478_16 | Watercolor Painting | Paintings

839

840

839. Edward Bernard Lintott (American, 1875-1951) Study of Two Dancers, alternatively titled Two Ballet Dancers Signed “Lintott” u.l., labels from Art Institute of Chicago, Minneapolis Art Institute, and Lawrence Rill Schumann Art Foundation, Boston, affixed to the backing. Charcoal on paper, sight size 24 x 18 1/2 in. (61.0 x 47.0 cm), framed. Condition: Toning, rippling, creases, pinholes at corners, not examined out of frame. $1,500-3,000 840. Chaim Gross (American, 1904-1991) Female Nude Signed and dated “Chaim Gross/50” l.r. Charcoal on paper, sight size 16 1/2 x 10 1/4 in. (42.0 x 26.0 cm), framed. Condition: Not examined out of frame. $500-700 841. Isaac Soyer (American, 1902-1981) Reflections Signed “Isaac Soyer” l.r., titled l.l., inscribed “To my dear good friend Fannie Lager” l.c. Pastel and graphite on paper, sight size 19 1/2 x 15 in. (49.5 x 38.1 cm), framed. Condition: Acid burn, tape hinged to beveled mat. $400-600

841

301

842

842. Hélène Girod de L’Ain (French, b. 1926) La Table Rouge Signed “girod de l’ain” l.l., identified and titled on a label from The Eric Galleries, Inc., New York, affixed to the reverse. Oil on canvas, 38 x 51 in. (96.5 x 129.5 cm), framed. Condition: Good. $600-800

844. Oronzo Vito Gasparo (American, 1903-1969) Portrait of a Woman Signed and dated “Oronzo Gasparo 1944” u.l. Mixed media on artist board, sight size 18 3/4 x 12 3/4 in. (47.6 x 32.4 cm), framed. Condition: Craquelure, minor losses at edges, not examined out of the frame. $400-600

843. Frank Simon Herrmann (American, 1866-1942) Terrace View Signed “F.S. Herrmann” l.r., inscribed on the reverse. Gouache on paper, sheet size 19 x 24 in. (48.3 x 61.0 cm), framed. Condition: Tacked at corners to foam core. $400-600

843

844

302

845

845. Adelaide Lawson Gaylor (American, b. 1889) In the Living Room Signed “A. LAWSON” l.r. Oil with scraping on canvas, 24 1/4 x 30 1/4 in. (61.4 x 76.6 cm), framed. Condition: Subtle surface grime. $3,000-5,000

846. Jules Lefranc (French, 1887-1972) Intérieur . . . Lautrec Signed “J. Lefranc” l.r., identified on a label on the reverse. Oil with tooling on board, 7 3/4 x 5 in. (19.7 x 12.7 cm), framed. Condition: Retouch, mild varnish inconsistencies, craquelure with some separating, surface grime. $1,200-1,800 847. Claude Lepape (French, b. 1913) Clothespins and Basket Signed “CLAUDE LEPAPE” l.l. Oil on Masonite, 5 3/4 x 8 in. (14.6 x 20.3 cm), framed. Condition: Light abrasions/wear, losses (predominantly to edges), surface grime. $1,000-2,000

846

847

303

847A

847A. Oliver Newberry Chaffee (American, 1881-1944) Provincetown Dunes Signed and dated “Chaffee/1913” l.l., identified on a label from Acme Fine Art and Design, Boston, affixed to the reverse. Oil on canvas, 24 x 28 1/2 in. (61.0 x 72.4 cm), framed. Condition: Good. $12,000-18,000

848

848. Corinne Trippetti (American, 20th Century) Yellowtown Signed and dated “Corinne Trippetti 1955” l.r., titled on the stretcher. Oil on canvas, 12 x 24 in. (30.5 x 61.0 cm), framed. Condition: Surface grime. $400-600

849. Eugene R. Witten (American, 20th Century) Le Hanger, 1955 Signed “Eugene Witten” l.r., identified on a label from Chase Gallery, New York, affixed to the reverse, and in an accompanying appraisal. Oil on Masonite, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Retouch and/or varnish/pigment inconsistencies. $500-700
849

304

850

850. Charles Ephraim Burchfield (American, 1893-1967) Fallen Tree, 1944/1954 Monogrammed “CEB” l.l., titled and identified on the reverse, The Cleveland Museum of Art, Frank K.M. Rehn Galleries, and Los Angeles County Museum labels affixed to the reverse. Ink, watercolor, and conté crayon on paper, sheet size 11 x 17 1/4 in. (27.9 x 43.8 cm), framed. Condition: Laid down onto cardstock. Provenance: Ex collection Mrs. Andrew S. Keck, Washington, DC, sold to benefit an endowment for the Livingston County Historical Society, Genesco, New York. Exhibitions: “Charles Burchfield,” Whitney Museum of American Art, January 11–February 26, 1956; The Baltimore Museum of Art, March 14–April 22, 1956; Museum of Fine Arts, Boston, May 9–June 17, 1956; San Francisco Museum of Art, July 11–August 19, 1956; Los Angeles County Museum of Art, September 5–October 14, 1956; The Phillips Gallery, Washington, DC, November 4–December 11, 1956; The Cleveland Museum of Art, January 3–February 10, 1957. Literature: Baur, John I.H., Charles Burchfield (New York: The MacMillan Company, 1956), illus. p. 74; Baur, John I.H. and Rosalind Irvine, Charles Burchfield [exhibition catalogue] (New York: Whitney Museum of American Art, 1956), p. 18, entry #112. N.B. This work recalls Burchfield’s tree and insect motifs. He often chose a lone, blasted tree trunk as its dramatic focus, such as in In the Grove, 1916 (Trovato, 230), Fallen Tree, 1917 (Trovato, 266), and Burning Stump, 1920 (Trovato, 660). In each of these works, trunks become animated through their anthropomorphic features—crevices become mouths, knots turn into eyes, gnarled limbs into grasping arms. These depictions of animistic features developed directly from his 1917 sketchbook entitled, “Conventions for Abstract Thoughts.” He experimented with abstract representations of moods, such as “fear” or “menace,” as well as onomatopoetic ones for insect sounds.1 The Insect Chorus, 1917 (Trovato, 382) exemplifies how Burchfield could translate the frenetic movements of insect sound-making into pure form—through continuous, sinuous line or staccato spacing. In the present work, both tree and insect motifs come together to convey the intensity of summer. Heat waves radiate from the branches’ grasping limbs and the trunk’s barbed “teeth.” The cicada appears fused to the living trunk, her sound traveling over the dead, dry air. Nancy Weekly notes: “The sound of cicadas and crickets were inextricably linked with Burchfield’s impressions of summer…every line reverberates as the cacophony of insects and oppressive heat transform a vernacular country landscape into a bizarre, dreamlike illusion.”2 Burchfield himself notes: “…The cicada, the soul of midsummer, embodying in its song all the heat and rhythm of a sultry day, when the sun pours down out of a pale hot lavender sky on a parched and drought-ridden earth.”3 Fallen Tree, 1944/1954 bears a strong resemblance to The Cicada, 1944 (Trovato, 978) and Midsummer Caprice, 1945 (Trovato, 991), which suggests that the image was one that held a great resonance for the artist.
1. John I.H. Baur, The Inlander [Life and Work of Charles Burchfield 1893-1967] (Newark: University of Delaware Press, 1984), 73. 2. Nancy Weekly, Charles E. Burchfield: The Sacred Woods (New York: SUNY Press, 1993), 38. 3. John I.H. Baur and Rosalind Irvine, Charles Burchfield [exhibition catalogue] (New York: Whitney Museum of Art, 1956), 53.

$30,000-50,000

305

851

851. Jean Souverbie (French, 1891-1981) Scène de Plage (La Naissance de Venus) Signed “Souverbie” l.l., dated “61” l.r. Oil on board, 7 1/2 x 14 1/4 in. (19.0 x 36.2 cm), framed. Condition: Surface grime, slight warping to board. $800-1,200

852. Pierre Jacquemon (Franco/American, b. 1936) Night Sky Signed “Pierre Jacquemon” l.r. Oil on board, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Mild surface grime. $2,000-4,000

852

853. Bernadette Sers (French, 1928-2000) Lot of Two Works: Coastal Landscape, signed “B. Sers” l.r., gouache on paper, sight size 10 x 13 1/4 in. (25.4 x 33.7 cm); Rocky Shore, signed “B. Sers” l.r., oil on paper, sight size 10 x 18 in. (25.4 x 45.7 cm); both framed. Condition: Not examined out of frames. $300-500

853

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855

854

854. Gretta Bowen (Irish, 1880-1981) My Hallway Signed “Gretta Bowen” u.l., titled, identified, and numbered “22” on label affixed to the reverse. Oil on artist board, 20 1/2 x 11 in. (52.1 x 27.9 cm), framed. Condition: Losses in the l.l. quadrant, craquelure in the l.r. quadrant, surface grime. $1,500-3,000

855. Xavier Bueno (Italian, 1915-1979) Lot of Two Drawings: Girl Sleeping and Mother and Child Mother and Child signed “Xavier Bueno” l.r., ink on paper, unframed; Girl unsigned, ink wash and gouache on paper/board, adhered under glass; sizes to 11 x 8 1/2 in. (27.9 x 21.6 cm). Condition: Toning, creases, Mother and Child adhered to back mat, Girl not examined out of glass. Provenance: Acquired from the artist, then by descent to the current owner. $1,000-1,500

856. Hubert Aicardi (French, b. 1922) Lot of Two Works: Surrealist Landscapes with Clouds One signed and dated “hubert Aicardi 60” l.r., the other signed “h. Aicardi” l.l., both signed, dated, and inscribed “No. 673” and “No. 694” respectively on the reverse. Oil on Masonite, 6 1/4 x 8 1/2 in. (15.8 x 21.6 cm), framed. Condition: Minor scattered retouch. $400-600

856

307

857. Paul T. Nagano (American, b. 1938) Admiring the Cherry Tree-South End Signed and dated “Nagano 88” l.l., titled and identified on a label affixed to the reverse. Watercolor on paper, sheet size 30 x 22 1/4 in. (76.2 x 56.5 cm), framed. Condition: Not examined out of frame. N.B. The Western and Eastern influences of Henri Matisse, Paul Gauguin, and Japanese Nanga or “literati” painting have guided Boston watercolorist Paul T. Nagano’s work for the last forty years. As a Hawaiian-born Japanese-American artist, Nagano thinks of his work, which is mostly inspired by nature, as “an expression of the synthesis of East and West that I am myself.” Of Matisse’s influence, he notes: “…by the end of [Matisse’s] career, he had distilled the visible world into the most elemental of simple lines and shapes and colors. For me, it seems to have been an opposite journey.” The present work is depicted in Nagano’s impressionistic style. The artist is intimately familiar with the subject, both as a specific kind of landscape (i.e. tropical) and a particular locale. Nagano trained at the Pennsylvania Academy of the Fine Arts, Philadelphia, and was the director of the Pucker/Safrai Gallery, Boston, for over two decades. His works are held in the collections of the Neka Museum, Ubud, Bali, Indonesia, The Nelson-Atkins Museum of Art, Kansas City, Missouri, and the Boston Public Library, among others. $1,800-2,200

857

858. Paul T. Nagano (American, b. 1938) Swans in the Public Garden Signed and dated “Nagano ‘90-’06” l.l., titled and identified on a label affixed to the reverse. Watercolor on paper, sheet size 30 x 22 1/4 in. (76.2 x 56.5 cm), framed. Condition: Deckled edges, not examined out of frame. $2,000-4,000

858

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859

859. Paul T. Nagano (American, b. 1938) Diamond Head from Diamond Head Circle Signed and dated “Nagano ‘‘93” l.l., titled and identified on a label affixed to the reverse. Watercolor on paper, sheet size 22 1/4 x 30 in. (56.5 x 76.2 cm), framed. Condition: Deckled edges, not examined out of frame. $2,000-3,000 860. Paul T. Nagano (American, b. 1938) Windy Day at Diamond Head Signed and dated “Nagano ‘88” l.r., titled and identified on a label affixed to the reverse. Watercolor on paper, sheet size 22 1/4 x 30 in. (56.5 x 76.2 cm), framed. Condition: Deckled edges, not examined out of frame. $1,800-2,200

861. Paul T. Nagano (American, b. 1938) Five Pigeons on the Beach Signed and dated “Nagano 88” l.r., titled and identified on a label affixed to the reverse. Watercolor on paper, sheet size 29 1/2 x 22 in. (74.9 x 55.9 cm), framed. Condition: Tape hinged to backing mat, deckled edges, not examined out of frame. $2,000-2,500

860

861

309

863 862

862. Michail Chemiakin (Russian, b. 1943) Abstraction Signed “Abstraction” and dated “1978” l.l. Mixed media on support, 27 x 18 in. (68.5 x 45.7 cm), framed. Condition: Stable, not examined out of frame. $4,000-6,000

863. Leonardo M. Nierman (American, b. 1932) Viento de Amanecer Signed “Nierman” l.l., titled on the reverse. Oil on Masonite, 35 1/2 x 48 in. (90.2 x 121.9 cm), framed. Condition: Surface grime. $1,800-2,200

864. Xavier Gonzalez (Spanish/American, 1898-1993) John Wallace Marina Initialed and dated “X.G. 66” l.l., identified and titled on Wellfleet Art Gallery and National Academy of Design Annual Exhibition labels affixed to the reverse. Oil on canvas, 40 x 50 in. (101.6 x 127.0 cm), framed. Condition: Surface grime, craquelure. $1,500-2,500

854

310

865

865. Victor Vasarely (French, 1908-1997) Korlat Signed “Vasarely=” l.c., also signed, titled, inscribed “P.1153” and dated “1984” on the reverse, a label from the Circle Fine Art Corporation affixed to the reverse. Acrylic on canvas, approximately 45 11/16 x 40 15/16 in. (116.0 x 104.0 cm), framed. Condition: Retouch. Provenance: From the artist to Jack and Carolyn Solomon, Circle Gallery, Chicago, Illinois; Private collection, Massachusetts. N.B. This work will be included in the forthcoming catalogue raisonné being prepared by Madame Michèle-Catherine Vasarely; certificate from Mme. Vasarely accompanies the lot. Victor Vasarely is widely considered a pioneer of Op Art. From a young age, Vasarely was fascinated with the natural and physical sciences. By his early 20s, his scientific interests took on a decidedly visual dimension. Deciding that the fields of quantum mechanics and astrophysics “had reached the limits of what could be explained and that art offered a way, through plastic equivalents, of making scientific models visually comprehensible,”1 Vasarely sought formal art training at the Muhely, a Bauhausinfluenced art and design school in Budapest. By the mid-1950s, like many Constructivist artists decades prior, Vasarely began to formalize his theories as manifestos. In “Manifeste Jaune,” Vasarely first outlined his idea of “plastic kinetics” where movement in a painting “does not rely on composition nor a specific subject, but on the apprehension of the act of looking, which by itself is considered as the only creator.”2 In a later 1959 manifesto, Vasarely advanced his ideas on what he called “plastic unity”—“…The format of any abstract composition is extensible-compressible, so that there are as many magnitudes as ideal distances between the eye and the work…form and color, two distinct notions in common language, become identified in plastic language: every form is a substratum for color, every color is the attribute of a form. But two ‘form-colors’ are necessary in order to engender plastic unity… Every plastic form-color represents a measurable and objective physical constant, but its interpretation…will vary according to the degrees of the spectator’s sensibility.”3 The word “korlat” translates roughly from Hungarian to English as “barrier,” with architectural connotations (e.g. banister, balustrade, bar, handrail, parapet, rail). At first glance, this work certainly recalls architecture—its grid suggesting post-and-lintel construction. On further inspection, however, the structure does not bear weight—the beams cast no shadows and appear to join at 90 degree angles to other beams that recede into space. The waffle-like structure appears to exist in three-dimensional space, yet it contradicts what we know of it from experience. In the way that the structure is centered within the mustard-yellow ground and “pierced,” it is perhaps more accurate to say that it is weightless. Despite the puzzle presented in the intricacies of the grid itself, there is clarity to the structure overall-the grid presents a vertical or horizontal barrier to the viewer, depending on which position the viewer chooses. The “barrier” referred to in the title, then, can perhaps be understood as the mental obstructions and prejudices that viewers unconsciously bring to the act of looking.
1. Robert C. Morgan, Vasarely (New York: George Brasilier, Inc., 2004), 18. 2. Ibid., 30. 3. Vasarely [exhibition catalogue], (New York: Sidney Janis Gallery, 1966).

$80,000-120,000

311

866

867

866. Xavier Gonzalez (Spanish/American, 1898-1993) Aberdeen at Night Initialed and inscribed “X.G./aberdeen...” l.r. Oil on paper, sight size 21 5/8 x 29 in. (54.9 x 73.7 cm), framed. Condition: Laid down onto Masonite. $800-1,200

867. Leonardo M. Nierman (American, b. 1932) Metropoli Signed “Nierman” l.r., titled on the reverse. Oil on Masonite, 35 1/2 x 48 in. (90.2 x 121.9 cm), framed. Condition: Surface grime, minor surface abrasion. $1,800-2,200

868. David Diao (Chinese/American, b. 1943) Untitled Unsigned, identified on a label affixed to the reverse. Acrylic on canvas, 86 x 60 in. (218.5 x 152.4 cm), unframed. Condition: Good. $1,500-2,500

868

312

869

869. Rodolfo Morales (Mexican, 1925-2001) Escena de Boda Signed “Rodolfo Morales” l.r. Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed. Condition: Lined, scattered retouch. $10,000-15,000

313

871 870

870. Raymond Grandjean (French, b. 1929) Lot of Three Works: Red and Green Composition, signed “Grandjean.” l.l., signed and dated “Raymond Grandjean./ 7/69” on the reverse, gouache and ink on paper, sheet size 16 1/2 x 10 1/8 in. (41.9 x 25.7 cm); Orange and Violet Composition, signed “Grandjean.” l.l., signed and dated “Raymond Grandjean./2/1969” on the reverse, sheet size 10 x 7 5/8 in. (25.4 x 19.4 cm); Blue Composition, signed “Grandjean.” l.l., signed and dated “Raymond/Grandjean./ 1967” on the reverse, sheet size 11 3/8 x 11 1/4 in. (28.9 x 28.6 cm); all framed. Condition: Taped to beveled mat, Red with acid burn on the reverse. $800-1,200

871. Alan Davie (British, b. 1920) Finger Pie No. 2, 1978 Signed, dated and titled “1278 Alan Davie...” u.l., identified on a label from Gimpel Fils Gallery, London, affixed to the reverse. Gouache on paper, 23 1/2 x 33 in. (59.7 x 83.8 cm), framed. Condition: Not examined out of frame. $4,000-6,000

872. Albert S. Alcalay (American, b. 1917) Babel Signed and dated “Alcalay 67” l.r., signed, titled and dated “1967” on the reverse. Oil on canvas, 42 x 42 in. (106.7 x 106.7 cm), framed. Condition: Surface grime. $1,000-2,000

872

314

873

873. Giorgio Cavallon (American, 1904-1989) Landscape Signed and dated “Giorgio Cavallon 1937” l.r. Watercolor on paper, sight size 15 x 21 1/2 in. (38.1 x 54.6 cm), framed. Condition: Laid down and glued between beveled and backing mat. $2,000-3,000

874. Miklos Suba (American, 1880-1944) Smith Street Signed and dated “Miklos Suba/30” l.r., identified on a label from the Robert Schoelkopf Gallery affixed to the reverse. Oil on Masonite, 14 x 11 in. (35.6 x 27.9 cm), framed. Condition: Surface abrasions, minor losses, craquelure, varnish inconsistencies. $300-500 875. Charles Keeling Lassiter (American, b. 1926) Three Figures Signed and dated “Lassiter/64” l.r. Ink and watercolor on paper, sheet size 15 x 22 in. (38.1 x 55.9 cm), framed. Condition: Not examined out of frame. $500-600

874

875

315

877 876

876. Rhoda Sklar Platt (American, 1914-2004) Family Unsigned. Oil on canvas, 26 x 18 in. (66.0 x 45.7 cm), unframed. Condition: Losses, craquelure. N.B. We are grateful to Judith Trepp, daughter of the artist, for assistance with cataloging this lot. $800-1,200

877. Albert S. Alcalay (American, b. 1917) The Castle Signed “Alcalay 66” l.r., titled on the reverse. Ink and watercolor on paper, sight size 17 1/2 x 23 in. (44.5 x 58.4 cm), framed. Condition: Not examined out of frame. $600-800

878. Natalie Alper (American, b. 1937) Tropical Landscape Signed, dated, and inscribed “Natalie Alper 1983 Feb. #2” in pencil l.r. Watercolor on paper, 18 x 43 in. (45.7 x 109.2 cm), framed. Condition: Not examined out of frame. $400-600

878

316

879

879. Warren Brandt (American, 1918-2002) The Rock Island Line Signed and dated “Warren Brandt 62” l.r., also signed, titled and dated on the reverse, identified on a label from the Chrysler Museum at Norfolk affixed to the reverse. Oil on canvas, 72 x 80 in. (182.9 x 203.2 cm), framed. Condition: Good. Provenance: Property of the Chrysler Museum of Art, sold to benefit acquisition funds. $1,000-1,500

880

880. Tetsuo Ochikubo (American, 1923-1975) Cosmos Signed “T. Ochikubo” l.r., identified and titled on a label from the Krasner Gallery, New York, on the reverse, Whitney Museum of American Art label fragment on the reverse. Oil on canvas, 40 1/4 x 60 1/4 in. (102.2 x 153 cm), framed. Condition: Good. Provenance: Property of the Chrysler Museum of Art, sold to benefit acquisition funds. Exhibitions: Whitney Museum of American Art, “Annual Exhibition of Contemporary American Paintings,” December 9, 1958–January 31, 1959. Entry #91. $1,000-1,500

881. Manfred Schwartz (American, 1908-1970) Celestial Signed and dated “Manfred Schwartz 1970” on the reverse, identified on labels from M. Knoedler and Co. Inc. and the Chrysler Museum at Norfolk affixed to the reverse. Oil on canvas, 65 x 67 1/2 in. (165.1 x 171.5 cm), framed. Condition: Good. Provenance: Property of the Chrysler Museum of Art, sold to benefit acquisition funds. $800-1,200

881

317

883 882

882. William Douglas McGee (American, 1925-1999) Warrior Signed and dated “McGee-58” l.r., signed, titled, and dated on the reverse, labels from the Chrysler Museum at Norfolk affixed to the reverse. Oil on canvas, 70 x 61 in. (177.8 x 154.9 cm), framed. Condition: Good. Provenance: Property of the Chrysler Museum of Art, sold to benefit acquisition funds. $1,000-2,000

883. Joseph J. Stefanelli (American, b. 1921) Occassion [sic] Signed, dated and titled “Stefanelli ‘57...” on the reverse, identified on labels from Poindexter Gallery, New York, Whitney Museum of American Art, and the Chrysler Museum of Norfolk affixed to the reverse. Oil on canvas, 70 x 86 in. (177.8 x 218.4 cm), framed. Condition: Good. Provenance: Property of the Chrysler Museum of Art, sold to benefit acquisition funds. Literature: Whitney Museum of American Art, Annual Exhibition of Paintings, Sculpture, Watercolors and Drawings [exhibition catalogue], November 20, 1957–January 12, 1958, illus. Exhibitions: Whitney Museum of American Art, “Annual Exhibition of Paintings, Sculpture, Watercolors and Drawings,” November 20, 1957–January 12, 1958, entry #170. $800-1,200

884. Aaron Fink (American, b. 1955) Purple Abstract Unsigned, inscribed “AARON FINK 1989 For Phyllis,” probably in the artist’s hand, on the reverse. Oil on canvas, 8 x 9 in. (20.3 x 22.9 cm), framed. Condition: Good. Provenance: A private collection in Boston and Rhode Island. $300-500

884

318

885. Dimitri Hadzi (American, 1921-2006) Untitled Signed and numbered “D. Hadzi/II/VII” on the reverse. Bronze, 23 1/4 x 4 1/2 x 7 5/8 in. (61.6 x 11.4 x 19.4 cm) (including stone base). Condition: Minor chips to base. $4,000-6,000

886. Paul Shakespear (American, b. 1949) Chamber Signed and dated “Paul Shakespear 1988” on the reverse, titled on a label from Howard Yezerski Gallery affixed to the reverse. Acrylic on linen, 60 x 60 in. (152.4 x 152.4 cm), unframed. Condition: Minor surface abrasion, laid down onto board. $1,000-2,000

887. Yutaka Ohashi (American, b. 1923)
885

Equilibrium Signed “Ohashi” l.r., also signed, dated and titled “Y. Ohashi/1956. Florence...” on the reverse. Oil on canvas, 34 x 46 in. (86.4 x 116.8 cm), framed. Condition: Losses, craquelure, surface grime. $1,500-2,500

887

886

319

888

889

888. Edward Goldman (American, 1916-2006) Abstract #142 Signed “Goldman” l.r., identified and dated “6/69” on the reverse. Oil on Masonite, 21 x 24 in. (53.3 x 61.0 cm), framed. Condition: Surface grime, craquelure. $400-600

889. William Horace Littlefield (American, 1902-1969) Abstract Still Life Signed and dated “Wm H. Littlefield 12/17/50” l.l., labels, including one from Joel Oppenheimer, Chicago, on the reverse. Oil on board, 16 1/2 x 13 1/4 in. (41.9 x 33.7 cm), framed. Condition: Retouch, light abrasions, surface grime. $400-600

890. Stanley Bate (American, 1903-1972) Abstract Composition Signed “Stanley Bate” l.r. Oil on canvas, 42 x 40 in. (106.7 x 101.6 cm), framed. Condition: Craquelure, surface abrasions. $800-1,200
890

320

891. Barse Miller (American, 1904-1973) Spruce Thicket II, 1961 Signed “Barse Miller” l.r., identified in an inscription, possibly in the artist’s hand, and on labels from the American Watercolor Society affixed to the reverse. Watercolor on paper/board, sight size 20 1/4 x 28 in. (51.4 x 71.1 cm), framed. Condition: Subtle rippling, not examined out of frame. $600-800

891

892. Vincent T. Smarkusz (American, 1919-1974) Cubist Composition Signed “Smarkusz” l.l. Oil on canvas, 29 x 40 in. (73.7 x 101.6 cm), framed. Condition: Tear in the u.r. quadrant, craquelure, losses. $800-1,200

892

893. Calvin Waller Burnett (American, b. 1921) Still Life Signed and dated “Calvin Burnett October 1949” l.r. Watercolor on illustration board, 20 x 30 in. (51.0 x 76.2 cm), framed. Condition: Water staining, toning, not examined out of frame. $400-600

893

321

894

895

894. James Hiroshi Suzuki (American, b. 1933) Composition Signed “Suzuki” l.l., signed and dated “James Suzuki/ -1958-” and identified on a label from the Provincetown Arts Festival affixed to the reverse. Oil on canvas, 52 x 49 in. (132.1 x 124.5 cm), framed. Condition: L-shaped tear in the l.l. quadrant, craquelure, surface grime. $1,000-2,000

895. Walasse Ting (Chinese/American, b. 1929) Untitled Signed and dated “ting ‘59” l.r., inscribed “WALASSE TING 1959” and identified on a label from the Chrysler Museum affixed to the reverse. Oil on canvas, 92 1/2 x 70 in. (235 x 177.8 cm), framed. Condition: Surface grime. Provenance: Property of the Chrysler Museum of Art, sold to benefit acquisition funds. $3,000-5,000

896. Ronaldo de Juan (American, 1931-1989) Untitled (Figures) Signed and dated “R de JUAN/1974” on the reverse, a label from the Lerner-Heller Gallery affixed to the reverse. Acrylic on canvas, 28 x 28 in. (71.1 x 71.1 cm), unframed. Condition: Surface grime. $2,000-3,000

896

322

898. Jiri Kolar (Czech, 1914-2002) Violoncello Initialed and dated “JK 73” on the reverse. Mixed-media collage on board, 30 x 17 x 1/4 in. (76.2 x 43.2 x 0.6 cm), unframed. Condition: Good. $2,000-4,000

899. Sam Earle (American, b. 1960) 565 Boylston Signed and dated “Earle 2000” on the reverse, titled on a label from the Gallery NAGA affixed to the reverse. Mixed media on board, 80 x 24 in. (203.2 x 61.0 cm), unframed. Condition: Good. $2,000-4,000
897

897. Robert Ormerod Preusser (American, 1919-1992) Forest Fabric Signed “Preusser” l.r., inscribed “Preusser” and titled on the reverse, identified and dated “1965” on a label from the Joan Peterson Gallery, Boston, affixed to the reverse. Mixed media on canvas, 28 x 28 in. (71.1 x 71.1 cm), framed. Condition: Surface grime. $2,000-4,000

898

899

323

900. Robert Rohm (American, b. 1932) Lot of Five Works: Sculptures #452, #454, and #456, unsigned, identified and numbered on Obelisk Gallery, Boston, labels, brushed aluminum with lacquer coating, sizes to 8 x 18 1/2 x 2 in. (20.3 x 47.0 x 5.1 cm); and two Sculptural Studies, both signed and dated “Rohm 1967” l.r., graphite drawing on paper, sheet size 19 x 20 in. (48.3 x 50.8 cm) and 20 x 26 in. (50.8 x 66.0 cm), unframed. Condition: Sculptures with surface grime, #452 with one loose bar; Studies with handling creases, water damage. N.B. Sculptures #452, #454, and #456 are intended as one sculpture, but with multiple orientations. $1,00-2,000
900

901. Cliffton Peacock (American, b. 1953) Lot of Five Works: Gray Seascape, unsigned, oil on Masonite, 13 5/8 x 17 in. (34.6 x 43.2 cm), unframed; Night Seascape, unsigned, oil on Masonite, 9 7/8 x 14 in. (25.1 x 35.6 cm), unframed; Violet Seascape, unsigned, oil on Masonite, 12 x 10 in. (30.5 x 25.4 cm), unframed; Untitled (Man Walking), signed “Cliffton Peacock” l.r., inscribed “A.P.” l.l., identified and dated “1986” on a label from the Obelisk Gallery, Boston, affixed to the reverse, etching with chine collé, sheet size 15 x 11 1/4 in. (38.1 x 28.6 cm), framed; Hand, signed, titled and dated “Cliffton Peacock/...1980-81” on the reverse, a label from the Obelisk Gallery affixed to the reverse, oil on Masonite, 12 x 14 in. (30.5 x 35.6 cm), framed. Condition: Night with losses; Violet with figural pentimento; Walking not examined out of frame. $1,000-1,500
901

902. Jim Huntington (American, b. 1941) Lot of Two Untitled Works Signed and dated “Huntington ‘7...” l.r., a label from the Obelisk Gallery, Boston, affixed to the reverse. Graphite on paper, sheet sizes to 29 3/4 x 41 1/2 in. (75.6 x 105.4 cm), framed. Condition: Not examined out of frames. $600-800

902

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904

904. Adriano de Aquino (Brazilian, b. 1946)
903

903. Leo Valledor (American, 1936-1989) Evidence Initialed and dated “L.V. 1964” and titled with a label from the Obelisk Gallery, Boston, on the reverse. Acrylic on Masonite, 24 x 24 1/2 in. (61.0 x 62.2 cm), unframed. Condition: Surface abrasions. $300-500

Lot of Two Works: Composition, signed in pencil and stamped “Adriano D’Aquino Productions” l.r., dated “Dez 1974” l.r., Steinbach Malmedy blindstamp l.r., ink on paper; Color Field, unsigned, collage on paper; both 20 1/8 x 26 in. (51.1 x 66.0 cm), framed. Condition: Not examined out of frames. $300-500 905. John Hatfield (American, 20th/21st Century) Little Brown Jug Signed “John Hatfield,” titled and dated “1997” on the reverse, identified on a label from the Obelisk Gallery, Boston, affixed to the reverse. Glass, ink and collage, sight size 12 x 17 1/2 in. (30.5 x 44.5 cm), framed. Condition: Good. $400-600

905

325

906 907

906. Wolf Kahn (American, b. 1927) Untitled (Study for Menemsha) Signed “W. Kahn” l.r., identified and dated “1971-1972” on labels from the Obelisk Gallery, Boston, and Kulicke Frames, Inc., affixed to the reverse. Pastel on paper, sight size 11 x 13 3/4 in. (27.9 x 34.9 cm), framed. Condition: Not examined out of frame. $1,500-3,000 907. David Kroll (American, b. 1956) Venus and Adonis Signed, titled and dated “... Dav Kroll 1989” on the reverse, identified on a label from Betsy Rosenfield Gallery Inc. affixed to the stretcher. Oil on canvas, 24 x 18 in. (60.9 x 45.7 cm), unframed. Condition: Good. $800-1,200 908. Gustaf Miller (American, b. 1940) Construction #556, 1981 Signed on right facing panel l.l. Painted wood and plaster, 46 x 22 x 9 1/2 in. (116.8 x 55.9 x 24.1 cm). Condition: Good. $2,000-4,000
908

326

909. Marjorie Anne Portnow (American, b. 1943) Lot of Two Works: Pownal Valley and Barbados: View from Cherry Tree Hill Pownal unsigned, titled and dated “1978” on Odyssia Gallery label affixed to the reverse, Barbados signed “M. Portnow,” titled and dated “1974” on the reverse. Oil on Masonite, sizes to 10 3/4 x 12 1/2 in. (27.3 x 31.8 cm), framed. Condition: Good. $1,200-1,800

909

910. George Bentley Nick (American, b. 1927) Palfrey Street School, Watertown, Massachusetts Signed and dated “GNick 1970” l.r. Oil on canvas, 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm), framed. Condition: Good. $1,500-3,000

910

911. Wolf Kahn (American, b. 1927) Untitled (Keys IV) Signed “W. Kahn” l.c., titled and dated “1981” on a label from the Obelisk Gallery affixed to the reverse. Pastel on paper, sight size 11 1/2 x 17 in. (29.2 x 43.2 cm), framed. Condition: Not examined out of frame. $1,500-2,500

911

327

912

912. Mags Harries (Welsh/American, b. 1945) Mantelpiece, 1973 Unsigned. Seventeen-piece ceramic installation, largest to 11 3/4 x 8 1/2 in. (29.8 x 21.6 cm). Condition: Minor breaks, losses. Literature: Mags Harries [exhibition catalogue], De Cordova Museum, Lincoln, Massachusetts, illus. Exhibitions: “Mags Harries,” September 26–November 7, 1982, De Cordova Museum, Lincoln, Massachusetts. N.B. Cambridge-based artist Mags Harries drew wide acclaim in the late 70s/mid-80s for her site-specific public sculptures Asaroton at Boston’s Haymarket and Glove Cycle at Massachusetts Bay Transit Authority’s Porter Square station. These works immortalized the cast-offs of daily life via the permanence of the bronze medium. This work, Harries’ first privately-commissioned site-specific sculpture, is also amongst her earliest. Ceramic was Harries’ original chosen medium, and was particularly apt for the subject of her early work—domestic interiors and private spaces. Mantelpiece was created for a Victorian fireplace updated in white. As a result, the chocolate-box assortment of objects that Harries depicted occupies a fluctuating context—they are at once modern and Victorian, minimal and cluttered, objective and sentimental, machined and handmade, useful and useless. $1,500-3,000

913. Karen Canner Moss (American, b. 1944) Lot of Two Works: Social Life and Continuance Social signed and dated “Karen Canner Moss ‘78” in pencil l.r., titled l.l.; Continuance signed and dated “Karen Canner Moss ‘1981” in pencil l.l. Watercolor on paper, sight sizes to 32 3/4 x 45 in. (83.2 x 114.3 cm), framed. Condition: Not examined out of frames. $1,500-2,500

914. Frank Gallo (American, b. 1933) Female Bust Signed and dated “Gallo/66” on hair. Resin, 21 x 16 x 9 3/4 in. (53.3 x 40.6 x 24.8 cm) (including base). Condition: Surface dust. $800-1,200

913

914

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915

916

915. Joseph Barbieri (American, 20th/21st Century) Islay? Signed and dated “Barbieri - 82” l.r., titled on artist’s label affixed to the reverse. Oil on canvas, 9 3/4 x 8 5/8 in. (24.8 x 21.9 cm), framed. Condition: Good. $1,000-2,000

916. Robert Jessup (American, b. 1952) The Visitor of the Bedside Bear Signed “Robert Jessup,” titled, and dated “1983” on the reverse, identified on a label from the Siegel Contemporary Art, Inc., affixed to the stretcher bar. Oil on canvas, 60 x 60 in. (152.4 x 152.4 cm), framed. Condition: Good. $2,000-4,000

917. Joseph Barbieri (American, 20th/21st Century) We Meet Signed and dated “Barbieri -79” l.r., titled on the reverse, artist’s label affixed to the reverse. Oil on canvas, 14 3/4 x 19 3/4 in. (37.5 x 50.2 cm), framed. Condition: Good. $1,000-2,000

917

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918

918. Jamini Roy (Indian, 1887-1972) Sacred Cow and Calf Signed l.r. Tempera on paper, sight size 12 x 15 3/4 in. (30.5 x 40.0 cm), framed. Condition: Not examined out of frame. Provenance: Purchased from the artist’s representative in Calcutta, 1963; private collection, Pittsburgh, Pennsylvania. N.B. The primitive styles of native Bengali art began to inspire Bengali-born artist Jamini Roy in the 1920s. Until then, Roy had been working in a European academic style learned at the Government School of Art, Calcutta. By several accounts, Roy’s rejection of the academic style arose from an artistic dissatisfaction with naturalism and a desire for a more expressive technique. His attraction to the Bengali indigenous arts, however, can also be explained by the political climate of his time. A sense of Indian nationalism was growing—the stirrings of which would eventually result in independence in 1947. Roy had come to reject the “bourgeois notion of the artist’s uniqueness with an artisan’s modesty” and sought to “make art available to the Bengali middle class.”1 On this belief, Roy formed a workshop of artists trained to reproduce his native-inspired motifs. This work is paradigmatic of Roy’s native-influenced style. Mother cow and calf are depicted in bold outlines that differentiate space, and earth-toned color is applied flatly. The decorative motif in the upper right flattens the space further by recalling a textile pattern. In this way, Roy blurs the distinction of art from craft. In subject matter, Roy refers directly to agrarian culture as well as Hindu symbolism. The cow is widely appreciated in Hindu culture for its bountiful labor and resources, and revered for its gentle nature. In this work, the subject matter is particularly appropriate for the medium-a beast of burden characterized by the earth pigments in which he toils.
1. Alan Bowness, Howard Hodgkin, Geeta Kapur, Six Indian Painters (London: The Tate Gallery, 1982), 22.

$6,000-8,000

919. Kitagawa Tamiji (Japanese, 1894-1989) Sleeping Figure Signed and dated “Kitagawa 1936” in Japanese u.l., a label from the F.A.R. Gallery, New York, affixed to the reverse. Ink wash on paper, sight size 14 x 18 in. (35.6 x 35.6 cm), framed. Condition: Laid down to mat board, paper losses at corners, foxing, acid burn. Provenance: From a Bedford, New York, estate. $3,000-5,000

919

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920

920. Jamini Roy (Indian, 1887-1972) Cat with Prawn Signed l.r. Tempera on paper, sight size 13 x 16 1/2 in. (33.0 x 41.9 cm), framed. Condition: Not examined out of frame. Provenance: Purchased from the artist’s representative in Calcutta, 1963; private collection, Massachusetts. N.B. Roy’s “genius” is considered by many to be his assimilation of the Bengali folk painting traditions. According to W.G. Archer, there were two characteristics styles of native Bengali art in the mid-1920s: traditional patua painting and Kalighat pat. The traditional style was practiced by wandering bards who created scroll paintings for solely folkloric purposes; whereas the Kalighat pat style was created and sold by villagers outside the Kalighat temple in Calcutta specifically as pilgrimage souvenirs. The traditional style typically depicted Hindu gods and was executed in bold outlines and colors; Kalighat pat depicted everyday rural scenes as well as gods and legends, executed in “rapid flowing curves and daring washes of glowing color.”1 Adopting the formal and thematic elements of both styles, Roy simplified his technique. He came to reject the Western painting medium and support of oil on stretched canvas, opting instead for folk materials such home-spun cloth, wood, or paper. His color palette became limited to “yellow ochre, Indian red and cadmium green (all fashioned out of indigenous rock dust), vermilion (from powdery mercury), gray (out of river wash), blue (from indigo) and white (from chalk).”2
1. W.G. Archer, India and Modern Art (London: George Allen and Unwin Ltd, 1959), 102. 2. P.R. Ramachandra Rao, Contemporary Indian Art (Hyderabad: Vacha Fine Arts, 1969), 10.

$5,000-7,000 END OF SALE

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