478_16

839.Edward Bernard Lintott (American, 1875-1951)

Study of Two Dancers, alternatively titled Two Ballet DancersSigned “Lintott” u.l., labels from Art Institute of Chicago,Minneapolis Art Institute, and Lawrence Rill Schumann ArtFoundation, 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, notexamined out of frame.

$1,500-3,000

840.Chaim Gross (American, 1904-1991)

Female NudeSigned and dated “Chaim Gross/50” l.r.Charcoal on paper, sight size 16 1/2 x 10 1/4 in. (42.0 x 26.0cm), framed.Condition: Not examined out of frame.

$500-700

841.Isaac Soyer (American, 1902-1981)

ReflectionsSigned “Isaac Soyer” l.r., titled l.l., inscribed “To my dear goodfriend Fannie Lager” l.c.Pastel and graphite on paper, sight size 19 1/2 x 15 in. (49.5 x38.1 cm), framed.Condition: Acid burn, tape hinged to beveled mat.

$400-600

301

839840

841

842.Hélène Girod de L’Ain (French, b. 1926)

La Table RougeSigned “girod de l’ain” l.l., identified and titled on a label fromThe 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

843.Frank Simon Herrmann (American, 1866-1942)

Terrace ViewSigned “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

844.Oronzo Vito Gasparo (American, 1903-1969)

Portrait of a WomanSigned 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 outof the frame.

$400-600

302

842

843 844

845.Adelaide Lawson Gaylor (American, b. 1889)

In the Living RoomSigned “A. LAWSON” l.r.Oil with scraping on canvas, 24 1/4 x 30 1/4 in. (61.4 x 76.6cm), framed.Condition: Subtle surface grime.

$3,000-5,000

846.Jules Lefranc (French, 1887-1972)

Intérieur . . . LautrecSigned “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, craquelurewith some separating, surface grime.

$1,200-1,800

847.Claude Lepape (French, b. 1913)

Clothespins and BasketSigned “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 toedges), surface grime.

$1,000-2,000

303

845

846 847

847A.Oliver Newberry Chaffee (American, 1881-1944)

Provincetown DunesSigned and dated “Chaffee/1913” l.l., identified on a label fromAcme 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.Corinne Trippetti (American, 20th Century)

YellowtownSigned and dated “Corinne Trippetti 1955” l.r., titled on thestretcher.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, 1955Signed “Eugene Witten” l.r., identified on a label from ChaseGallery, New York, affixed to the reverse, and in an accompanyingappraisal.Oil on Masonite, 25 x 30 in. (63.5 x 76.2 cm), framed.Condition: Retouch and/or varnish/pigment inconsistencies.

$500-700

304

847A

848

849

850.Charles Ephraim Burchfield (American, 1893-1967)

Fallen Tree, 1944/1954Monogrammed “CEB” l.l., titled and identified on the reverse, The Cleveland Museum of Art, Frank K.M. Rehn Galleries, andLos 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 CountyHistorical Society, Genesco, New York.

Exhibitions: “Charles Burchfield,” Whitney Museum of American Art, January 11–February 26, 1956; The Baltimore Museum ofArt, March 14–April 22, 1956; Museum of Fine Arts, Boston, May 9–June 17, 1956; San Francisco Museum of Art, July11–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. andRosalind 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 asin In the Grove, 1916 (Trovato, 230), Fallen Tree, 1917 (Trovato, 266), and Burning Stump, 1920 (Trovato, 660). In each ofthese 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,” aswell as onomatopoetic ones for insect sounds.1 The Insect Chorus, 1917 (Trovato, 382) exemplifies how Burchfield could translatethe 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 thebranches’ grasping limbs and the trunk’s barbed “teeth.” The cicada appears fused to the living trunk, her sound traveling overthe dead, dry air. Nancy Weekly notes: “The sound of cicadas and crickets were inextricably linked with Burchfield’s impressionsof summer…every line reverberates as the cacophony of insects and oppressive heat transform a vernacular country landscape into abizarre, dreamlike illusion.”2 Burchfield himself notes: “…The cicada, the soul of midsummer, embodying in its song all the heatand 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

850

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 SkySigned “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

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 x18 in. (25.4 x 45.7 cm); both framed.Condition: Not examined out of frames.

$300-500

306

851

852

853

854.Gretta Bowen (Irish, 1880-1981)

My HallwaySigned “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 ChildMother 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 backmat, Girl not examined out of glass.

Provenance: Acquired from the artist, then by descent to thecurrent owner.

$1,000-1,500

856.Hubert Aicardi (French, b. 1922)

Lot of Two Works: Surrealist Landscapes with CloudsOne 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

307

855

854

856

857.Paul T. Nagano (American, b. 1938)

Admiring the Cherry Tree-South EndSigned and dated “Nagano 88” l.l., titled and identified on a labelaffixed 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, PaulGauguin, and Japanese Nanga or “literati” painting have guidedBoston watercolorist Paul T. Nagano’s work for the last fortyyears. As a Hawaiian-born Japanese-American artist, Naganothinks of his work, which is mostly inspired by nature, as “anexpression 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 elementalof simple lines and shapes and colors. For me, it seems to havebeen an opposite journey.”

The present work is depicted in Nagano’s impressionistic style.The artist is intimately familiar with the subject, both as a specifickind of landscape (i.e. tropical) and a particular locale. Naganotrained 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 thecollections of the Neka Museum, Ubud, Bali, Indonesia, TheNelson-Atkins Museum of Art, Kansas City, Missouri, and theBoston Public Library, among others.

$1,800-2,200


Swans in the Public GardenSigned and dated “Nagano ‘90-’06” l.l., titled and identified on alabel 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

308

857

858


Diamond Head from Diamond Head CircleSigned and dated “Nagano ‘‘93” l.l., titled and identified on alabel 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


Windy Day at Diamond HeadSigned and dated “Nagano ‘88” l.r., titled and identified on alabel 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


Five Pigeons on the BeachSigned and dated “Nagano 88” l.r., titled and identified on a labelaffixed 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, notexamined out of frame.

$2,000-2,500

309

859

860861

862.Michail Chemiakin (Russian, b. 1943)

AbstractionSigned “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 AmanecerSigned “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 MarinaInitialed and dated “X.G. 66” l.l., identified and titled onWellfleet Art Gallery and National Academy of Design AnnualExhibition 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

310

862

863

854

865.Victor Vasarely (French, 1908-1997)

KorlatSigned “Vasarely=” l.c., also signed, titled, inscribed “P.1153” anddated “1984” on the reverse, a label from the Circle Fine ArtCorporation 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, CircleGallery, Chicago, Illinois; Private collection, Massachusetts.

N.B. This work will be included in the forthcoming catalogueraisonné 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 ayoung age, Vasarely was fascinated with the natural and physicalsciences. By his early 20s, his scientific interests took on adecidedly visual dimension. Deciding that the fields of quantummechanics and astrophysics “had reached the limits of what couldbe explained and that art offered a way, through plasticequivalents, of making scientific models visually comprehensible,”1

Vasarely sought formal art training at the Muhely, a Bauhaus-influenced 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 “plastickinetics” where movement in a painting “does not rely oncomposition nor a specific subject, but on the apprehension of theact of looking, which by itself is considered as the only creator.”2

In a later 1959 manifesto, Vasarely advanced his ideas on what hecalled “plastic unity”—“…The format of any abstract composition

is extensible-compressible, so that there are as many magnitudesas ideal distances between the eye and the work…form and color, two distinct notions in common language, become identified inplastic language: every form is a substratum for color, every coloris the attribute of a form. But two ‘form-colors’ are necessary inorder to engender plastic unity… Every plastic form-colorrepresents a measurable and objective physical constant, but itsinterpretation…will vary according to the degrees of thespectator’s sensibility.”3

The word “korlat” translates roughly from Hungarian to Englishas “barrier,” with architectural connotations (e.g. banister,balustrade, bar, handrail, parapet, rail). At first glance, this workcertainly recalls architecture—its grid suggesting post-and-lintelconstruction. On further inspection, however, the structure doesnot bear weight—the beams cast no shadows and appear to joinat 90 degree angles to other beams that recede into space. Thewaffle-like structure appears to exist in three-dimensional space,yet it contradicts what we know of it from experience. In the waythat the structure is centered within the mustard-yellow groundand “pierced,” it is perhaps more accurate to say that it isweightless.

Despite the puzzle presented in the intricacies of the grid itself,there is clarity to the structure overall-the grid presents a verticalor horizontal barrier to the viewer, depending on which positionthe viewer chooses. The “barrier” referred to in the title, then,can perhaps be understood as the mental obstructions andprejudices 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

865

866.Xavier Gonzalez (Spanish/American, 1898-1993)

Aberdeen at NightInitialed 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)

MetropoliSigned “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)

UntitledUnsigned, 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

312

866 867

868

869.Rodolfo Morales (Mexican, 1925-2001)

Escena de BodaSigned “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

869

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 161/2 x 10 1/8 in. (41.9 x 25.7 cm); Orange and VioletComposition, signed “Grandjean.” l.l., signed and dated“Raymond Grandjean./2/1969” on the reverse, sheet size 10 x 75/8 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 x28.6 cm); all framed. Condition: Taped to beveled mat, Red with acid burn on thereverse.

$800-1,200

871.Alan Davie (British, b. 1920)

Finger Pie No. 2, 1978Signed, dated and titled “1278 Alan Davie...” u.l., identified on alabel 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)

BabelSigned 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

314

870

871

872

873.Giorgio Cavallon (American, 1904-1989)

LandscapeSigned 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 backingmat.

$2,000-3,000

874.Miklos Suba (American, 1880-1944)

Smith StreetSigned and dated “Miklos Suba/30” l.r., identified on a labelfrom 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, varnishinconsistencies.

$300-500

875.Charles Keeling Lassiter (American, b. 1926)

Three FiguresSigned and dated “Lassiter/64” l.r.Ink and watercolor on paper, sheet size 15 x 22 in. (38.1 x 55.9cm), framed.Condition: Not examined out of frame.

$500-600

315

873

874 875

876.Rhoda Sklar Platt (American, 1914-2004)

FamilyUnsigned.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, forassistance with cataloging this lot.

$800-1,200

877.Albert S. Alcalay (American, b. 1917)

The CastleSigned “Alcalay 66” l.r., titled on the reverse.Ink and watercolor on paper, sight size 17 1/2 x 23 in. (44.5 x58.4 cm), framed.Condition: Not examined out of frame.

$600-800

878.Natalie Alper (American, b. 1937)

Tropical LandscapeSigned, dated, and inscribed “Natalie Alper 1983 Feb. #2” inpencil l.r.Watercolor on paper, 18 x 43 in. (45.7 x 109.2 cm), framed.Condition: Not examined out of frame.

$400-600

316

876

877

878

879.Warren Brandt (American, 1918-2002)

The Rock Island LineSigned and dated “Warren Brandt 62” l.r., also signed, titled anddated on the reverse, identified on a label from the ChryslerMuseum 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 tobenefit acquisition funds.

$1,000-1,500

880.Tetsuo Ochikubo (American, 1923-1975)

CosmosSigned “T. Ochikubo” l.r., identified and titled on a label fromthe Krasner Gallery, New York, on the reverse, Whitney Museumof 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.


Exhibitions: Whitney Museum of American Art, “AnnualExhibition of Contemporary American Paintings,” December 9,1958–January 31, 1959. Entry #91.

$1,000-1,500

881.Manfred Schwartz (American, 1908-1970)

CelestialSigned and dated “Manfred Schwartz 1970” on the reverse,identified on labels from M. Knoedler and Co. Inc. and theChrysler 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.


$800-1,200

317

879

881

880

882.William Douglas McGee (American, 1925-1999)

WarriorSigned and dated “McGee-58” l.r., signed, titled, and dated onthe reverse, labels from the Chrysler Museum at Norfolk affixedto the reverse.Oil on canvas, 70 x 61 in. (177.8 x 154.9 cm), framed.Condition: Good.


$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, WhitneyMuseum of American Art, and the Chrysler Museum of Norfolkaffixed to the reverse.Oil on canvas, 70 x 86 in. (177.8 x 218.4 cm), framed.Condition: Good.


Literature: Whitney Museum of American Art, AnnualExhibition of Paintings, Sculpture, Watercolors and Drawings[exhibition catalogue], November 20, 1957–January 12, 1958,illus.

Exhibitions: Whitney Museum of American Art, “AnnualExhibition of Paintings, Sculpture, Watercolors and Drawings,”November 20, 1957–January 12, 1958, entry #170.

$800-1,200

884.Aaron Fink (American, b. 1955)

Purple AbstractUnsigned, inscribed “AARON FINK 1989 For Phyllis,” probablyin 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

318

882

883

884

885.Dimitri Hadzi (American, 1921-2006)

UntitledSigned 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)

ChamberSigned and dated “Paul Shakespear 1988” on the reverse, titledon 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)

EquilibriumSigned “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

319

885

886

887

888.Edward Goldman (American, 1916-2006)

Abstract #142Signed “Goldman” l.r., identified and dated “6/69” on thereverse.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 LifeSigned 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 CompositionSigned “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

320

888 889

890

891.Barse Miller (American, 1904-1973)

Spruce Thicket II, 1961Signed “Barse Miller” l.r., identified in an inscription, possibly inthe artist’s hand, and on labels from the American WatercolorSociety affixed to the reverse.Watercolor on paper/board, sight size 20 1/4 x 28 in. (51.4 x71.1 cm), framed.Condition: Subtle rippling, not examined out of frame.

$600-800

892.Vincent T. Smarkusz (American, 1919-1974)

Cubist CompositionSigned “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

893.Calvin Waller Burnett (American, b. 1921)

Still LifeSigned 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

321

891

892

893

894.James Hiroshi Suzuki (American, b. 1933)

CompositionSigned “Suzuki” l.l., signed and dated “James Suzuki/-1958-” and identified on a label from the Provincetown ArtsFestival 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, surfacegrime.

$1,000-2,000

895.Walasse Ting (Chinese/American, b. 1929)

UntitledSigned and dated “ting ‘59” l.r., inscribed “WALASSE TING1959” and identified on a label from the Chrysler Museumaffixed to the reverse.Oil on canvas, 92 1/2 x 70 in. (235 x 177.8 cm), framed.Condition: Surface grime.


$3,000-5,000

896.Ronaldo de Juan (American, 1931-1989)

Untitled (Figures)Signed and dated “R de JUAN/1974” on the reverse, a labelfrom 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

322

894 895

896

897.Robert Ormerod Preusser (American, 1919-1992)

Forest FabricSigned “Preusser” l.r., inscribed “Preusser” and titled on thereverse, identified and dated “1965” on a label from the JoanPeterson 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.Jiri Kolar (Czech, 1914-2002)

VioloncelloInitialed and dated “JK 73” on the reverse.Mixed-media collage on board, 30 x 17 x 1/4 in. (76.2 x 43.2 x0.6 cm), unframed.Condition: Good.

$2,000-4,000

899.Sam Earle (American, b. 1960)

565 BoylstonSigned and dated “Earle 2000” on the reverse, titled on a labelfrom 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

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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 181/2 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 onpaper, 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 loosebar; Studies with handling creases, water damage.

N.B. Sculptures #452, #454, and #456 are intended as onesculpture, but with multiple orientations.

$1,00-2,000

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 10in. (30.5 x 25.4 cm), unframed; Untitled (Man Walking),signed “Cliffton Peacock” l.r., inscribed “A.P.” l.l., identified anddated “1986” on a label from the Obelisk Gallery, Boston, affixedto 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 theObelisk Gallery affixed to the reverse, oil on Masonite, 12 x 14in. (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

902.Jim Huntington (American, b. 1941)

Lot of Two Untitled WorksSigned and dated “Huntington ‘7...” l.r., a label from the ObeliskGallery, Boston, affixed to the reverse. Graphite on paper, sheet sizes to 29 3/4 x 41 1/2 in. (75.6 x105.4 cm), framed.Condition: Not examined out of frames.

$600-800

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903.Leo Valledor (American, 1936-1989)

EvidenceInitialed and dated “L.V. 1964” and titled with a label from theObelisk 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

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

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 66.0cm), framed.Condition: Not examined out of frames.

$300-500

905.John Hatfield (American, 20th/21st Century)

Little Brown JugSigned “John Hatfield,” titled and dated “1997” on the reverse,identified on a label from the Obelisk Gallery, Boston, affixed tothe reverse.Glass, ink and collage, sight size 12 x 17 1/2 in. (30.5 x 44.5cm), framed. Condition: Good.

$400-600

325

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904

903

906.Wolf Kahn (American, b. 1927)

Untitled (Study for Menemsha)Signed “W. Kahn” l.r., identified and dated “1971-1972” onlabels 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 AdonisSigned, titled and dated “... Dav Kroll 1989” on the reverse,identified on a label from Betsy Rosenfield Gallery Inc. affixed tothe 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, 1981Signed on right facing panel l.l.Painted wood and plaster, 46 x 22 x 9 1/2 in. (116.8 x 55.9 x24.1 cm).Condition: Good.

$2,000-4,000

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907

908

909.Marjorie Anne Portnow (American, b. 1943)

Lot of Two Works: Pownal Valley and Barbados: View fromCherry Tree HillPownal unsigned, titled and dated “1978” on Odyssia Gallerylabel affixed to the reverse, Barbados signed “M. Portnow,” titledand 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

910.George Bentley Nick (American, b. 1927)

Palfrey Street School, Watertown, MassachusettsSigned 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

911.Wolf Kahn (American, b. 1927)

Untitled (Keys IV)Signed “W. Kahn” l.c., titled and dated “1981” on a label fromthe 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

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912.Mags Harries (Welsh/American, b. 1945)

Mantelpiece, 1973Unsigned.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 CordovaMuseum, 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 inthe late 70s/mid-80s for her site-specific public sculpturesAsaroton at Boston’s Haymarket and Glove Cycle at MassachusettsBay Transit Authority’s Porter Square station. These worksimmortalized the cast-offs of daily life via the permanence of thebronze medium.

This work, Harries’ first privately-commissioned site-specificsculpture, is also amongst her earliest. Ceramic was Harries’original chosen medium, and was particularly apt for the subjectof 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 Harriesdepicted occupies a fluctuating context—they are at once modernand 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 ContinuanceSocial 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 114.3cm), framed.Condition: Not examined out of frames.

$1,500-2,500

914.Frank Gallo (American, b. 1933)

Female BustSigned and dated “Gallo/66” on hair.Resin, 21 x 16 x 9 3/4 in. (53.3 x 40.6 x 24.8 cm) (includingbase).Condition: Surface dust.

$800-1,200

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915.Joseph Barbieri (American, 20th/21st Century)

Islay?Signed and dated “Barbieri - 82” l.r., titled on artist’s label affixedto 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 BearSigned “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 MeetSigned and dated “Barbieri -79” l.r., titled on the reverse, artist’slabel 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

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918.Jamini Roy (Indian, 1887-1972)

Sacred Cow and CalfSigned 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 inCalcutta, 1963; private collection, Pittsburgh, Pennsylvania.

N.B. The primitive styles of native Bengali art began to inspireBengali-born artist Jamini Roy in the 1920s. Until then, Roy hadbeen working in a European academic style learned at theGovernment School of Art, Calcutta. By several accounts, Roy’srejection of the academic style arose from an artistic dissatisfactionwith naturalism and a desire for a more expressive technique. Hisattraction to the Bengali indigenous arts, however, can also beexplained by the political climate of his time. A sense of Indiannationalism was growing—the stirrings of which would eventuallyresult in independence in 1947. Roy had come to reject the

“bourgeois notion of the artist’s uniqueness with an artisan’smodesty” and sought to “make art available to the Bengali middleclass.”1 On this belief, Roy formed a workshop of artists trainedto reproduce his native-inspired motifs.

This work is paradigmatic of Roy’s native-influenced style.Mother cow and calf are depicted in bold outlines thatdifferentiate space, and earth-toned color is applied flatly. Thedecorative motif in the upper right flattens the space further byrecalling a textile pattern. In this way, Roy blurs the distinctionof art from craft. In subject matter, Roy refers directly to agrarianculture as well as Hindu symbolism. The cow is widelyappreciated in Hindu culture for its bountiful labor and resources,and revered for its gentle nature. In this work, the subject matteris particularly appropriate for the medium-a beast of burdencharacterized 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 FigureSigned and dated “Kitagawa 1936” in Japanese u.l., a label fromthe 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

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920.Jamini Roy (Indian, 1887-1972)

Cat with PrawnSigned 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 paintingtraditions. According to W.G. Archer, there were two characteristics styles of native Bengali art inthe mid-1920s: traditional patua painting and Kalighat pat. The traditional style was practiced bywandering bards who created scroll paintings for solely folkloric purposes; whereas the Kalighatpat style was created and sold by villagers outside the Kalighat temple in Calcutta specifically aspilgrimage souvenirs. The traditional style typically depicted Hindu gods and was executed inbold 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 cameto reject the Western painting medium and support of oil on stretched canvas, opting instead forfolk 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 (fromchalk).”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

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