low
Thence by descent to the present owner

23454

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
The MacMonnies Estate Terrace in Giverny, circa 1888-1909
Oil on canvas
13-1/2 x 18-1/4 inches (34.3 x 46.4 cm)
Inscribed on verso: Giverny, France

Provenance:
Mary Louise Fairchild MacMonnies Low
Thence by descent to the present owner

23455

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
Mont Saint Michel, 1909 - 1932
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower left: Mary Fairchild Low A.N.A.
Inscribed on lower stretcher verso: M.F. Low / Sagamore Road / Bronxville

Provenance:
Mary Louise Fairchild MacMonnies Low
Thence by descent to the present owner

23456

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
Autumn Leaves, circa 1909-1946
Oil on artist's board
16 x 12 inches (40.6 x 30.5 cm)
Signed lower right: Mary Fairchild Low

Provenance:
Mary Louise Fairchild MacMonnies Low
Thence by descent to the present owner

23457

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
Docked Sailboats, circa 1909-1946
Oil on canvas laid on artist's board
8 x 10 inches (20.3 x 25.4 cm)
Signed lower left Mary Fairchild Low

Provenance:
Mary Louise Fairchild MacMonnies Low;
Thence by descent to the present owner

23458

MARY (LOUISE FAIRCHILD) MACMONNIES LOW (American 1866-1946)
Day for Sailing, circa 1909-1946
Oil on panel
8 x 10 inches (20.3 x 25.4 cm)
Signed lower left Mary Fairchild Low

Provenance:
Mary Louise Fairchild MacMonnies Low;
Thence by descent to the present owner

Fine Art - Painting, American

23459

WILL HICKOK LOW (American 1853-1932)
An Arcadian Nude
Oil on canvas
14-1/2 x 10-3/4 inches (36.8 x 27.3 cm)
Signed lower right Will H Low

Provenance:
Mary Louise Fairchild MacMonnies Low & Will Hickok Low;
Thence by descent to the present owner

Paintings

23460

NICHOLAS RICHARD BREWER (American 1857-1949)
Woman at the Piano, 1906
Oil on canvas
30 x 25 inches (76.2 x 63.5 cm)
Signed at lower right: N.R. Brewer 1906

23461

IRVING RAMSEY WILES (American 1861-1948)
Study of a Lady in Green
Oil on board
18 x 15-1/4 inches (45.7 x 38.7 cm)
Signed lower right: Irving R Wiles

23462

WALTER BIGGS (American 1886-1968)
Still Life with Vase of Flowers and Porcelain Figures, 20th century
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed upper right: W Biggs

23463

ROBERT (COZAD) HENRI (American 1865-1929)
Woodland Interior, circa 1900
Oil on panel
8 x 10 inches (20.3 x 25.4 cm)
Unsigned

Fine Art - Painting, American

23464

ROBERT (COZAD) HENRI (American 1865-1929)
Portrait of a Young Man with Moustache, circa 1880-1890
Oil on canvas
15-1/2 x 12 inches (39.4 x 30.5 cm)
Signed lower left: Robert Henri

Provenance:
Private collection, Georgia

This early portrait of a fair skinned, young man with brown hair and a mustache could have been produced when Henri was a student at the Pennsylvania Academy of Fine Arts in Philadelphia. Henri often would create sketches of similar likeness while teaching classes on portraiture at the School of Design for Woman in Philadelphia or in Paris between 1895 and 1896, where he taught several classes.

We are grateful to Mr. Bennard B. Perlman for kind assistance in cataloguing this lot. Mr. Bennard B. Perlman is the author of Robert Henri: His Life and Art, Dover Publications (June 1991) and Painters of the Ashcan School: The Immortal Eight, Dover Publications (August 1988).

23465

EDWARD B. GAY (American 1837-1928)
Autumn Sunset
Oil on canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed lower left: Edward Gay

23466

DAVID HOWARD HITCHCOCK (American 1861-1943)
Forest Scene, June 21, 1910
Oil on canvas
20 x 16 inches (50.8 x 40.6 cm)
Signed lower left: D HOWARD HITCHCOCK
Dated lower right: June 21, 1910

Provenance:
Acquired by descent from step-father, 1984

Paintings

23467

CHARLES PAUL GRUPPE (American 1860-1940)
Pasture in the Bronx, New York, 1918
Oil on canvas board
11-1/2 x 16 inches (29.2 x 40.6 cm)
Signed lower left: Chas. P. Gruppe
Inscribed by the artist on verso: Pasture in the Bronx, New York/ by Charles P. Gruppe 1918
Supplier's stamp verso

23468

CHARLES PAUL GRUPPE (American 1860-1940)
On High Seas
Oil on canvas
30-1/4 x 36 inches (76.8 x 91.4 cm)
Signed lower right: Chas. P. Gruppe

23469

DANIEL RIDGWAY KNIGHT (American 1839-1924)
Laundress by the Water's Edge, 1922
Oil on canvas
35-1/2 x 46-1/4 inches (90.2 x 117.5 cm)
Signed and dated lower right: Ridgway Knight Paris 1922

Provenance:
Sotheby's, New York, October 24, 2006, lot 167

Along with many painters of the dawn of the twentieth century, Ridgway Knight explored the science of light through his paintings. He studied first at the Pennsylvania Academy of the Fine Arts with classmates, Mary Cassatt and Thomas Eakins, and then at the Ecole des Beaux-Arts in Paris. In 1863 he returned to America to serve in the Union Army. His experience in the civil war had a profound effect on the artist. He practiced sketching facial expressions and capturing human emotion in art. Upon his subsequent return to France, Knight became friendly with Renoir, Sisley, Wordsworth and Jean-François Millet, who influenced one another's work. Knight, like Millet, portrayed rural peasant life. Knight's Laundress by the Water's Edge is a beautiful example of his favorite theme recorded with fine detail and great sensitivity to light.

23470

BRYSON BURROUGHS (American 1869-1934)
The Horse Tamer, 1928
Oil on canvas
25-1/2 x 45 inches (64.8 x 114.3 cm)
Signed and dated lower right: BRYSON BURROUGHS 1928

Provenance:
Hirschl & Adler Gallery, New York, New York;
Private collection, Cleveland, Ohio

23471

BRUCE CRANE (American 1857-1937)
Winter Landscape, 1922
Oil on canvas laid on board
18-1/4 x 24 inches (46.4 x 61.0 cm)
Signed and dated lower left: BRUCE CRANE.NA.1922
Inscribed verso: Month of December 1922

Fine Art - Painting, American

23472

GEORGE WILLIAM SOTTER (American 1879-1953)
Untitled, A Rocky Coast
Oil on artistboard
10 x 11-3/8 inches (25.4 x 28.9 cm)
Signed lower left: Geo. W. Sotter

Paintings

23473

ALFRED MITCHELL (American 1888-1972)
California Coast
Oil on canvas
30 x 36 inches (76.2 x 91.4 cm)
Signed lower right: ALFRED MITCHELL

Provenance:
Private Collection, Georgia

23474

ANTHONY THIEME (American 1888-1954)
Gateway in a French Village
Oil on artist's board
17 x 13 inches (43.2 x 33.0 cm)
Signed lower right

Fine Art - Painting, American

23475

WILLIAM LESTER STEVENS (American 1888-1969)
Wheat Stacks, circa 1940s
Oil on canvas board
14 x 16 inches (35.6 x 40.6 cm)
Signed at lower right: W Lester Stevens

Works on Paper

23476

EMIL CARLSEN (American 1853-1932)
Bouquet of Flowers and Vases
Pastel on paper
23-1/2 x 16 inches window (59.7 x 40.6 cm)
Signed lower right: Emil Carlsen

Paintings

23477

EMIL CARLSEN (American 1853 - 1932)
The French Fan, 1922
Oil on board
15 x 18 inches
Signed and dated lower left: Emil Carlsen 1922

Provenance:
Newhouse Galleries, New York, NY

Born and initially trained as an architect in Denmark, Emil Carlsen was a distinguished American artist known for his still-life paintings. A primarily self-taught artist who immigrated to Chicago in 1882, he later returned to Europe, training in Paris and studying the Old Masters, particularly the still lifes of Chardin. He was an instructor at the Chicago Academy of Design in the mid-1880s and director of the California School of Design in San Francisco from 1887 to 1891. Carlsen then returned to New York, where he became a successful still-life painter and instructor at the National Academy of Design. In his time, he was considered the finest still-life painter working and he stressed the study of inanimate objects to his students.

This work shows a stylistic blend of Eastern and Western cultures, with the French fan echoing the Oriental theme established by the Buddhist figurines. The French fan is a souvenir and symbolic nod to the Impressionist style that defined his career during his travels in France, while the figurines are likely a remnant of Carlsen's exposure to Oriental mysticism from his years in California. This style of still life later became popular among California painters including Hovsep Pushman and Maurice Braun.

Fine Art - Painting, American

23478

ERNEST LAWSON (American 1873-1939)
Landscape
Oil on canvas laid on Masonite
24-1/4 x 30-1/4 inches (61.6 x 76.8 cm)
Signed lower left: E. Lawson

Paintings

23479

Attributed to ROBERT (COZAD) HENRI (American 1865-1929)
On the Hudson River, circa 1900
Oil on artists' board
5-1/4 x 8 inches (13.2 x 20.3 cm)
Unsigned

A study of a tug boat along the Hudson River, New York.

Fine Art - Painting, American

23480

Attributed to ROBERT (COZAD) HENRI (American 1865-1929)
Sea and Cliffs, early 20th century
Oil on board
7-1/4 x 10-1/4 inches (18.4 x 26.0 cm)
Unsigned

Provenance:
Maynard Walker Gallery, New York

Exhibitions:
University of Kansas Museum of Art, Lawrence, 1975
Sheldon Swope Art Gallery, Terre Haute, Indiana, 1977

Having first visited Monhegan Island, Maine, in 1903, Henri became captivated by the unique rocky topography of the coast that would inspire numerous oils throughout his career. Henri frequently returned to Monhegan with students as well as other artists of his circle including Rockwell Kent, George Bellows, Leon Kroll, Randall Davey and Edward Hopper who would all record the picturesque island.

Paintings

23481

JAY HALL CONNAWAY (American 1893-1970)
The Squeaker
Oil on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: Connaway #11
Another study of the sea painted on verso

Provenance:
William Macbeth Gallery, New York

Macbeth Gallery was an important gallery for American paintings. Impressed by work that Connaway brought to the gallery, Robert Macbeth, with four artists including Emil Carlsen, Paul Dougherty and Frederick Waugh, gave him advice and funds to go to Head Harbor Island, Maine to study painting the sea. Connaway exhibited at Macbeth Gallery from 1923 to 1940. This small painting of Squeaker Cove Monhegan Island, Maine, purchased from Macbeth, demonstrates why Connaway is considered a master of seascape.

Fine Art - Painting, American

23482

FREDERICK JUDD WAUGH (American 1861-1940)
The Calm
Oil on panel
7-1/4 x 8-1/2 inches (18.5 x 21.5 cm)
Signed lower right: Waugh
Inscribed verso: Entrance to Loba Inlet B

Exhibition:
Weatherspoon Art Gallery, The University of North Carolina, 'Art on Paper,' 1978.

23483

SELDEN CONNOR GILE (American 1877-1947)
Untitled, Landscape
Oil on canvas laid on board
12 x 14 inches (30.5 x 35.6 cm)
Signed lower right: S.C. Gile and illegibly dated

Paintings

23484

THERESA FERBER BERNSTEIN (American 1890-2002)
Classic Still Life
Oil on canvasboard
27-3/4 x 21-7/8 inches (70.5 x 55.5 cm)
Signed lower right: Bernstein Inscribed on verso: Classic Still Life / Theresa Rubenstein / 44 Mt. Pleasant Ave. / East Gloucester / Mass. / P.OR. / Br...

23485

LILLIAN BURK MEESER (American 1864-1942)
Still Life with Roses and Chinese Porcelain
Oil on original unlined canvas
36 x 40 inches (91.4 x 101.6 cm)
Signed lower right: Meeser

23486

WILLIAM MEYEROWITZ (American 1887-1981)
Still Life Window
Oil on canvas
27 x 35 inches (68.6 x 88.9 cm)
Signed lower right: Wm Meyerowitz
Inscribed on verso: Still-Life Window by William Meyerowitz

Sculpture

23487

HARRIET WHITNEY FRISHMUTH (American 1880-1980)
The Vine, 1921
Bronze with brown patina
11-3/4 inches (29.8 cm) high
Inscribed: © / 1921 / Harriet W. Frishmuth
Foundry mark: Gorham Co. Founders / QBWS

Provenance:
James Graham & Sons, New York, New York;
Private Collection, Dallas, Texas

23488

HARRIET WHITNEY FRISHMUTH (American 1880-1980)
Crest of the Wave, 1925
Bronze with brown patina
21 inches (53.3 cm) high
Inscribed: Harriet W. Frishmuth © 1925
Foundry mark: Gorham Co. Founders / QFHL

Provenance:
Sotheby's New York, December 1, 1994, lot 104;
Private collection, Dallas, Texas

Fine Art - Sculpture, American

23489

HARRIET WHITNEY FRISHMUTH (American 1880-1980)
Laughing Waters, 1929
Bronze with reddish/brown and green patina
16 inches (40.6 cm) high
Inscribed: © / 1929 / Harriet W. Frishmuth
Foundry mark: Gorham Co. Founders / OGOA

Provenance:
James Graham & Sons, New York, New York;
Private collection, Dallas, Texas

Sculpture

23490

HARRIET WHITNEY FRISHMUTH (American 1880-1980)
Allegra, 1929
Bronze with green patina
11-3/8 inches (28.9 cm) high
Inscribed: © / 1929 / Harriet W. Frishmuth
Foundry mark: Roman Bronze Works, Inc. N.Y.

Provenance:
Charles Aronson estate New York;
Private collection, Dallas, Texas

Paintings

23491

GUY CARLETON WIGGINS (American 1883-1962)
Untitled, circa 1930s
Oil on canvasboard
10 x 8 inches (25.4 x 20.3 cm)
Signed lower left: Guy Wiggins

Provenance:
Private collection, Washington

This scene depicts the Woolworth Building and accompanied by a letter of authenticity from Guy A. Wiggins.

Fine Art - Painting, American

23492

GUY CARLETON WIGGINS (American 1883-1962)
Broadway looking north
Oil on canvas
22 x 18 inches (55.9 x 45.7 cm)
Signed lower right Guy Wiggins

Paintings

23493

FREMONT F. ELLIS (American 1897-1985)
Dusk at Mazatlan
Oil on masonite
25 x 30-1/4 inches (63.5 x 76.8 cm)
Signed lower right: Fremont F. Ellis

Provenance:
Gift from the artist to the parents of the current owner

23494

ANTON OTTO FISCHER (American 1882-1962)
Triple-masted Sailing Ship
Oil on canvas
25-1/2 x 28 inches (64.8 x 71.1 cm)
Signed lower left: Anton Otto Fischer

Fine Art - Painting, American

23495

JOHN FORD CLYMER (American 1907-1989)
Boats in the Harbor
Oil on canvas
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: John Clymer

Paintings

23496

ROBERT WILLIAM WOOD (American 1899-1979)
Sparkling Sea
Oil on canvas
24 x 30-1/8 inches (61.0 x 76.5 cm)
Signed lower right: Robert Wood
Inscribed on verso: Sparkling Sea; and stamped: Reproduction Rights Reserved By Artist

23497

ROBERT WILLIAM WOOD (American 1889-1979)
Autumn Reflections, circa 1940
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Signed lower right: Robt. Wood

Provenance: Private Collection, New York

23498

ROBERT WILLIAM WOOD (American 1889-1979)
Untitled, New England Autumn Landscape, circa 1950s
Oil on canvas laid on board
20 x 24 inches (50.8 x 61.0 cm)
Signed lower right: Robert Wood
Stamped on verso: Reproduction Rights Reserved by Artist / Painted by / Robert Wood

23499

J. J. ENWRIGHT (American 1905 - 2001)
Untitled, Dock
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower left: J.J. Enwright

Fine Art - Painting, American

23500

LOUIS BASSI SIEGRIEST (American 1889-1989)
California Mining Town
Oil on board
20 x 25-1/2 inches (50.8 x 64.8 cm)
Signed lower left: Siegriest

Provenance:
Private Collection, San Francisco

Siegriest was a member of the Group of Six who worked closely together in California in the early 1900s. They turned away from the somber tonalism and realism of painters from the eastern states and painted with an aggressive Fauvist palette and loose brushwork of Impressionism. This painting is a wonderful example of the "slice of California life" subject matter the group favored, with its emphasis on bright warm light and nature.

Paintings

23501

ROBERT AARON FRAME (American 1924-1999)
Summer Landscape with Birches
Oil on original unlined canvas
27 x 36 inches (68.6 x 91.4 cm)
Signed lower left: R Frame

Fine Art - Painting, American

23502

HARRY WILLSON WATROUS (American 1857-1940)
House Call
Oil on composite artist board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: Watrous

Provenance:
Private Collection, New York

The lady languishes on a settee that is draped with a polar bear skin. Next to her on a low side table is an arrangement of objects that suggest her ennui. There is a lit cigarette, a dish of candies, a well thumbed paperback book, a pair of tweezers, and a stemmed glass. The doctor sits at her feet with a tea cup balanced in his hand. The scene suggests that the house call is less about illness and more about the boredom of a lady of privilege.

Paintings

23503

WILLIAM J. SCOTT (American 1879-1940)
Couple at the Local Tavern
Oil on artists' board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left: W.J. Scott

The painter William J. Scott was a friend of Thomas Hart Benton. His style was profoundly influenced by Benton's, both in its choice of subject matter and in its clearly realized sense of sculptural form, which was the hallmark of Benton's style.

Fine Art - Painting, American

23506

ANTONIO BARONE (American 1889-1971)
Portrait of a Man with Hat and Cigarette, 1919
Oil on original unlined canvas
50 x 40 inches (127 x 101.6 cm)
Signed lower left: Anontio Barone 1919

23507

ALLEN TUCKER (American 1866-1939)
The Derricks, 1930
Oil on original canvas
30 x 25 inches (76.2 x 63.5 cm)
Signed at lower left: Allen Tucker

Paintings

23508

AMERICAN SCHOOL (Twentieth Century)
Portrait of Young Girl with Books
Oil on wood board
30 x 24 inches (76.2 x 61.0 cm)

23509

JANE PETERSON (American 1876-1965)
Bouquet of Red Flowers
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Signed at lower left Jane Peterson

23510

JANE PETERSON (American 1876-1965)
Old Pier Gloucester
Oil on artist board
10-1/2 x 13-1/2 inches (26.7 x 34.3 cm)
Titled in pencil on verso
Label on verso for the Buffalo Society of Artists and Albright Art Gallery

Fine Art - Painting, American

23511

GERTRUDE TONSBERG (American 1902-1973)
The First Shoots of Spring
Oil on board
20 x 16 inches (50.8 x 40.6 cm)
Signed lower right

Paintings

23512

WILLIAM EDOUARD SCOTT (American 1884-1964)
"Full Moon", Haitian Rhythm
Oil on canvas
30-1/4 x 24 inches (76.8 x 61.0 cm)
Signed lower left W.E. Scott
Inscribed verso on the frame "Full Moon", Haitian Rhythm

Sculpture

23513

PAUL MANSHIP (American 1885-1966)
Spring, 1949
Partial gilt bronze with verdigris
23-3/4 x 21 x 12 inches (60.3 x 53.3 x 30.5 cm)
Inscribed on the cloud: Manship © 1949

Literature:
Edwin Murtha, Paul Manship, 1957, Macmillan, Co, NY, 1957, plate 96, cat. no. 508.

Paul Manship was one of America's preeminent sculptors. Born in St. Paul, Minnesota, Manship worked primarily in New York where he established a successful career as a public sculptor. One of his most famous works is the Rockefeller Center Plaza "Prometheus," of gilded bronze. It is one of America's most televised images during the holiday season when the Rockefeller Plaza Christmas tree is illuminated. Manship also created outdoor public sculpture for the Bronx Zoo, the Central Park Zoo, the old New York Coliseum (now torn down), and the Time and Fates Sundial and Moods of Time sculptures that were installed for the 1939 World's Fair in New York City.

This work was originally recorded as a gilt sculpture. While this model is rare, versions of the same subject were created in 1934 and 1952. This example retains traces of its original gold finish. Because it was used as an outdoor sculpture, the surface has been weathered over time.

Fine Art - Painting, European

23514

CONSTANTINE CHERKAS (Russian b.1919)
Still Life with a View, 1976
Oil on canvas
30 x 24 inches (76.2 x 61.0 cm)
Signed and dated lower left: Constantine Cherkas .76

Provenance:
Private Collection, Dallas, Texas

Fine Art - Painting, American

23515

AARON SHIKLER (American b.1922)
Portrait of a Woman, circa 1950s
Pastel on paper
25 x 19-1/2 inches (63.5 x 49.5 cm)
Signed lower left: Shikler

Works on Paper

23516

WILLIAM LESTER STEVENS (American 1888-1969)
City Skyline
Pastel on paper
21-1/2 x 17-1/2 inches window (54.6 x 44.5 cm)
Signed lower right: Stevens

Provenance:
Kirk Hopper Fine Art, Dallas, Texas

Fine Art - Painting, American

23517

ALBERTA CIFOLELLI (American b.1931)
An Italian's American House, Late 20th Century
Oil on canvas
48 x 48 inches (121.9 x 121.9 cm)
Signed lower right: Cifolelli

Provenance:
Adelle M. Gallery, Dallas, Texas, 1986
Crow Art Partnership Collection, Dallas, Texas

Works on Paper

23518

ERLE LORAN (American 1905-1999)
Untitled, Docks, 1944
Watercolor and gouache on paper
15-3/4 x 22-5/8 inches (40.0 x 57.5 cm)
Signed and dated lower right: Erle Loran '44

23519

WILLIAM THOMAS LUMPKINS (American 1909-2000)
Western Landscape, mid-1980s
Oil on paper
21-1/2 x 29 inches (54.6 x 73.7 cm)
Signed and dated lower right: Lumpkins - 8...

23520

WILLIAM THOMAS LUMPKINS (American 1909-2000)
Western Landscape, 1987
Oil on paper
21-1/2 x 29 inches (54.6 x 73.7 cm)
Signed and dated lower right: Lumpkins - 87

Fine Art - Painting, American

23521

KARL HERMAN BAUMANN (American 1911-1984)
Untitled, Abstract Portrait, 1954
Oil on paper
23-3/4 x 18 inches (60.3 x 45.7 cm)
Signed and dated lower right: K. Baumann 54

Paintings

23522

CHARLES GREEN SHAW (American 1892-1974)
Still Life with Bouquet of Flowers
Oil on artists' board
8 x 10 inches (20.3 x 25.4 cm)
Signed verso: Charles G. Shaw

Fine Art - Painting, American

23523

EMIL BISTTRAM (American 1895-1976)
Drama, 1959
Oil on masonite
50 x 35 inches (127 x 88.9 cm)
Signed and dated lower right: Bisttram '59, below monogram

Provenance:
Cline Fine Art Gallery, Santa Fe, New Mexico

Paintings

23524

EMIL BISTTRAM (American 1895-1976)
Cosmic Forces No. 11, 1959
Deco on canvas
48-1/4 x 36 inches (122.6 x 91.4 cm)
Signed and dated: Bisttram '59, below monogram Inscribed on verso: #210 / Cosmic forces No. 11 / 1000.00 / Emil Bisttram / Taos; and with a paper label listing including Inventory May 1976

Fine Art - Painting, American

23525

EMIL BISTTRAM (American 1895-1976)
Syncopated Melody, 1969
Oil on masonite
27 x 36-1/4 inches (68.6 x 92.1 cm)
Signed and dated lower right: Bisttram 69, below monogram
Inscribed on verso: #40 / Syncopated Melody / 650.00 / Emil Bisttram / Taos N.M.; and a paper label with the description and Inventory May 1976

23526

BRADLEY WALKER TOMLIN (American 1899-1953)
Untitled
Oil on canvas
26 x 36-7/8 inches (66.0 x 93.6 cm)
Signed lower left: Tomlin

23527

BILL BARRETT (American 1934 - )
Untitled, 2002
Mixed media on canvas
40 x 29-7/8 inches (101.6 x 75.9 cm)
Signed and dated lower center: Bill Barrett 2002
Inscribed on verso: Bill Barrett / 2002 / Mixed Media

23528

ARTHUR DOVE (American 1880-1946)
Untitled Abstraction, circa 1935
Oil on canvasboard
8-1/2 x 11-1/2 inches (21.6 x 29.2 cm)
Signed lower center: Dove

Provenance:
Salander-O'Reilly Galleries, Inc., New York, New York
Cline Fine Art Gallery, Santa Fe, New Mexico

Exhibitions:
Salander-O'Reilly Galleries, Inc., (Beverly Hills, California), 'American Modernism,' July 2-August 3, 1991, no. 53
Cline Fine Art Gallery, Santa Fe, New Mexico, 'Arthur Dove - Paintings from the 20's & 30's,' July 4-August 28, 1997.

Arthur Dove is generally acclaimed as the first American painter to produce purely non-representational paintings. His works were based upon natural forms and rhythms. His abstraction was "extraction," in essence, distilling the essential forms of a subject from nature. This simple composition tumbles across the panel in a pinwheel effect, using simple color and lines to simulate motion.

23529

PAUL CADMUS (American 1904-1999)
Seated Nude with Arms Raised, 1945
Tempera with oil glazes on masonite panel
16 x 12 inches (40.6 x 30.5 cm)
Signed and dated faintly in the background just left of the sitter's right elbow: cadmus / 45

American

23530

JERRY FARNSWORTH (American 1895-1982)
Mandolin and Old Music
Oil on canvas
30 x 20 inches (76.2 x 50.8 cm)
Signed lower left corner: Farnsworth
Signed and titled on the stretcher: Mandolin and Old Music, Jerry Farnsworth

Provenance:
Roughton Galleries, Dallas, Texas (label verso)

This still life is both a study in trompe l'oeil and design. As an academician of the National Academy of Design, Farnsworth taught and was widely exhibited. Here he combines a traditional subject matter with the experiment of using fracturing lines of thin bright colors to dissect the plane of the scene and outline the objects.

Paintings

23531

JERRY FARNSWORTH (American 1895-1982)
Meeting House and Old Music
Oil on canvas
32 x 28 inches (81.3 x 71.1 cm)
Signed lower center: Farnsworth
Signed and titled verso in black ink: Meeting House & Old Music, Jerry Farnsworth

23532

HERBERT E. ABRAMS (American 1921-2003)
Still Life with Fruit and Teapot, 1960
Oil on Masonite
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower right: Herbert E. Abrams '60

23533

CHARLES GREEN SHAW (American 1892-1974)
Shape of Tension, 1960
Oil on board
9 x 12 inches (22.9 x 30.5 cm)
Signed at lower right: Shaw
Inscribed on verso Charles Shaw / 1960

Provenance:
Albert Landry Galleries, New York, New York (label verso);
Private collection, New York, New York

23534

GYORGY KEPES (Hungarian/American 1906-2001)
Doubts, 1962
Oil and sand on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed, titled, and dated verso

Kepes was a pioneer of interrelating art and technology. He studied with Laszlo Maholy-Nagy in the 1930s before emigrating to the United States to help found the New Bauhaus. From 1946 until retirement, Kepes was a professor of visual design at MIT. In 1967, he founded the Center for Advanced Visual Studies (CAVS) that researched the use of lasers, plasma sculptures, sky art, and hologrpahy as tools of expression. Kepes' paintings are in 30 permanent collections, including the Brooklyn Museum, the Corcoran Gallery, and the Whitney Museum. Doubts is an example where Kepes mixed sand with paint to create a texture on the canvas. He also frequently used a muted palette with a subtle glow.

23535

WILLIAM MEYEROWITZ (American 1887-1981)
Untitled, Sailboats
Oil on canvas
14 x 18 inches (35.6 x 45.7 cm)
Signed lower right: Wm. Meyerowitz

23536

JOSEPH HIRSCH (American 1910-1981)
Untitled, Woman with a dog
Oil on canvas laid on cardboard
17-3/4 x 14 inches (45.1 x 35.6 cm)
Signed lower left: J. Hirsch

23537

MARTHA WALTER (American 1875-1976)
Old Bayonne
Oil on canvas
26-3/4 x 21 inches (67.9 x 53.3 cm)
Estate stamp on stretcher

Provenance:
David David Gallery, Philadelphia, Pennsylvania (stamp verso);
Alexander Gallery, New York, New York (label verso)

Sculpture

23538

ROY LICHTENSTEIN (American 1923-1997)
Untitled Head I, 1970
Brass
25-1/2 x 11 x 6 inches (64.8 x 27.9 x 15.2 cm)
Ed 2/75
Gemini G.E.L., pub.
Signed, numbered, and dated R... Lichtenstein / 2/75 '70 and stamped with Gemini chop on a copper plate attached to bottom of base

Provenance:
Leo Castelli (New York);
Acquired in 1975 by Jeffrey Weiss, Dallas, Texas

The brass head was machine profiled, hand broached and polished. The milled steel base is brass plated. The artist created an original cardboard maquette and collaborated directly with Gemini, Los Angeles, in the making of the metal prototype for the edition. The fabrication of multiples was under the direct supervision of Kenneth Tyler and Jess Sanders assisted by Herbert Tomkins, Pete Hoeter and Obed Silverwood.

Paintings

23539

LARRY POONS (American b.1937)
Angela D, 1981
Acrylic on canvas
81-1/4 x 25-1/2 inches (206.4 x 64.8 cm)
Signed, titled and dated on verso

Provenance:
Salander O'Reilly Galleries, Inc., New York, New York (label verso);
Salander O'Reilly Galleries, Inc., Beverly Hills, California (label verso);
Andre Emmerich Gallery, Inc., New York, New York (label verso)

The American abstract painter Larry Poons had, as David Carrier has noted, 'a fast breaking career--he became famous when he was very young.' After studying at the New England Conservatory of Music (1955-57) he switched schools to pursue his other artistic interest--painting--at the Boston Museum School of Fine Arts in 1958. When he was barely twenty, he attracted critical attention for his elegant paintings in the minimalist/pop vein that had replaced the gestural, emotionally-charged art of the Abstract Expressionists a decade and a half before. The high-grade materiality of paint found in the dripped skeins of enamel by Jackson Pollock, the slashes of pigment made with household brushes in the billboard-sized work of Franz Klein, and the puddling and pouring of thinned out pigment onto a canvas so that it bleeds and drips gave way, in the early sixties, to clarity and flatness. Getting messy with materials had been eclipsed by paint that had to behave according to definite lines, patterns and abstract shapes to achieve optical effects of evenly modulated color. Paintings were preplanned designs. It was into this new art world, where formalism rather than the paint or the gesture reigned supreme, that Larry Poons emerged as a major figure. His work had the grid, the mathematics, the geometry, and the incredible discipline of a Mondrian behind it. But it also had his musical sense, too, of timing and syncopation which gave his early canvases a distinctive, personal timbre.

But Poons didn't want to keep making the paintings which made him an art star-nor could he. The tide had turned, plus Poons had new interests. By the beginning of the 1970s, Poons wanted to begin exploring the raw materiality of paint, even though the current trends continued to move even further away from the type of paint manipulation that most intrigued him. As the 70s wore on, and moved into the 80s, the most popular art trends were conceptual art, performance art, video art, Neo Geo-all 'endeavors' which artist Frank Stella aptly noted were a 'drive toward indirect expression, the use of any devices which are not the direct expression of the artist's hand and body.'
Poons-at the top of his game [i.e., art world notoriety]-went against the grain. During the course of the 1970s, he started throwing paint onto canvas-actually along canvases-on the floor. He would apply it exclusively by throwing it layer upon layer, in coats. The coats would build one upon the other, accommodating all intentions and accidents, and sculpt themselves into luscious surfaces. During the course of the 70s, the artist discovered that acrylics worked better than oil because they dried more quickly and were therefore less prone to slip off or crack.

Poons's method of painting in this untrammeled fashion on the floor on a long continuous piece of canvas has an important second stage. After building up the surface, he selects the sections of the image which have the most dynamic properties, masks them, and cuts them out of the larger field. His imagery is aggressively vertical owing to his method, and to accentuate this quality the artist generally crops his works so that they are narrower in width than length.
The present work was created according to this procedure, which depends upon the masking and cropping process to capture the most exciting surges of pigment. On the back of the painting, where Poons signs so that he doesn't interrupt the gesture, the paint runs all the way to the very edges of the canvas, providing evidence of his method. This marvelous work of 1981, with its mauve palette, shows Larry Poons giving full rein to the sculptural potential of paint.

23540

RONNIE CUTRONE (American 1948 - )
Day Glow, 1988
Acrylic and screenprint on cloth
61 x 36-1/4 inches (154.9 x 92.1 cm)
Signed, titled and dated lower right side: "Day Glow" Ronnie Cutrone 1988

Sculpture

23541

ANGEL BOTELLO (Puerto Rican 1913-1986)
Françoise, 1975
Bronze with silver patina
10-1/8 x 7-1/2 x 3-1/4 inches (25.7 x 19.1 x 8.3 cm)
Inscribed lower back: Botello / 10/10 / M

Fine Art - Painting, American

23542

ANGEL ZARRAGA (Mexican 1886-1946)
Basket of Plenty, 1922
Oil on canvas
32 x 25 inches (81.3 x 63.5 cm)
Signed lower right Angel Zarraga, Paris 1922

Provenance:
Robert Ratner, New York;
Felix Fenelon, France

Exhibition:
Galerie Bernheim-Jeune, Paris

The model for the woman in this painting is most likely Angel Zarraga's first wife, Russian sportswoman Jeanette Ivanoff, whom he married in 1919. Ivanoff was a professional footballer and served as captain of the women's team during its first-place title year in 1922. She served as a model for her husband throughout his career, whether he was interpreting her face and figure in a cubist vocabulary or depicting her during his later and more romantic neo-classical phase. During this period, his work is somewhat uniform in composition and color: it is characterized by a warm, ruddy palette and very sculptural, solid forms. While Zarraga shows Jeanette Ivanoff clothed in the present work, he focuses on her muscular body, selectively revealing her sturdy upper back and muscular right arm. Her skin glows with a marvelous radiance against the carefully chosen soft red hues of the dress, hat, and basket of fruit. Angel Zarraga was a close associate of Diego Rivera, both during their student years at the National School of Fine Arts in Mexico City, and later in Paris.

Fine Art - Painting, European

23543

ALBERTO GIRONELLA (Mexican 1929-1999)
Metamorfosis Par Una Reina (triptych), 1959
Oil on canvas
35-1/2 x 24 inches each (90.2 x 61.0 cm)
Signed and inscribed lower left: "De Goya Gironella"
Each of three canvases numbered respectively: I, II, III

Exhibition:
Washington, D.C., Pan American Union, "Alberto Gironella of Mexico," March 18 to April 13, 1959, nos. 9 and 10 (Metamorphosis of the Queen, nos. 1 and 2, labels verso); n.b. Number 3 in the triptych is not listed in the exhibition brochure, a copy of which is preserved in the artist's clipping file at the Ingalls Library, Cleveland Museum of Art, Cleveland, Ohio.

As the artist acknowledged in his inscription, this triptych showing the metamorphosis--grotesque physical decay--of Queen Maria Luisa of Spain is based upon her likeness in Francesco Goya's 1800-1 famous Portrait of the Family of Charles IV of Spain in the Prado, Madrid. In a manner that can be regarded as a visual equivalent of Oscar Wilde's literary work The Picture of Dorian Gray, the Queen's malevolence, coarseness, and viciousness of spirit manifested itself ultimately in her outward appearance over time. Indeed, one aspect of the Mexican painter Gironella's artistic production was devoted to highly expressionistic, scathingly satirical portraits of Spanish monarchs based upon iconic paintings by Velazquez and Goya. In their powerful anticolonial sentiments, these works by Gironella are direct descendants of the work of the great Mexican muralists of the previous generation.

Gironella chose the Metamorphosis of the Queen to represent him in his first exhibition held in the United States, although he apparently did not exhibit the most challenging part of the triptych--the third panel--in which the Queen had entirely transformed into a monster. Indeed, the details of her life paint an unflattering portrait.

Maria Louisa of Parma (December 9, 1751-January 2, 1819) was queen of Spain and consort of King Charles IV of Spain. She was the daughter of Philip of Bourbon, Duke of Parma (March 15, 1719 or 1720) and his wife Princess Louise-Élisabeth of France. She was described by contemporaries often as a mean and debased woman who thoroughly dominated the king. Reportedly Manuel de Godoy, her husband's prime minister, was her long-time lover. She was taken to France as prisoner, and her husband abdicated the throne of Spain in 1808, due to pressure from Napoleon. Maria Luisa, Godoy and the abdicated king spent remainder of their lives outside Spain. She and her husband both died in 1819. Reportedly, several of her 14 children were not sired by her husband, who was her paternal first cousin. Infante Don Francisco's (the Duke of Cadiz) features are reported to have resembled very closely those of Godoy.

The painter Alberto Gironella was born in Mexico City and was largely self-taught. One of his major artistic influences was the Spaniard Jose Gutierrez Solana.

Paintings

23544

MANUEL FELGUEREZ (Mexican b.1928)
Relación de Vieja, 1966
Oil on Masonite
13-1/2 x 13-1/2 inches (34.3 x 34.3 cm)
Signed and dated lower right: Felguerez 66

Provenance:
Galerie Juan Martin, Mexico

Session 3

Works on Paper

23545

GIOVANNI DOMENICO TIEPOLO (Italian 1727-1804)
Hercules and Anteas
Pen, ink, wash and pencil on paper
8-1/8 x 6 inches (20.6 x 15.2 cm) (sight)
15 1/2 x 12 3/4 inches (framed)
Signed lower right: Dom. Tiepolo

Provenance:
Scriabin

Exhibition:
Atkins Museum of Fine Arts, Kansas City, Missouri, April 2 through May 2, 1978

23546

THOMAS ROWLANDSON (British 1756-1827)
Horses at Grass
Watercolor on buff paper
5-3/4 x 9-1/4 inches (14.5 x 23.5 cm)
Signed lower right: Rowlandson

Exhibitions:
Wichita Art Museum, Kansas, 1977
Atkins Museum of Art, Kansas City, Missouri, April 2 through May 2, 1978

23547

CHARLES CHAPLIN (French 1825-1891)
Allegorie à la peinture
Watercolor and crayon on paper
18 x 12 inches (45.7 x 30.5 cm)
Signed

23548

CONSTANT TROYON (French 1810-1865)
La fermiere et ses vaches (The farmer and his cows)
Pen and ink on paper
9 x 6 inches (22.9 x 15.2 cm)

Troyon was first and foremost an animal painter, associated with the Barbizon artists. He trained as a porcelain painter and he mastered the arduous task of minute porcelain ornamentation. He wandered throughout France painting landscapes and financing his studies by decorating china at various factories. In 1846 Troyon went to the Netherlands and there he saw the famous Young Bull by Paulus Potter. This and other Dutch works influenced his direction and from then on he became a powerful and successful painter of animals. This study of a farmer and his cows shows in a modest fashion Troyon's skill and talent.

Fine Art - Painting, European

23549

FEYIN-PERRIN (French, 1826-1888)
Paysanne au repos (Peasant at rest)
Graphite on paper
12-1/2 x 8 inches window (31.8 x 20.3 cm)
Signed lower left: Feyen Perrin

Feyen-Perrin studied at the Écôle des Beaux Arts in Paris and became a fine painter and etcher. During his career, his studies of women were highly esteemed.

Paintings

23550

EDWARD SEAGER (American 1809-1886)
Near Augusta, Maine, 1853
Pencil on paper
11 x 15-3/4 inches (27.9 x 40.0 cm) (window)
Signed and inscribed lower right: Near Augusta, ME / Seager 1853

Provenance:
Hirschl & Adler Galleries, New York, New York;
Harris Gallery, Houston, Texas

Works on Paper

23551

EDWARD SEAGER (American 1809-1886)
Sandwich Hills, New Hampshire
Pencil on paper
9 x 12 inches (22.9 x 30.5 cm)
Inscribed lower right: Sandwich Hills, NH / Squam Lake / Seager

Provenance:
Hirschl & Adler, New York, New York;
Harris Gallery, Houston, Texas

23552

EDWARD SEAGER (American 1809-1886)
Tygarts Valley River, 1854
Pencil on paper
11-1/2 x 17-1/4 inches (29.2 x 43.8 cm) (window)
Signed and inscribed lower right: Tygarts Valley / River / Seager / 1854

Provenance:
Hirschl & Adler, New York, New York;
Harris Gallery, Houston, Texas

23553

FELIX OCTAVIUS CARR DARLEY (American 1822-1888)
A Group of Three Drawings
Various dimensions

Provenance:
James Graham & Sons, New York, New York;

Men with Horses and a Plow
Graphite on paper
8-1/2 x 11 inches (21.59 x 27.94 cm)
Initialed lower left: D
Signed lower left: Darley

Design for a Bank Note
Graphite on paper
8-1/4 x 6-3/4 inches (21.0 x 17.15 cm)
Signed lower right: Darley
Inscribed lower left: Design for a Bank Note

Two Men
Graphite on paper
4-3/4 x 4-1/4 inches (12.07 x 10.80 cm)
Unsigned

23554

DAVID JOHNSON (American 1827-1908)
Selection of Four Drawings
Pencil on paper
Various Dimensions

Franconia Mountains from Lancaster, New Hampshire, 1867
11-7/8 x 18-1/4 inches (30.2 x 46.4 cm)
Inscribed lower right: Franconia Mountains / from Lancaster, N.H. / DJ Sept 2 / 67

Roger's Slide Lake George
12 x 18 inches (30.5 x 45.7 cm)

Untitled, River Bank, July, 1886
12 x 18 inches (30.5 x 45.7 cm)
Signed and dated lower right: DJ July 1886

Wolf Lake, August, 1859
12 x 18 inches (30.5 x 45.7 cm)
Inscribed lower left: Wolf Lake, August, 1859

23555

DAVID JOHNSON (American 1827-1908)
Group of Four Sketches
Pencil on paper
Various Dimensions

Mount Mansfield, Lake Champlain, 1871
10 x 16-3/4 inches (25.4 x 42.5 cm)
Inscribed lower right: Mount Mansfield/ Lake Champlain/ DJ 1871

Rocky Point, Lake Champlain and Tree Study
6 1/2 x 9 inches each window; 13 x 25 inches framed
Inscribed lower left: Rocky Point, Lake Champlain

Split Rock Island, Lake Champlain, 1871
12 x 18 1/2 inches window
Inscribed lower left: Split Rock Island/ DJ 1871/ Lake Champlain

23556

ROBERT FREDERICK BLUM (American 1857-1903)
The Critic, 1877
Watercolor on paper
8 x 5-1/2 inches (20.3 x 14.0 cm)
Signed lower right: Blum / 1877

23558

VLADIMIR EGOROVITCH MAKOVSKY (Russian 1846-1920)
Portrait of V.A. Beklemishev, 1899
Ink and pencil on paper
9-1/4 x 8 inches (23.5 x 20.3 cm)
Signed with initials lower right
Inscribed verso

Vladimir Alexandrovich Beklemishev was a prominent Russian sculptor and a Professor at the St. Petersburg Academy of Arts.

23559

ROBERT FREDERICK BLUM (American 1857-1903)
Chinese New Year
Watercolor on paper
16-1/2 x 14 inches (41.9 x 35.6 cm)
Signed lower right: R. Blum
Inscribed on verso: 'Chinese New Year' Street in San Francisco #124

Exhibition:
The Union Club, New York, New York, 1980

Blum worked in various media, including pastel, watercolor, ink, etching, and oil. After studying at the Pennsylvania Academy of the Fine Arts, he returned to Cincinnati where he became known for his illustrations and watercolor paintings.

23560

LUIGI LOIR (French 1845-1916)
Group of Three Gouaches, 1904
Gouache and watercolor
5 x 7 inches (12.7 x 17.8 cm) (each)
An afternoon game, Gentlemen - on your cues
Six o'clock, l'heure d'aperitif
An afternoon game, Ladies first

Provenance:
Acquired from the artist
Collection William St. Martin & Cie., Paris
Private collection, Paris
Loir Atelier sale, 1993, Cagny Auctioneers, Paris
Private collection, Paris

Unlike Loir's scenes of the boulevards of Paris, or his grand murals and ceiling paintings, these two small paintings show the lively personal activities of the inhabitants of Paris. These are illustrations of the good life that was available to the people. These scenes were commissioned from Loir for the company calendar of William St. Martin & Cie., Paris.

Fine Art - Painting, European

23561

Attributed to EDOUARD LÉON LOUIS EDY-LEGRAND (French 1892-1970)
Le Petit Bourgeois
Mixed media on paper
20 x 16 inches (50.8 x 40.6 cm)
Signed lower right

23562

FRANK MYERS BOGGS (American 1855-1926)
La Seine, Nôtre-Dame, Paris (L'île de la Cité)
Watercolor on paper
13 x 18 inches (33.0 x 45.7 cm)
Signed lower left: Frank Boggs Paris

Provenance:
Private collection, Paris, France

Boggs was born in Springfield, Ohio, but trained and worked in France as an American expatriate. This view of Notre Dame cathedral illustrates his love affair with the city of Paris. He delights in the views and the atmosphere of the city.

Works on Paper

23563

MAURICE LEVIS (French 1860-1940)
Les bords de la Seine
Watercolor on paper
11 x 7-1/2 inches (27.9 x 19.1 cm)
Signed lower left: Maurice Levis

Maurice Levis dedicated his artistic life to the depiction of the French countryside. This charming watercolor presents the riverbanks of the Seine as an intimate scene.

23564

JEAN LOUIS FORAIN (French 1852-1941)
Conversations animées dans les rues de Paris
Ink on paper
17 x 15 inches (43.2 x 38.1 cm)
Signed lower right: forain

Forain grew up in Paris and began his career working as a caricaturist for Paris journals. He enrolled at the Écôle des Beaux Arts, studying under Jean-Léon Gérôme and Jean-Baptiste Carpeaux. Profoundly influenced by the social realism of Honoré Daumier and the Impressionist style of Edgar Degas, Forain was well known for his scenes of social satire of his era.

23565

SIR GEORGE CLAUSEN (British 1852-1944)
View of a Village
Watercolor and pencil on paper
9 x 11 inches (22.9 x 27.9 cm)
Signed lower right: G Clausen

Provenance:
John A. Cooling, London (label verso);
Garner & Smith, Texas (label verso)

Fine Art - Painting, American

23566

GARI MELCHERS (American 1860-1932)
Study of a Lady in White
Pastel on canvas
28-3/4 x 21-1/4 inches (73.2 x 54.0 cm)
Signed upper left: Gari Melchers

Works on Paper

23567

MARY STEVENSON CASSATT (American 1844-1926)
Study for a Woman in Black at the Opera, circa 1880
Charcoal and pencil on paper
5-1/4 x 8-1/4 inches (13.3 x 21.0 cm)
Stamped lower right: Mathilde X Collection

Provenance:
Acquired from the artist by Mathilde Vallet, 1927
Sale, Mathilde X , Paris, 1931
Hirschl & Adler Galleries, New York

The present work is a study by Mary Cassatt for her large oil painting A Woman in Black at the Opera in the Museum of Fine Arts, Boston. This drawing, along with other pencil studies for the finished canvas, is listed in Adelyn Dohme Breeskin's catalogue raisonné on the artist. The drawing belonged to Mathilde Vallet, Mary Cassatt's longtime companion and housekeeper.

Fine Art - Painting, American

23569

ARTHUR BOWEN DAVIES (American 1862-1928)
The Castle
Watercolor on paper
12 x 9 inches (30.5 x 22.9 cm)
Signed lower right: A.B. Davies / per V.M.D

Provenance:
ACA Galleries, Los Angeles, California (label verso)

Exhibitions:
Tuscan Art Center, Tuscan, Arizona, 'Arthur B. Davies Exhibition', March 4 through March 28, 1967
University of Utah, Salt Lake City, Utah, May 21 through June 18, 1967
La Jolla Museum of Art, La Jolla, California, 1967
Pomona College Gallery, Claremont, California

Works on Paper

23570

JOHN HENRY TWACHTMAN (American 1853-1902)
Study of a Cow's Head
Pencil on laid paper
14-1/2 x 12 inches (36.8 x 30.5 cm)
Initialed lower right: JHT

Twachtman is most well-known for his tonal Impressionist landscapes. His painting technique differed from other American Impressionists, as he used a combination of rich, tactile strokes to dry, chalky surfaces. A similar style can been seen in this tender study of a cow's head where he oscillates between thick, soft strokes and tight, hard lines.

Paintings

23571

ALBERT SHELDON PENNOYER (American 1888-1957)
Shaded Path
Pastel on paper
13-1/4 x 20-3/4 inches (33.7 x 52.7 cm)
Signed lower left: A. Sheldon Pennoyer

Works on Paper

23572

CARL LINK (American 1887-1968)
Girl with Parasol
Gouache and watercolor on paper
11-3/8 x 8-3/4 inches (28.9 x 22.2 cm) (window)
Unsigned

23573

CARL LINK (American 1887-1968)
Miss Alice Weaver
Colored pencil, watercolor, and pencil on paper
13-1/2 x 9-1/2 inches (34.3 x 24.1 cm)
Signed lower right: Carl Link

Fine Art - Painting, American

23574

CARL LINK (American 1887-1968)
Study of Agriculture
Colored pencil and graphite on paper
10 x 9-1/2 inches (25.4 x 24.1 cm)
Signed lower right: Carl Link
Inscribed with artist's notes

23575

CARL LINK (American 1887-1968)
Untitled, Man Slouched on Bench
Graphite on paper
8-3/4 x 5-1/4 inches (22.2 x 13.3 cm)
Signed lower right: Carl Link

Provenance:
Private Collection, Montana

23576

GUY PÈNE DU BOIS (American 1884-1958)
Group of Three Drawings, circa 1919
Various dimensions

Exhibition:
James Graham & Sons, New York, 'Guy Pene du Bois (1884-1958): Drawings,' February 8 through March 4, 2000

Profile of Man with Hat
Pencil on paper
5-3/8 x 3-1/4 inches (13.7 x 8.3 cm)

Florence Pene du Bois Reading, 1919
Black ink on paper
13 x 8 inches (33.0 x 20.3 cm)
Inscribed: FLORENCE PENE DU BOIS/READING/1919/ Trip to California/half hour out of Moose Jaw, Sask.Canada...

Sketch of Young Man with Glasses
Pencil on paper
11-3/4 x 8-7/8 inches (29.8 x 22.5 cm)

23577

GUY PÈNE DU BOIS (American 1884-1958)
A Group of Three Drawings
Various Dimensions

Exhibition:
James Graham & Sons, New York, 'Guy Pene du Bois (1884-1958) Drawings,' February 8 through March 4, 2000.

Man Resting
Pencil on paper
12-1/4 x 9-3/8 inches (31.1 x 23.8 cm)

Sketch of a Woman
Black ink on paper
10-1/2 x 7 inches (26.7 x 17.8 cm)

Portrait of a Muttor / D.S. D
Black ink on paper
11-5/8 x 8-7/8 inches (29.5 x 22.5 cm)

23578

GUY PÈNE DU BOIS (American 1884-1958)
Group of Three Drawings
Various Dimensions

Exhibition:
James Graham & Sons, New York, 'Guy Pene du Bois (1884-1958) Drawings,' February 8 through March 4, 2000

Profile of a Man with Glasses
Pencil on paper
5-3/8 x 3-1/4 inches (13.7 x 8.3 cm)

Profile of Man with Beard
Charcoal on paper
5-3/8 x 4-3/8 inches (13.7 x 11.1 cm)

Profile of Man with Hat
Charcoal on paper
5-1/4 x 4-3/8 inches (13.3 x 11.1 cm)

Paintings

23579

GUY PÈNE DU BOIS (American 1884-1958)
A Group of Three Untitled Drawings
Various dimensions

Exhibition:
James Graham & Sons, New York, 'Guy Pene du Bois (1884-1958) Drawings,' February 8 through March 4, 2000

Profile of Woman with Earring
Pencil on paper
10-1/2 x 7 inches (26.7 x 17.8 cm)

Portrait of Man with Raised Brow
Blue ink on paper
10-1/2 x 7 inches (26.7 x 17.8 cm)

The Bookman
Blue ink on paper
6-1/2 x 5-1/4 inches (16.5 x 13.3 cm)
Inscribed: The Bookman / 4 Magazine

Works on Paper

23580

GUSTAVO MONTOYA (Mexican 1905-2005)
Mexican Woman with Sack
Watercolor on paper
13 x 9-1/2 inches window (33.0 x 24.1 cm)
Signed lower left: Gustavo Montoya

23581

FRANCIS LUIS MORA (American 1874-1940)
Spanish Market
Watercolor on paper
20 x 27-1/2 inches (50.8 x 69.9 cm) framed
Signed lower right: Luis Mora

Fine Art - Painting, American

23582

CARL SPRINCHORN (American 1887-1971)
Foothills at La Canada, California, 1919
Pastel on paper
16-3/4 x 23-1/2 inches (42.5 x 59.7 cm)
Signed lower right: Carl Sprinchorn
On verso: old gallery label with artist's name, title, and date of work

Provenance:
Private Collection, Maine;
Linda Hyman Fine Arts, New York, New York

Works on Paper

23583

JOSEPH STELLA (American 1877-1946)
Prickly Pear Cactus Fruit, 1919
Silverpoint and crayon on paper
10-1/2 x 13-1/4 inches (26.7 x 33.7 cm)
Signed and dated lower right: Joseph Stella 1919

Provenance:
Rabin & Krueger Gallery, Newark, NJ
Private collection, Oregon

Born in Muro Lucano, Italy, Joseph Stella emigrated to New York in 1896. His first major retrospective was mounted in 1963 at the Whitney Museum of American Art in New York. This was the first exhibition to hang his futurist paintings alongside his works inspired by nature. Arguably, his most well-known paintings are Brooklyn Bridge, Yale University Art Museum, and the Tree of My Life, private collection, both of which were painted in 1919-1920. They exemplify the dynamic duality of technology and nature that separated Stella's works from those of the other American Modernists. Both of these iconic paintings by Stella were created during the same year as this sensitive metalpoint drawing. In fact many of the artist's tropical metalpoint drawings, like the present work, appear in the elaborate Tree of Life composition.

The present drawing is typical of Stella's virtuosity with a medium that was used widely during the Italian Renaissance. It is relentlessly sharp-edged, such that even the curvilinear shape of the petal, for example, does not undulate. Despite its hard-edged quality, silverpoint is capable of creating the gentlest tonal gradations, which in the hands of an expert draftsman like Stella yields imagery with marvelous sculptural properties.

23584

STEPHAN FEODOROVICH KOLESNIKOV (Russian 1879-1955)
Potato Fields in Winter, 1919
Pen and ink on paper
10-3/4 x 14-1/8 inches (27.3 x 35.9 cm)
Signed and dated lower right
Drawing of a table in brown ink on verso

Fine Art - Painting, American

23585

GASTON LACHAISE (French-American 1882-1935)
Large Seated Nude
Pencil on paper
18 x 12 inches (45.7 x 30.5 cm)
Signed at lower left: G. Lachaise

Provenance:
The Pace Gallery, New York
Washington Irving Gallery, New York

Works on Paper

23586

CHARLES EPHRAIM BURCHFIELD (American 1893-1967)
Bolgers, pencil study of a flowering branch, 1910
Pencil on paper
13 x 10-1/2 inches (33.0 x 26.7 cm) sight
Signed and dated lower right
Inscribed: 1910, matted and framed

Exhibition:
Utica, NY, Munson-Williams-Proctor Institute, 'The Nature of Charles Burchfield, A Memorial Exhibition,' 1970

23587

CHARLES EPHRAIM BURCHFIELD (American 1893-1967)
Late Afternoon, 1916
Watercolor and pencil on paper
14 x 20 inches (35.6 x 50.8 cm)
Signed lower right: C E BURCHFIELD
Inscribed verso: Late Afternoon August 23, 1916

Exhibitions:
Butler Museum of American Art, Youngstown, Ohio, 1976
Meyer Art Center, SUNY, Plattsburg, New York, 1976
Weatherspoon Art Gallery, University of North Carolina at Greensboro, 'Art on Paper,' 1977

The artist has made color notations in pencil within the image.

23588

ROCKWELL KENT (American 1882-1971)
Boy on a Cliff, circa 1945
Pencil on paper
6 x 5-1/4 inches (15.2 x 13.2 cm)
Stamped lower left

Exhibition:
Arkansas Arts Center, Little Rock, Arkansas, 1977

23589

THOMAS HART BENTON (American 1889-1975)
Express Train, Going West, circa 1930-34
Ink, pencil, and conte on paper
5 x 11 inches (12.7 x 27.9 cm)
Initialed lower right: B

Exhibition:
Weatherspoon Art Gallery, University of North Carolina at Greensboro, "Art on Paper," 1977

Trains captivated Benton and were the focus of numerous paintings and lithographs. This drawing relates to a lithograph entitled Going West (c. 1934) issued by the Ferragil Galleries, New York, and a painting, Engineer's Dream, that is in the collection of the Memphis Brooks Museum of Art.

Paintings

23590

OSCAR FLORIANUS BLUEMNER (American 1867-1938)
Pair of Studies, 1916
Various dimensions

Provenance:
George Krevsk Gallery, San Francisco (label verso)
James Graham & Sons, New York (label verso)

Exhibition:
James Graham & Sons, New York, 'Oscar Bluemner: Preparatory Drawings in Watercolor, Colored Pencil and Graphite,' October 24 through December 2, 2002

[top] Bloomfield, New Jersey
Charcoal on paper
4-3/8 x 5-7/8 inches (11.1 x 14.9 cm)
Inscribed and dated: Bloomfield S 26-16 6 P S
Inscribed verso: Canal duct over Third River / S. of Plane S / artist's notes in German and English

[bottom] Harlem River, Mott Haven
Charcoal, pencil, and crayon on paper
4-3/4 x 7-3/4 inches (11.9 x 19.5 cm)
Signed at lower left with artist's monogram: OFB
Inscribed at lower left: Feb / 11-16 / Harlem River Mott Haven
Artist's notes on front and verso

Works on Paper

23591

OSCAR FLORIANUS BLUEMNER (American 1867-1938)
Old Mill, Sheepshead, 1904
Watercolor and pencil on paper
6 x 9-3/8 inches (15.2 x 23.8 cm)
Inscribed lower left: Old / Mill - Sheepshead bay Aug 12 04

Exhibited:
James Graham & Sons, New York, 'Modern Views: American Landscape Painting from 1918-1940,' April 18 through May 31, 2002;
James Graham & Sons, New York, 'Oscar Bluemner: Preparatory Drawings in Watercolor, Colored Pencil and Graphite,' April 18 through May 31, 2002

23592

EVERETT SHINN (American 1876-1953)
Untitled, Silk Stockings
Conte crayon on paper
16-1/4 x 14 inches (41.3 x 35.7 cm)
Signed lower right: E. SHINN

Exhibition:
James Graham & Sons, New York, 'Everett Shinn (1876-1953): Intimates,' January 10 through February 8, 2003

23593

EVERETT SHINN (American 1876-1953)
Untitled, Reclining Woman, 1909
Pastel on green paper
10 x 13 inches (25.4 x 33.0 cm)
Signed on verso: E. SHINN

Exhibition:
James Graham & Sons, New York, 'Everett Shinn (1876-1953): Intimates,' January 10 through February 8, 2003

23594

EVERETT SHINN (American 1876-1953)
My Own Hand, 1935
Watercolor and pencil on paper
6-1/2 x 5 inches (16.5 x 12.7 cm)
Signed, dated, and inscribed lower left: My Own Hand / Everett Shinn 1935

23595

EMILE ALBERT GRUPPE (American 1896-1978)
Boats in the Harbour
Watercolor on paper
6 x 9 inches (15.2 x 22.9 cm)
Signed lower right: Emile A. Gruppe

23596

HALE ASPACIO WOODRUFF (African-American 1900-1980)
Les Bords de l'Eure, Chartres
Watercolor and pencil on paper
14-1/2 x 17 inches (36.8 x 43.2 cm)
Signed lower right: Hale Woodruff
Inscribed in pencil with title verso

23597

JANE PETERSON (American 1876-1965)
Bouquet of Roses
Watercolor and ink on paper
16-1/2 x 12 inches (41.9 x 30.5 cm)
Signed lower left: JANE PETERSON

Fine Art - Painting, American

23598

KARL HERMAN BAUMANN (American 1911-1984)
Untitled, Landscape
Watercolor
6-7/8 x 11 inches (17.4 x 27.9 cm) sight
Signed lower right: K. Baumann

Works on Paper

23599

ARMANDO MENOCAL (Cuban 1863-1942)
Standing Male Nude
Pencil on Paper
17-1/2 x 11-1/2 inches (44.5 x 29.2 cm)
Signed lower left: Menocal

Fine Art - Painting, European

23600

S. KAPLAN
Female Portrait
Charcoal on paper
29-1/2 x 21 inches (74.9 x 53.3 cm) sight
Signed lower left: S. KAPLAN

Works on Paper

23601

LEON KELLY (American 1901-1982)
Standing Nude Figure, 1924
Pastel, charcoal, and chalk on paper
20 x 13 inches (50.8 x 33.0 cm)
Signed lower right: Leon Kelly
Signed, dated, and titled on reverse

Provenance:
Estate of the artist;
By descendant to Sid Deutsch Gallery, New York;
Françoise and Harvey Rambach Collection, New Jersey;
Christie's East, October 4th, 2000, lot 191;
Linda Hyman Fine Arts, New York, New York

23602

JOHN MARIN (American 1870-1953)
John and Billie in the Boat, 1949
Watercolor on paper
6 x 9 inches (15.2 x 22.9 cm)
Signed and dated lower left: Marin 49

Provenance:
Estate of the artist
Richard York Gallery, New York, New York

23603

BEN SHAHN (American 1898-1969)
Composition with Masks, 1928
Watercolor on paper
20 x 14 inches (50.8 x 35.6 cm)
Signed lower center: Ben Shahn

Provenance:
Knoedler & Company, New York (label verso)

Fine Art - Painting, American

23604

MARSDEN HARTLEY (American 1877-1943)
Vase of Roses, circa 1930
Silverpoint on paper
15 x 10-1/2 inches (38.1 x 26.7 cm)

Provenance:
Sid Deutsch Gallery, New York, New York (label verso)
Peyton Wright Gallery, Sante Fe, New Mexico (label verso)

Works on Paper

23605

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1943
Encaustic and sand on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower left: BISTTRAM 43

Paintings

23606

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1944
Encaustic and sand on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower right: BISTTRAM 44

Works on Paper

23607

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1940
Encaustic on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower right: BISTTRAM 40

23608

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1940
Encaustic on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower right: BISTTRAM 40

23609

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1939
Encaustic on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower right: BISTTRAM 39

23610

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1944
Encaustic on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower left: BISTTRAM 44

23611

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1940
Encaustic on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower left: BISTTRAM 40

23612

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1947
Encaustic on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed and dated lower right: BISTTRAM 47

23613

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1941
Encaustic on paper
10 x 8-5/8 inches (25.4 x 21.8 cm)
Signed and dated lower left: BISTTRAM 41

23614

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1940
Encaustic on paper
9 x 8 inches (22.9 x 20.3 cm)
Signed and dated lower right: BISTTRAM 40

23615

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1933
Encaustic on paper
10 x 8 inches (25.4 x 20.3 cm)
Signed and dated lower right: BISTTRAM 33

23616

EMIL JAMES BISTTRAM (American 1895-1976)
Untitled, 1940
Encaustic on paper
10 x 8 inches (25.4 x 20.3 cm)
Signed lower right: BISTTRAM 40

23617

LÉON BAKST (Russian 1866-1924)
Medieval Prince
Watercolor and gouache on paper
10 x 7 inches (25.4 x 17.8 cm) (sheet)
Signed lower right: BAKST

23619

ALEXANDRE NIKOLAEVICH BENOIS (Russian-French 1870-1960)
Soldier
Watercolor and pencil on paper
12 x 9 inches (30.5 x 22.9 cm)

Provenance:
Arie Togliani

23620

ALEXANDRE NIKOLAEVICH BENOIS (Russian-French 1870-1960)
The Lawyer
Watercolor and gouache on paper
12-1/2 x 9 inches (31.8 x 22.9 cm)
Signed upper right

Provenance:
Arie Togliani

23621

ALEXANDRE NIKOLAEVICH BENOIS (Russian-French 1870-1960)
Polonaise Militaire
Watercolor and gouache over pencil on paper
12 x 9 inches (30.5 x 22.9 cm)

Provenance:
Arie Togliani

Alexandre Benois was a member of the intellectually and artistically prominent Benois family of St. Petersburg, Russia. Both his father and brother were important imperial architects. While earning a law degree, Benois developed a circle of friends that included Sergei Diaghilev (1872-1929) and Leon Bakst (1866-1924), and together they founded the Ballets Russes in 1909. While Benois produced costume and set designs for the Ballets Russes, he also worked with the Moscow Art Theatre and others.

The polonaise is a Polish dance which began as a folk dance and then became popular among the nobility. It is in 3/4 time and has a rather stately character, which Benois is making fun of in the present work, and which doubtless refers to the most famous of all the polonaises written for the piano in the nineteenth century, the Polonaise Militaire by Chopin.

23622

SERGEY YUR'EVICH SUDYEKIN (Russian 1882-1946)
Jester
Gouache and watercolor over pencil on paper
18-1/2 x 12 inches (47.0 x 30.5 cm)
Signed lower right

23623

SERGEY YUR'EVICH SUDYEKIN (Russian 1882-1946)
Jester
Gouache and watercolor over pencil on paper
18-1/2 x 12 inches (47.0 x 30.5 cm)
Signed lower right

23624

ANDRE ALEXEYEVICH JAWLENSKY (Russian 1902-1984)
Cottage with Rock Fence, 1927
Pastel on paper
26 x 30 inches (66.0 x 76.2 cm)
Signed and initialed lower left
Dated lower right

23625

ANDRE ALEXEYEVICH JAWLENSKY (Russian 1902-1984)
Houses Along the Coast, 1927
Pastel on paper
26 x 30 inches (66.0 x 76.2 cm)
Signed lower left
Dated lower right

Fine Art - Painting, American

23626

JOSEPH STELLA (American 1877-1946)
Madonna
Watercolor and brown ink on paper
15-1/2 x 9-1/2 inches (39.4 x 24.1 cm)
Estate stamp lower left

Provenance:
Kline Fine Art, Santa Fe, New Mexico

Works on Paper

23627

JOSEPH STELLA (American 1877-1946)
Third Avenue El
Pastel and graphite on cardboard
13-1/2 x 16-1/2 inches (34.3 x 41.9 cm)

Provenance:
Estate of the artist;
ACA Galleries, New York, New York;
James Graham and Sons, New York, New York;
Marlborough Gallery, New York, New York;
Menconi & Schoelkopf, New York, New York

Fine Art - Painting, American

23628

MILTON AVERY (American 1893-1965)
Portrait of Sally, circa 1939
Gouache on black paper
16-1/2 x 10-1/2 inches (41.9 x 26.7 cm)
Signed lower left: Milton Avery

Provenance:
Collection of Mr. & Mrs. Hudson D. Walker
Michael Rosenfeld Gallery, New York, New York
Private collection, Dallas, Texas

Exhibition:
University Gallery, Northrop Memorial Auditorium, University of Minnesota, no. 755, lent by Mr. & Mrs. Hudson D. Walker

This portrait in gouache by Milton Avery of 1939 depicts the artist's wife, Sally Michel, who was a painter in her own right. The two met during a summer trip to Gloucester, Massachusetts, where they were inseparable. Avery followed Michel back to New York City, and the couple married in 1926.

Throughout his life, Avery painted Sally and their daughter, March, in many guises and attitudes. These two women in his life remained a primary subject of his art whether he was working in a more representational mode, such as the present work, or one that came quite close in technique to the Abstract Expressionist work of his friends Mark Rothko, Adolf Gottlieb, and Barnett Newman. Despite his painterliness and his minimalism, Avery, unlike the Abstract Expressionists, never relinquished his subject matter, which was primarily his family and his domestic landscapes and interiors. Avery's sitting room where Sally nursed baby March, the sweep of his grassy backyard down to the sea, Sally sitting beside a still life--these were the types of themes he explored in endless variation, with flat Matisse-like shapes, and unusual juxtapositions of slightly dissonant tinted hues.

In this particular work, Avery is still heavily grounded in representational art. Among other things, in 1939 the artist was still rendering Sally's facial features when he painted her. Over time, her face and those of his other figurative subjects were usually rendered as flat planes without any surface detail. He began forcing the likeness to succeed through outline alone. In the present painting, Avery allows the black paper to show through between the planes of color to form the linear details of Sally's face. Allowing the ground tone to differentiate planes of color evolved into a hallmark of Avery's mature painting.

Works on Paper

23629

PAUL CADMUS (American 1904-1999)
Bark, Leaves, and Feather, circa 1954
Casein, pencil, and crayon on green paper
15 x 18 inches (38.1 x 45.7 cm)
Signed lower right: cadmus

Fine Art - Painting, American

23630

JULIAN SCHNABEL (American b.1951)
Friday 19th of Sept with one of Loneliest Boys in the World
Acrylic and charcoal on paper
19-1/2 x 29-1/4 inches (49.5 x 74.3 cm)
Signed lower right: Julian Schnabel

Inscribed: Friday (afternoon) 19th of Sept with one of the Loneliest Boys in the world

Works on Paper

23631

FRANCIS PICABIA (French 1879-1953)
The Couple and Centaur
Charcoal, watercolor and pencil on paper
12-1/4 x 9-1/2 inches (31.2 x 24.1 cm)
Signed lower right: Francis Picabia

23632

FRANCISCO CORZAS (Mexican 1936-1983)
El Toro y sus Amigos, 1964
Pen, ink, and wash on paper
15-1/2 x 18 inches (39.4 x 45.7 cm)
Signed and dated upper left: Francisco Corzas 64

Provenance:
Galeria de Arte Mendelsohn, Mexico (label verso)

23634

ALFREDO ZALCE (Mexican 1908-2003)
Still Life with Lantern, 1971
Watercolor and pencil on paper
24 x 21-1/2 inches (61.0 x 54.6 cm)
Signed and dated lower left: Alfredo / Zalce / 1971

Provenance:
Gallery G, Wichita, Kansas
Private Collection, Kansas

23635

STANLEY WILLIAM HAYTER (British 1901-1988)
Bird Kissing the Collapse of the Edifice
Ink on paper
13-1/4 x 17-1/2 inches (33.7 x 44.5 cm) (sight)
Signed lower right
Inscribed: Oct 30

Paintings

23636

ROLPH SCARLETT (Canadian 1889-1984)
Composition on the River, 1947
Mixed media on paper
12 x 9 inches (30.5 x 22.9 cm)
Signed lower left: SCARLETT

Works on Paper

23637

JAMES MILFORD ZORNES (American b.1908)
May Time in Wyoming, 1970
Watercolor on paper
21-1/4 x 27-1/4 inches (54.0 x 69.2 cm)
Signed and dated lower left: Zornes 70
Titled lower right: May Time in Wyoming
Inscribed on verso: Wyoming Winter / Milford Zornes N.A.

Fine Art - Painting, American

23638

JAMES MILFORD ZORNES (American b.1908)
Untitled, Cabins at the Lake, 1968
Watercolor on paper
20-3/4 x 28-1/2 inches (52.7 x 72.4 cm) sight
Signed and dated lower right: Zornes 68

Works on Paper

23639

JAMES MILFORD ZORNES (American b.1908)
Mouse Island, Corfu, 1979
Watercolor on paper
21-5/8 x 29-5/8 inches (54.9 x 75.2 cm)
Signed and dated lower right: Zornes 79 Inscribed on verso: Mouse Island, Corfu / Milford Zornes, A.N.A. / Mt. Carmel Studio / Box Twenty Four / Mt. Carmel, Utah / 84755

23640

JAMES MILFORD ZORNES (American b.1908)
Untitled, Cabins, 1952
Watercolor on paper
28-1/2 x 20-1/2 inches (72.4 x 52.1 cm) sight
Signed and dated lower right: Zornes 52

23641

JAMES MILFORD ZORNES (American b.1908)
Trees at Hesperia, 1956
Watercolor on paper
9-1/4 x 22 inches (23.5 x 55.9 cm) sight
Signed and dated lower right: Zornes 56
Inscribed on verso: "Trees at Hesperia" / Milford Zornes N.A.

23643

JAMES R. BLAKE (American b.1932)
A Fence Line, 1963
Watercolor on paper
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower right: James R Blake 63

Fine Art - Painting, American

23644

JAMES R. BLAKE (American b.1932)
Snowcapped Mountain View
Watercolor on paper
18 x 23 inches (45.7 x 58.4 cm)
Signed lower right: James R Blake

Prints

23645

ALBRECHT DÜRER (German 1471-1528)
The Beast with Two Horns Like a Lamb from The Apocalypse, circa 1496-97
Woodcut
15-1/2 x 11 inches (39.4 x 27.9 cm)
From the Latin edition of 1511
Monogram lower center

Provenance:
P. and D. Colnaghi and Co., Ltd, London
Acquired in 1981 by Jeffrey Weiss, Dallas, Texas

Literature:
Adam von Bartsch, Le Peintre-Graveur, vol 7, pt. 1, Vienna, 1803-21, no. 74
F. W. H. Hollstein, German Engravings, Etchings and Woodcuts, vol. 7 (Albrecht and Hans Dürer), ed. by K. G. Boon and R. W. Achiller, Amsterdam, 1954, no. 175
Walter L. Strauss, The Woodcuts and Wood Blocks of Albrecht Dürer, Abaris Books, New York, 1980, no. 46

Dürer's image gives pictorial form to Revelation 13: (1) Then I saw a beast come up from the sea with ten horns and seven heads, and upon his horns ten crowns, and upon his heads the names of blasphemy. (2) The beast I saw was like a leopard, and his feet those of a bear, and his mouth like the mouth of a lion: and the dragon gave him his power, and his throne, and great authority. (3) And one of his heads was as if stricken to heath, and the death blow had been healed; and all the world followed the beast in amazement. (11) And then I saw another beast coming out of the ground, and he had two horns like a lamb and spoke like a dragon. (13) And he prompted great portents, even that fire pour down from the sky to the earth for all men to see. Revelation 14: (14) And I looked, and beheld a white cloud, and sitting upon the cloud one who was like the Son of Man, wearing upon his head a crown of gold, and in his hands a sharp sickle. (17) And another angel came out of the temple which is in heaven, he is also having a sharp sickle.

23647

After JEAN-ANTOINE WATTEAU (French 1684-1721)
Portrait of a Lady
Etching on paper
13-1/2 x 9 inches (34.3 x 22.9 cm)

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23648

After JOHN JAMES AUDUBON (American 1785-1851)
White-Headed Eagle (Plate XXXI), 1828
Handcolored engraving with etching and aquatint
25 x 38 inches (63.5 x 96.5 cm)
Printed and colored by Havell & Sons, London
J Whatman Turkey Mill watermark

23649

After JOHN JAMES AUDUBON (American 1785-1851)
Red Tailed Hawk, 1829
Handcolored engraving with etching and aquatint
38 x 25 inches (96.5 x 63.5 cm)
Printed and colored by Havell & Sons London
J Whatman Turkey Mill watermark

23651

After JOHN JAMES AUDUBON (American 1785-1851)
American Badger, 1844
Hand colored lithograph on wove paper
22 x 28 inches (55.9 x 71.1 cm)
Printed and colored by J.T. Bowen, Philadelphia

23653

RODOLPHE BRESDIN (French 1822-1885)
La maison enchantée, 1871
Etching on yellowish chine appliqué
6-7/8 x 9-5/8 inches (17.4 x 24.4 cm)
Catalogue raisonné: Van Gelder, 135

Provenance:
R.E. Lewis, San Francisco, California
C.J. & M. Larson Collection, Fort Worth, Texas

23654

RODOLPHE BRESDIN (French 1822-1885)
La Sainte Famille aux cerfs, circa 1868
Lithograph on yellowish chine appliqué
10-3/8 x 7-7/8 inches (26.3 x 20.0 cm)
Ed. I/II
Stamped lower right
Catalogue raisonné: Van Gelder, 137

Provenance:
Colnaghi, London, England, in 1979
C.J. & M. Larson Collection, Fort Worth, Texas

23655

JAMES ENSOR (Belgian 1860-1949)
La reine Parysatis, 1900
Etching
6-3/4 x 4-3/4 inches (17.1 x 12.1 cm)
Signed and dated lower right: James Ensor 1900

Provenance:
C.J. & M. Larson Collection, Fort Worth, Texas

23656

JAMES ABBOTT MCNEILL WHISTLER (American 1834-1903)
Billingsgate, 1859
Etching
5-7/8 x 8-3/4 inches (14.9 x 22.2 cm)
Catalogue raisonne: Kennedy, 47

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23657

JAMES ABBOTT MCNEILL WHISTLER (American 1834-1903)
Gants de suede, 1890
Lithograph
10 x 6-1/2 inches (25.4 x 16.5 cm) sight
Stamped lower left: The Studio London

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23658

JAMES ABBOTT MCNEILL WHISTLER (American 1834-1903)
Bridge, Amsterdam, 1889
Etching
6-1/2 x 9-1/2 inches (16.5 x 24.1 cm)
Signed in pencil on tab at lower left with butterfly monogram and imp, and inscribed on verso at the right in the artist's hand 1st proof pulled together with butterfly monogram; a pencil inscription of a33940 appears at left (verso)
Printed in dark brown ink on laid paper

Provenance:
P. and D. Colnaghi and Co., Ltd., London
Acquired in 1981 by Jeffrey Weiss, Dallas, Texas

Literature:
Edward G. Kennedy, The Etched Work of Whistler, The Grolier Club, New York, 1910, no. 409, undescribed state before first of three
Howard Mansfield, A Descriptive Catalogue of the Etchings and Dry-points of James Abbott McNeill Whistler, The Caxton Club, Chicago, 1909, no. 409
London, Liverpool and Glasgow, Whistler. The Graphic Work: Amsterdam, Liverpool, London, Venice, 1976, cat. no. 116

This very good impression of one of the most prized etchings from Whistler's Amsterdam set of 1889 is of major historical importance as the very first proof the artist pulled from this plate. In Whistler's hand on the reverse of the sheet is the pencil notation "1st proof pulled" together with his butterfly. To date, this proof impression has never been published or recorded.

This impression is printed without much plate tone, and has less work in the water in the central part of the composition than in the first state described by Kennedy, physical evidence that reinforces the inscription on the reverse. It is thus an undescribed state (or proof) before the first of three. Consistent with the first state are: an incomplete bridge-railing in the center and at the right; scarcely any shading in walls and roofs at the left; the telegraph frame is only faintly indicated; there are very few lines below the reflections of the bridge.

This is one of twelve etchings Whistler produced during his two-month stay in Holland during the autumn of 1889 with his wife Beatrice. All twelve are drawn from a relatively low vantage point, which suggests they were produced from boats Whistler and his wife had rented as a floating studio. No drawings for any of the twelve etchings survive, and the etchings were executed with the marvelous immediacy of a first impression. Since they show the motifs in reverse, scholars strongly suspect that Whistler drew them alla prima, directly on pre-prepared copper plates.

Within two weeks of his arrival in Amsterdam, where he and Beatrice lodged at Brack's Doelen Hotel, Whistler had hatched a plan for producing an "Amsterdam set," pitched the idea to the Fine Art Society for publishing the suite of etchings, and set to work. The cityscape Whistler depicted in the present etching has since disappeared. As J. F. Heibroeck and Margaret F. MacDonald have noted (Whistler and Holland, Uitgeverij Waanders, Zwolle and Rijksmuseum Amsterdam, 1997, p. 62): The buildings along the Boltensgrachtje "were demolished around 1930. The canal on which they were situated ran roughly parallel to the tunnel under the IJ [river]."

A note on the evolution of Whistler's butterfly monogram and his practice of trimming his etchings: While Whistler was in Venice in 1880, his butterfly had metamorphosed into a curving insect with tail and antennae. During his Dutch sojourn in 1889, however, the butterfly lost its veins and became simpler. When printing his Venetian etchings, Whistler began the practice of trimming the paper right to the platemark, leaving only a tiny tab at the bottom where the butterfly and the Latin "imp" [showing he had printed it] were located. By 1889-90, he was leaving only the tiniest of tabs, usually towards the left corner, as seen in the present example.

23659

PIERRE-AUGUSTE RENOIR (French 1841-1919)
Une mère et deux enfants, 1912
Lithograph on Ingres D'Arches paper
13-1/2 x 17-1/8 inches (34.3 x 43.5 cm)
Ed. c. 50
Catalogue raisonné: Delteil, 54

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23660

PIERRE AUGUSTE RENOIR (French 1841-1919)
Le petit graçon au porte-plume (Claude Renoir Écrivant), 1905 -
Lithograph
11-3/4 x 15-3/4 inches (29.8 x 40.0 cm)
Catalogue raisonne: Stella, 55

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23661

MARY STEVENSON CASSATT (American 1844-1926)
Margot wearing a bonnet, 1902
Color drypoint
9 x 6-1/8 inches (22.9 x 15.5 cm)

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23662

MARY STEVENSON CASSATT (American 1844-1926)
Antoine holding her child, 1908
Drypoint
8-1/8 x 5-7/8 inches (20.6 x 14.9 cm)

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23664

EDGAR DEGAS (French 1834-1917)
Mary Cassatt at the Louvre, 1879-1880
Etching, soft ground etching, aquatint, and drypoint
12 x 5 inches (30.5 x 12.7 cm)
Catalogue raisonné: Delteil, 29

Provenance:
Mr. and Mrs. Edgar E. Townes, Houston, Texas

23665

LOUIS ICART (French 1888-1950)
Les Frileux (The Chilly Ones), 1929
Engraving on paper
17-1/4 x 12-1/4 inches (43.7 x 31.1 cm)
Signed lower right
Embossed with Icart Windmill
Inscribed top center: Copyright 1929 by L. Icart, Paris

Provenance:
Private Collection, Dallas, Texas

23666

LOUIS ICART (French 1888-1950)
L'Averse, Rain, 1925
Engraving on paper
18-1/2 x 13-3/4 inches (47.0 x 34.9 cm)
Signed lower right: Louis icart
Embossed with Icart Windmill
Inscribed in the plate top center: Copyright 1925 by Les Graveurs Modernes 19em rue (illegible), Paris

Provenance:
Private Collection, Dallas, Texas

23667

GRANT WOOD (American 1892-1942)
Vegetables
Hand-colored lithograph
8-3/4 x 12 inches window (22.2 x 30.5 cm)
AAA published edition of 250
Signed in pencil lower right: Grant Wood

23668

THOMAS HART BENTON (American 1889-1975)
White Calf, 1945
Lithograph, edition of 250
Associated American Artists published
10 x 12-3/4 inches (25.4 x 32.4 cm)
Signed in plate lower left: Benton
Signed in pencil lower right: Benton

23669

THOMAS HART BENTON (American 1889-1975)
Island Hay, circa 1945
Lithograph
Associated American Artists published
10-1/2 x 13-1/4 inches (26.7 x 33.7 cm)
Signed in plate lower left: Benton
Signed in pencil lower right: Benton

23670

THOMAS HART BENTON (American 1889-1975)
Loading Corn, 1945
Lithograph
Associated American Artists published
9-1/2 x 12-3/4 inches (24.1 x 32.4 cm)
Signed in pencil lower right: Benton

23671

THOMAS HART BENTON (American 1889-1975)
Portrait of Sharon Joad (from the Grapes of Wrath)
Lithograph
12 x 9 inches (30.5 x 22.9 cm)
Signed in the plate lower right: Benton
Catalogue raisonné: Fath, 37

Provenance:
Acquired directly from 20th Century Fox Studios in 1940 by Charles D. Crawford
Thence by descent to his son, Charles J. Crawford

23672

THOMAS HART BENTON (American 1889-1975)
Portrait of Casy (from the Grapes of Wrath)
Lithograph
12 x 9 inches (30.5 x 22.9 cm) (sight)
Signed in the plate lower left: Benton
Catalogue raisonné: Fath, 39

Provenance:
Acquired directly from 20th Century Fox Studios in 1940 by Charles D. Crawford
Thence by descent to his son, Charles J. Crawford

23673

FERNAND LÉGER (French 1881-1955)
La Lecture, 1924
Color lithograph
Published by Galerie Louis Carre by Mourlet
21-1/2 x 27-1/2 inches (54.6 x 69.9 cm)
Edition: 114/350
Signed in plate: F. LEGER
Signed pencil lower right: Leger

23674

FRITZ SCHOLDER (American b. 1937)
Indian Warrior
Lithograph on paper
11-1/4 x 8-3/4 inches (28.6 x 22.2 cm)
Edition: 33/50
Signed in pencil lower left: Scholder
Papermark: PS

23675

GENE (ALICE GENEVA) KLOSS (American 1903-1996)
Tranquility of Winter, circa 1960
Etching
7-3/8 x 14-7/8 inches (18.7 x 37.8 cm)
Signed lower right: Gene Kloss / Imp
Titled lower left: II Tranquility of Winter

23676

PABLO PICASSO (Spanish 1881-1973)
Le Gros Pigeon, 1947
Lithograph on Arches paper
19-3/4 x 25-3/4 inches (50.2 x 65.4 cm)
Ed. 21/50
Signed lower left indistinctly and numbered on verso
Catalogue raisonné: Bloch, 419

23677

PABLO PICASSO (Spanish 1881-1973)
60 Years of Graphic Works, 1966
Color lithograph
29-1/2 x 22 inches (74.9 x 55.9 cm) overall
Ed. 62/100
Signed in pencil lower right: Picasso
Numbered lower left: 62/100
Catalogue raisonné: Bloch, 1302

23678

JOSEF ALBERS (German 1888-1976)
White Line Squares (Series I), pls. IX, XII-XVI (6 works), 1966
Color lithograph on Arches paper
15-3/4 x 15-3/4 inches (40.0 x 40.0 cm) (each)
All titled and numbered lower left
Signed and dated lower right
Published by Gemini G.E.L. and stamped lower right

Provenance:
Mrs. S. Allen Guiberson, Dallas, Texas;
Private Collection, Dallas, Texas

Exhibition:
Dallas Museum of Fine Arts, Dallas, Graphics from Area Collections, December 12, 1971-January 16, 1972

23679

CLAES OLDENBURG (American b. 1929)
Strawberry Skull Bike Seat, 1975
Sugar-lift and spitbite aquatint in four colors on white, medium smooth paper colléd and embossed on purple-white, thick and slightly textured Farnsworth handmade paper watermarked with the artist's signature
8 x 8 inches (20.3 x 20.3 cm) (plate)
24 1/8 x 18 3/8 inches (61.3 x 46.7 cm) (sheet)
Signed lower right in pencil: Oldenburg
Numbered lower left in pencil: 32/35
Blind stamped lower right: Crown Point Press John Slivon [Oakland, CA]
Rubber stamped on verso, lower right © Claes Oldenburg 1975
Inscribed in the plate: homage / strawberry / skull [pic.] / bike seat
Published by Multiples, New York, and Castelli Graphics, New York

Provenance:
Leo Castelli, New York, New York;
Acquired by Jeffrey Weiss, Dallas, Texas

Literature:
Richard Axsom and David Platzker, Printed Stuff. Prints, Posters, and Ephemera by Claes Oldenburg. A Catalogue Raisonné, Hudson Hills Press in association with Madison Art Center, Wisconsin, 1997, no. 128

23680

CLAES OLDENBURG (American b. 1929)
Colossal Screw in Landscape - type II, 1976
Lithograph on white, slightly textured Arches Roll paper
67-1/2 x 40-1/2 inches (171.5 x 102.9 cm)
Ed. 15/35
Numbered in pencil lower left and signed in pencil lower right: Oldenburg
Blind stamp lower right: © 1976 CLAES OLDENBURG [Gemini logo]
Printed by Charly Ritt assisted by Anthony Zepeda at Gemini G.E.L., Los Angeles

Provenance:
Leo Castelli, New York, New York;
Acquired in 1980 by Jeffrey Weiss, Dallas, Texas

Literature:
Richard Axsom and David Platzker, Printed Stuff. Prints, Posters, and Ephemera by Claes Oldenburg. A Catalogue Raisonné, Hudson Hills Press in association with Madison Art Center, Wisconsin, 1997, no. 143

23681

RICHARD ARTSCHWAGER (American b. 1923)
Interior 1, 1977
Etching
9 x 9-3/4 inches (22.9 x 24.8 cm)
Signed, dated, and numbered lower right: Artschwager '77 29/45
Blind stamped lower left: Multiples and lower right: Aeropress
Paper label on verso for Castelli Graphics

Provenance:
Leo Castelli, New York, New York;
Acquired in 1980 by Jeffrey Weiss, Dallas, Texas

23682

RICHARD ARTSCHWAGER (American b. 1923)
Interior #3, 1977
Drypoint
11-7/8 x 9-7/8 inches (30.2 x 25.1 cm)
Signed, dated, and numbered lower right in pencil: Artschwager '77 29/35
Blind stamped lower left: Multiples and lower right: Aeropress

Provenance:
Leo Castelli, New York, New York;
Acquired in 1980 by Jeffrey Weiss, Dallas, Texas

23683

ELLSWORTH KELLY (American b. 1923)
Wall, 1979
Etching and aquatint on 300-gram Arches Cover paper
31.5 x 28 inches (80 x 71.1 cm) (sheet)
16-1/8 x 13-7/8 inches (40.9 x 35.2 cm) (image)
Ed. 41/50 Signed lower right in pencil, numbered lower left in pencil
Stamped lower right with Tyler Graphics, Ltd. blind stamp
Published by Tyler Graphics Ltd., Bedford, New York (322: EK29)

Provenance:
Leo Castelli Gallery, New York, New York;
Acquired in 1980 by Jeffrey Weiss, Dallas, Texas

Literature:
"Prints and Photographs," Print Collector's Newsletter, 1979, 93
Judith Goldman, "Printmaking: The Medium Isn't the Message Anymore," ARTNews, vol. 76, no. 7 (September 1980), 85
Richard Field and Daniel Rosenfeld, Prints by Contemporary Sculptors, Yale University Art Gallery, New Haven, Connecticut, 1982, 6
Clifford Ackley, Thomas Krens, and Deborah Menaker, The Modern Art of the Print: Selections from the Collection of Lois and Michael Torf, Williams College of Art, Williamstown, Massachusetts, 1984, 26
Judith Goldman, Twentieth-Century American Printmakers, Whitney Museum of American Art, New York, 1985, 13
Richard Axsom, The Prints of Ellsworth Kelly. A Catalogue Raisonné, Hudson Hills Press, New York, 1987, no. 177

23684

SAM FRANCIS (American 1923-1994)
Green Buddha, 1982
Color lithograph, SF337
59 x 50 inches (149.9 x 127 cm)
Ed. 14/20
Signed lower right: Sam Francis
Published by Gemini G.E.L. Los Angeles

Provenance:
Private Collection, Dallas, Texas

23685

ED RUSCHA (American b.1937)
The Big Dipper Over the Desert, 1982
Aquatint
33 x 44 inches (83.8 x 111.8 cm)
Ed. 36/48
Crown Point Press blindstamp
Signed and dated in pencil lower right: Ed Ruscha 82

23686

JOAN MIRÓ (Spanish 1893-1983)
Gaudi XVII, 1979
Color etching with aquatint on Arches paper
35-1/4 x 24-3/4 inches (90.4 x 62.9 cm)
Ed. 48/50
Numbered in pencil lower left: 48/50
Signed in pencil lower right: J Miró
Publisher: Maeght, Barcelona
Printing: Joan Barbarà, Barcelona

Provenance:
Elaine Horwitch Galleries, Santa Fe, New Mexico;
Acquired in 1985 by Jeffrey Weiss, Dallas, Texas

Literature:
Jacques Dupin and Ariane Lelong-Mainaud, Miró engraver, vol. iv, Galerie Long, Paris, 2001, no. 1076

23687

ANDY WARHOL (American 1928-1987)
Ingrid Bergman, 1983
Silkscreen
38 x 38 inches (96.5 x 96.5 cm)
Ed. 211/250
Signed lower right: Andy Warhol

Photographs

23688

ANSEL EASTON ADAMS (American 1902-1984)
Untitled (High Sierras), 1923
Parmelian print
6-3/4 x 8 inches (17.1 x 20.3 cm)
Signed lower left © AEA '23

23689

ANSEL EASTON ADAMS (American 1902-1984)
Pipes and Gauges, West Virginia, plate 10
Gelatin silver print
19-1/2 x 15-3/4 inches (49.5 x 40.0 cm)

23690

MARGARET BOURKE-WHITE (American 1904-1971)
United States Airship Akron, 1931
Gelatin silver print
17-1/2 x 23 inches (44.5 x 58.4 cm)
Signed lower right: Bourke White

23691

HANNES BECKMANN (German b.1909)
Toys, circa 1930s
Silver gelatin print
10-3/4 x 9 inches (27.3 x 22.9 cm)
Signed in pencil on mat: Hannes Beckmann

Born in Stuttgart, Beckmann studied at the Bauhaus with Paul Klee (1879-1940), Wassily Kandinsky (1866-1944), and Josef Albers (1888-1976). In 1932, he traveled to Vienna to study photography. From 1938 through 1944, Beckmann headed a photography studio in Prague. From 1944 through the end of the War, he was in a concentration camp. Upon emigrating to the United States, he became the head of the photography department at the Guggenheim Museum in New York.

23692

ELIOT PORTER (American 1901-1990)
Tamarisk and Grass, River's Edge, Glen Canyon, August, 1961, 1980
Dye-transfer print, mounted
10-3/4 x 15-3/4 inches (27.3 x 40.0 cm)
Signed on the mount lower right in pencil: Eliot Porter

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

23693

ELIOT PORTER (American 1901-1990)
Dungeon Canyon, Glen Canyon, August 29, 1961, 1980
Dye-transfer print, mounted
16 x 12 inches (40.6 x 30.5 cm)
Signed lower right in pencil: Eliot Porter

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

23694

ELIOT PORTER (American 1901-1990)
Cliff, Moonlight Creek, San Juan River, Utah, May 23, 1962, 1980
Dye-transfer print, mounted
16 x 12-3/8 inches (40.6 x 31.4 cm)
Signed on the mount lower right in pencil: Eliot Porter

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

23695

ELIOT PORTER (American 1901-1990)
Escalante River Outwash, Glen Canyon, September 2, 1962, 1980
Dye-transfer print, mounted
16 x 12 inches (40.6 x 30.5 cm)
Signed on the mount lower right in pencil: Elliot Porter

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

23696

ELIOT PORTER (American 1901-1990)
Green Reflections in Stream, Moki Canyon Creek, Glen Canyon, Utah, September 2, 1962, 1980
Dye-transfer print, mounted
16 x 12-1/2 inches (40.6 x 31.8 cm)
Signed on the mount lower right in pencil: Eliot Porter
The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

23697

ELIOT PORTER (American 1901-1990)
Redbud in Bloom, Hidden Passage, Glen Canyon, Utah, April 10, 1963, 1980
Dye-transfer print, mounted
15-3/4 x 12-1/4 inches (40.0 x 31.1 cm)
Signed on mount lower right in pencil: Elliot Porter

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

23698

ELIOT PORTER (American 1901-1990)
Ruess Arch and Amphitheater, Davis Gulch, Escalante Basin, Lake Powell, Utah, May 12, 1965, 1980
Dye-transfer print, mounted
16 x 12.5 inches (40.64 x 31.75 cm)
Signed on the mount lower right in pencil: Eliot Porter

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

23699

ELIOT PORTER (American 1901-1990)
Waterslide from Above, Long Canyon, September 21, 1965, 1980
Dye-transfer print, mounted
12-1/2 x 16 inches (31.8 x 40.6 cm)
Signed on the mount lower right in pencil: Eliot Porter

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

23700

ELIOT PORTER (American 1901-1990)
Reflections in Pool, Indian Creek, Escalante River, Utah, September 22, 1965, 1980
Dye-transfer print, mounted
16 x 12.5 inches (40.64 x 31.75 cm)
Signed on the mount lower right in pencil: Eliot Porter

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

23701

ELIOT PORTER (American 1901-1990)
Coyote Gulch, Escalante River, August 17, 1971, 1980
Dye-transfer print, mounted
15-3/4 x 12-1/8 inches (40.0 x 30.8 cm)
Signed lower left in pencil: Eliot Porter

Provenance:
Delahunty Gallery, Dallas, Texas
Acquired by Jeffrey Weiss, Dallas, Texas

The portfolio copyright stamped on reverse, from the Portfolio of Glen Canyon (New York: Daniel Wolf Press, 1980, an edition of 250). This print was selected by Mr. Porter and printed under his supervision by Berkey K & L, New York.

Photography

23702

BERENICE ABBOTT (American 1898-1991)
André Gide, 1980/81
Silver gelatin print
13.5 x 10.25 inches (34.3 x 26.0 cm)
Ed. 15/60
Signed lower right in pencil: Berenice Abbott
Numbered lower left in pencil: 15/60

Provenance:
Gumps Gallery, San Francisco, California
Acquired by Jeffrey Weiss, Dallas, Texas

Photographs

23703

SANDY SKOGLUND (American b. 1946)
Coathangers, 1980
Cibachrome photograph
25.8 x 33 inches (65.4 x 83.2 cm)
Ed. 5/20
Titled, numbered, dated, and signed verso, lower right: 'Coathangers' 5/20 1980 S. Skoglund

Provenance:
Leo Castelli, New York, New York;
Acquired by Jeffrey Weiss, Dallas, Texas

Literature:
Sylvia Wolf, Focus: Five Women Photographers, Morton Grove, Illinois, A. Whitman & Co., 1994, p. 42 (illustrated)
Linda Muehlig, Ann H. Slevers, et al, Sandy Skoglund: Reality Under Siege: A Retrospective, Northampton, Massachusetts, Smith College Museum of Art, exh. cat. with Harry N. Abrams, Inc., New York, 1998, p. 39, cat. no. 26 (illustrated)

Photography

23704

LYNN BIANCHI (American b.1944)
Nude
Gelatin silver print
9 x 14 inches (22.9 x 35.6 cm)

Photographs

23705

SALLY MANN (American b.1951)
Emmett, Jessie, and Virginia, 1989
Gelatin silver print
7-3/4 x 9-3/4 inches (19.7 x 24.8 cm)
Inscribed letter on verso: Dear John- You managed to make me feel terrible when it realized I had never sent you a good print, only folded-up flawed ones. Here's what the new paper looks like - it's very gutsy and clear, with no trace of streaks or mottle. It's such a relief to have good paper back: it was an enormous frustration (as you gathered, being the recipient of it so often). I appreciate your willingness to help me and your patience - I was at my wit's end when you stepped in. I'm sure we will have many more opportunities for conversation in the future -- let's hope for less complications! With warm thanks- Sally
Stamped on verso: Non-Archival/For Reproduction Only/© Sally Mann/All Rights Reserved

Sale Number:	656
Location:	Heritage Auctions - Dallas 3500 Maple Ave 17th Floor Dallas, TX 75219
Auction Date:	December 6th at 10 AM CT through December 7th

2007 December Signature Fine Art Auction