840

839

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
841 38.1 cm), framed.
Condition: Acid burn, tape hinged to beveled mat.
$400-600

301
 842

842. 844.
Hélène Girod de L’Ain (French, b. 1926) Oronzo Vito Gasparo (American, 1903-1969)

La Table Rouge Portrait of a Woman

Signed “girod de l’ain” l.l., identified and titled on a label from Signed and dated “Oronzo Gasparo 1944” u.l.
The Eric Galleries, Inc., New York, affixed to the reverse. Mixed media on artist board, sight size 18 3/4 x 12 3/4 in.
Oil on canvas, 38 x 51 in. (96.5 x 129.5 cm), framed. (47.6 x 32.4 cm), framed.
Condition: Good. Condition: Craquelure, minor losses at edges, not examined out
$600-800 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. 846.
Adelaide Lawson Gaylor (American, b. 1889) Jules Lefranc (French, 1887-1972)

In the Living Room Intérieur . . . Lautrec

Signed “A. LAWSON” l.r. Signed “J. Lefranc” l.r., identified on a label on the reverse.
Oil with scraping on canvas, 24 1/4 x 30 1/4 in. (61.4 x 76.6 Oil with tooling on board, 7 3/4 x 5 in. (19.7 x 12.7 cm),
cm), framed. framed.
Condition: Subtle surface grime. Condition: Retouch, mild varnish inconsistencies, craquelure
$3,000-5,000 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.
852 $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 x
18 in. (25.4 x 45.7 cm); both framed.
Condition: Not examined out of frames.
$300-500

853

306
 855

854

854. 855.
Gretta Bowen (Irish, 1880-1981) Xavier Bueno (Italian, 1915-1979)

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
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.
857 $1,800-2,200

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

308
 859

859. 861.
Paul T. Nagano (American, b. 1938) Paul T. Nagano (American, b. 1938)

Diamond Head from Diamond Head Circle Five Pigeons on the Beach
Signed and dated “Nagano ‘‘93” l.l., titled and identified on a Signed and dated “Nagano 88” l.r., titled and identified on a label
label affixed to the reverse. affixed to the reverse.
Watercolor on paper, sheet size 22 1/4 x 30 in. (56.5 x 76.2 cm), Watercolor on paper, sheet size 29 1/2 x 22 in. (74.9 x 55.9 cm),
framed. framed.
Condition: Deckled edges, not examined out of frame. Condition: Tape hinged to backing mat, deckled edges, not
$2,000-3,000 examined out of frame.
$2,000-2,500

860.
Paul T. Nagano (American, b. 1938)

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

860
861

309
 863

862

862. 863.
Michail Chemiakin (Russian, b. 1943) Leonardo M. Nierman (American, b. 1932)

Abstraction Viento de Amanecer

Signed “Abstraction” and dated “1978” l.l. Signed “Nierman” l.l., titled on the reverse.
Mixed media on support, 27 x 18 in. (68.5 x 45.7 cm), framed. Oil on Masonite, 35 1/2 x 48 in. (90.2 x 121.9 cm), framed.
Condition: Stable, not examined out of frame. Condition: Surface grime.
$4,000-6,000 $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 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 “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. 867.
Xavier Gonzalez (Spanish/American, 1898-1993) Leonardo M. Nierman (American, b. 1932)

Aberdeen at Night Metropoli

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
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. 871.
Raymond Grandjean (French, b. 1929) Alan Davie (British, b. 1920)

Lot of Three Works: Red and Green Composition, signed Finger Pie No. 2, 1978
“Grandjean.” l.l., signed and dated “Raymond Grandjean./ Signed, dated and titled “1278 Alan Davie...” u.l., identified on a
7/69” on the reverse, gouache and ink on paper, sheet size 16 label from Gimpel Fils Gallery, London, affixed to the reverse.
1/2 x 10 1/8 in. (41.9 x 25.7 cm); Orange and Violet Gouache on paper, 23 1/2 x 33 in. (59.7 x 83.8 cm), framed.
Composition, signed “Grandjean.” l.l., signed and dated Condition: Not examined out of frame.
“Raymond Grandjean./2/1969” on the reverse, sheet size 10 x 7 $4,000-6,000
5/8 in. (25.4 x 19.4 cm); Blue Composition, signed
“Grandjean.” l.l., signed and dated “Raymond/Grandjean./
1967” on the reverse, sheet size 11 3/8 x 11 1/4 in. (28.9 x
28.6 cm); all framed.
Condition: Taped to beveled mat, Red with acid burn on the
reverse.
$800-1,200

872.
Albert S. Alcalay (American, b. 1917)

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

872

314
 873

873. 874.
Giorgio Cavallon (American, 1904-1989) Miklos Suba (American, 1880-1944)

Landscape Smith Street

Signed and dated “Giorgio Cavallon 1937” l.r. Signed and dated “Miklos Suba/30” l.r., identified on a label
Watercolor on paper, sight size 15 x 21 1/2 in. (38.1 x 54.6 cm), from the Robert Schoelkopf Gallery affixed to the reverse.
framed. Oil on Masonite, 14 x 11 in. (35.6 x 27.9 cm), framed.
Condition: Laid down and glued between beveled and backing Condition: Surface abrasions, minor losses, craquelure, varnish
mat. inconsistencies.
$2,000-3,000 $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. 877.
Rhoda Sklar Platt (American, 1914-2004) Albert S. Alcalay (American, b. 1917)

Family The Castle

Unsigned. Signed “Alcalay 66” l.r., titled on the reverse.
Oil on canvas, 26 x 18 in. (66.0 x 45.7 cm), unframed. Ink and watercolor on paper, sight size 17 1/2 x 23 in. (44.5 x
Condition: Losses, craquelure. 58.4 cm), framed.
Condition: Not examined out of frame.
N.B. We are grateful to Judith Trepp, daughter of the artist, for $600-800
assistance with cataloging this lot.
$800-1,200

878.
Natalie Alper (American, b. 1937)

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

878

316
 879

879.
Warren Brandt (American, 1918-2002) 880

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.
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. 883.
William Douglas McGee (American, 1925-1999) Joseph J. Stefanelli (American, b. 1921)

Warrior Occassion [sic]

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
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. 895.
James Hiroshi Suzuki (American, b. 1933) Walasse Ting (Chinese/American, b. 1929)

Composition Untitled
Signed “Suzuki” l.l., signed and dated “James Suzuki/ Signed and dated “ting ‘59” l.r., inscribed “WALASSE TING
-1958-” and identified on a label from the Provincetown Arts 1959” and identified on a label from the Chrysler Museum
Festival affixed to the reverse. affixed to the reverse.
Oil on canvas, 52 x 49 in. (132.1 x 124.5 cm), framed. Oil on canvas, 92 1/2 x 70 in. (235 x 177.8 cm), framed.
Condition: L-shaped tear in the l.l. quadrant, craquelure, surface Condition: Surface grime.
grime.
$1,000-2,000 Provenance: Property of the Chrysler Museum of Art, sold to
benefit acquisition funds.
$3,000-5,000

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

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

896

322
 898.
Jiri Kolar (Czech, 1914-2002)

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

899.
Sam Earle (American, b. 1960)

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

897

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

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

898 899

323
 900.
Robert Rohm (American, b. 1932)

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

324
 904

904.
Adriano de Aquino (Brazilian, b. 1946)
903
Lot of Two Works: Composition, signed in pencil and stamped
“Adriano D’Aquino Productions” l.r., dated “Dez 1974” l.r.,
Steinbach Malmedy blindstamp l.r., ink on paper; Color Field,
unsigned, collage on paper; both 20 1/8 x 26 in. (51.1 x 66.0
903. cm), framed.
Leo Valledor (American, 1936-1989) Condition: Not examined out of frames.
$300-500
Evidence
Initialed and dated “L.V. 1964” and titled with a label from the
Obelisk Gallery, Boston, on the reverse. 905.
Acrylic on Masonite, 24 x 24 1/2 in. (61.0 x 62.2 cm), John Hatfield (American, 20th/21st Century)
unframed.
Condition: Surface abrasions. Little Brown Jug
$300-500 Signed “John Hatfield,” titled and dated “1997” on the reverse,
identified on a label from the Obelisk Gallery, Boston, affixed to
the reverse.
Glass, ink and collage, sight size 12 x 17 1/2 in. (30.5 x 44.5
cm), framed.
Condition: Good.
$400-600

905

325
 906
907

906.
Wolf Kahn (American, b. 1927)

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. 913.
Mags Harries (Welsh/American, b. 1945) Karen Canner Moss (American, b. 1944)

Mantelpiece, 1973 Lot of Two Works: Social Life and Continuance

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.
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

Exhibitions: “Mags Harries,” September 26–November 7, 1982,

De Cordova Museum, Lincoln, Massachusetts.

N.B. Cambridge-based artist Mags Harries drew wide acclaim in 914.

the late 70s/mid-80s for her site-specific public sculptures Frank Gallo (American, b. 1933)
Asaroton at Boston’s Haymarket and Glove Cycle at Massachusetts
Bay Transit Authority’s Porter Square station. These works Female Bust
immortalized the cast-offs of daily life via the permanence of the Signed and dated “Gallo/66” on hair.
bronze medium. Resin, 21 x 16 x 9 3/4 in. (53.3 x 40.6 x 24.8 cm) (including
base).
This work, Harries’ first privately-commissioned site-specific Condition: Surface dust.
sculpture, is also amongst her earliest. Ceramic was Harries’ $800-1,200
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

913 914

328
 915 916

915. 916.
Joseph Barbieri (American, 20th/21st Century) Robert Jessup (American, b. 1952)

Islay? The Visitor of the Bedside Bear

Signed and dated “Barbieri - 82” l.r., titled on artist’s label affixed Signed “Robert Jessup,” titled, and dated “1983” on the reverse,
to the reverse. identified on a label from the Siegel Contemporary Art, Inc.,
Oil on canvas, 9 3/4 x 8 5/8 in. (24.8 x 21.9 cm), framed. affixed to the stretcher bar.
Condition: Good. Oil on canvas, 60 x 60 in. (152.4 x 152.4 cm), framed.
$1,000-2,000 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

329
 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
919
330
“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
 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

331