19/20th C . American/Europ ean Art S aturday, M ay 7, 2016

Transcription

19/20th C. American/European Art
Saturday, May 7, 2016
RAGO
5.7.16
19/20th C. American/European Art 11:00 AM
View condition reports in the online catalogue where they are added and updated, as needed.
If you do not see the condition information required to inform your bidding on a lot, please let us know.
Condition reports are not listed in the print catalogue.
IMPORTANT NOTICE TO ALL BUYERS:
Previews:
The buyer’s premium for each lot purchased is 25% on the first $200,000 of the
hammer price, 20% on the value between $200,000 and $3 million.
April 30–May 5, 12 noon–5:00 pm
May 6, 12 noon–7:00 pm
By appointment
Doors open day of sale at 9:00 am
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payment: A buyer’s premium will be applied to the hammer price of each lot equal
to 28% on the first $200,000; 23% between $200,000 and $3 million.
IMPORTANT INFORMATION FOR PHONE BIDDERS:
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prior to an auction. After that time, we will gladly accept your absentee bids, even
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bid lists left with us prior to the deadline will always be accommodated as best we
can, as will follow-up phone bids for those who attend/must leave the auction and
other exceptional cases.
AUCTIONEER’S NOTES:
If you have questions on the condition of a work, we would be glad to provide
our opinion, but all works are sold according to our Terms of Sale. Please call the
Auction House for complete condition reports if you cannot view in person.
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TEXT GLOSSARY:
Name of the artist (country of origin/date of birth-death)
Title of the work, date of creation
In italics-the actual title given to the work by the artist
Without italics-an untitled work with a description based on imagery/style
Medium and frame (if applicable)
Signature
Size: height x width; height x width x depth (for three-dimensional objects)
Paintings are measured by the size of the support
Sight: size of the visible work if obscured, framed or matted
Image: size of the image
Plate: size of the print impression
Sheet: size of the paper
Printer: name of master printer or workshop where a print is made
Publisher: publisher of the print
Literature: reference to the work of art in a book, exhibition catalogue or article
Exhibition: exhibition history
Provenance: ownership history
RAGO LECTURE SERIES:
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discusses his new book, The Devil’s Diary:
Alfred Rosenberg and the Stolen Secrets of
the Third Reich
Tuesday, May 3 at 6 pm.
The auction house opens on May 3 at noon.
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RAGO ARTS AND AUCTION CENTER
333 North Main Street
Lambertville, NJ 08530
CONTENTS
19/20th C. American/European Art:
Lots 1–160, p. 1
Artist Listing, p. 96
Terms of Sale, page 97
Auction Staff, page 101
Shipping Information, page 101
Condition Report Form, page 103
Absentee Bid Form, page 104
INQUIRIES/INFORMATION
SPECIALIST IN CHARGE:
Meredith Hilferty 609.397.9374 ext. 249 or [email protected]
PARTNER IN CHARGE:
Miriam Tucker 609.566.7224 or [email protected]
ABSENTEE BIDS:
Eliane Talec 609.566.7225 or [email protected]
TELEPHONE BIDS:
Guy Benthin 609.397.9374, ext. 124 or [email protected]
CONDITION REPORTS:
Amy Hunt 609.397.9374, ext. 128 or [email protected]
Lauren Bradley 609.397.9374, ext. 129 or [email protected]
1
WILLIAM AIKEN WALKER (American, 1838-1921)
Untitled (Cabin Scene)
Oil on panel (framed)
Signed
6 1/8” x 12 1/4”
PROVENANCE
NEW BIDDER REGISTRATION:
Private Collection, New York
Eliane Talec 609.566.7225 or [email protected]
$6,000–8,000
PAYMENTS & SHIPPING:
Karen Davies 609.397.9374, ext. 145 or [email protected]
UP TO THE MINUTE AUCTION & EXHIBITION INFORMATION:
1.866.RAGOARTS (724.6278) or ragoarts.com
FAX LINE FOR BIDS & CONDITION REPORTS:
609.397.9377
E-MAIL FOR BID FORMS:
[email protected]
1
view all updated condition reports | ragoarts.com
2
ABRAHAM WALKOWITZ (American/Russian, 1878-1965)
Two works of art:
Bathers, 1908
Oil on canvas (framed)
12 1/8” x 16”
Bathers
Watercolor on paper (framed)
Signed
14 3/4” x 21 3/4” (sight)
PROVENANCE
Private Collection, Pennsylvania
$2,000–3,000
4
FREDERICK JUDD WAUGH (American, 1861-1940)
3
JOSEPH HENRY SHARP (American, 1859-1953)
Untitled, 1889
Pastel on paper mounted to board (framed)
Signed and dated
19 3/4” x 13 5/8” (sheet)
Surf at High Tide
Oil on canvas (Newcomb Macklin frame)
Signed
25” x 30”
PROVENANCE
Grand Central Art Galleries, New York (label on verso)
Private Collection, California
$3,000–5,000
PROVENANCE
$2,000–3,000
view all updated condition reports | ragoarts.com2
3
5
7
GEORGE THOMPSON PRITCHARD
(American, 1878-1962)
EDWARD MORAN (American, 1829-1901)
Untitled
Oil on canvas
Signed
20 7/8” x 25”
PROVENANCE
Private Collection, New Jersey
$800–1,200
Untitled
Signed
14 1/8” x 20 1/8”
PROVENANCE
$3,000–5,000
6
8
JOHN SLOAN
(American, 1871-1951)
LEON KROLL (American, 1884-1974)
Memory, 1906
Etching (framed)
Signed
From an edition of 100
7” x 8 1/2” (plate)
8” x 9 5/8” (sight)
LITERATURE
Cottage in Springtime, 1907
Oil on canvasboard (framed)
Signed and dated
9” x 12”
PROVENANCE
$1,500–2,500
Morse 136
PROVENANCE
$700–900
5
William Merritt Chase seemed determined to be an artist from a young
age. He studied informally with a number of professional painters
while in his teens and enrolled in the National Academy of Design at
the age of twenty. An early exhibition of his work so impressed a group
of St. Louis businessmen that they funded the young artist’s education
in Europe from 1872-1878. The old world techniques Chase learned
in his studies abroad – the brushwork and use of chiaroscuro - were
instrumental in the formation of his personal style; he used them to
present his subjects truthfully and without pretension, a distinctly
American idea at the time. Chase began to shift stylistically towards
Impressionism around the turn-of-the-20th-century and embraced the
movement until his death in 1916.
The Copper Urn is one of Chase’s finest still life compositions. Painted
around 1904, it represents Chase’s mature painterly style and mastery
of light and texture. Held within the artist’s own private collection until
his death, the painting made its way to Newhouse Galleries in St. Louis
by 1928. It has been widely exhibited at institutions that include the
Metropolitan Museum of Art, Ferargil Galleries, Carnegie Institute, The
Cincinnati Museum and The Corcoran Gallery, among others.
9
WILLIAM MERRITT CHASE (American, 1849-1916)
The Copper Urn, ca. 1904
Signed
35 1/4” x 40 1/4”
LITERATURE
Paintings by William Merritt Chase, Newhouse Galleries, St. Louis, privately
printed, limited edition, 1927, no. 49 (as Still Life)
EXHIBITIONS
Loan Exhibition of Paintings by William M. Chase, New York, The
Metropolitan Museum of Art, February-March 1917, no. 31.
Mr. T.H. Russell Presents an Important Exhibition of Paintings by William M.
Chase from the Family, Ferargil Galleries, New York. October 1922, no. 7 (as
The Copper Urn).
Exhibition of Paintings by Williams M. Chase, Carnegie Institute,
Pittsburgh, November 1922 (as The Copper Urn).
Cincinnati Museum, Cincinnati, Ohio, December 1922.
Albright Art Gallery, The Buffalo Fine Arts Academy, Buffalo, N.Y., JanuaryFebruary 1923.
Special Memorial Exhibition of Paintings by the Late William M. Chase,
Corcoran Gallery of Art, Washington, D.C., March-April 1923, no. 13 (as Still
Life with Copper Urn).
Paintings by William Merritt Chase, Newhouse Galleries, St. Louis, Mo.,
March-April 1927, no. 8, illustrated (as Still Life).
Exhibition of the Works of William Merritt Chase, American Academy of
Arts and Letters, New York, April-July 1928, no. 27 (probable).
Chase Centennial Exhibition, John Herron Art Museum, Indianapolis,
November-December 1949, no. 39 (as Fruit Still Life, Still Life with Copper
Urn).
Wilbur D. Peat, Checklist of Known Work by William M. Chase, Chase
Centennial Exhibition, John Herron Art Museum, Indianapolis, 1949.
PROVENANCE
Estate of the artist
Newhouse Galleries, St. Louis (by 1927)
Mr. and Mrs. Charles T. Davies, 1928
Sotheby’s Park-Bernet, Inc., September 28, 1973
$45,000–65,000
7
10
THEODORUS VAN HOYTEMA
(Dutch, 1863-1917)
Three works of art:
Untitled, 1893
Graphite and charcoal on paper (framed)
Signed and dated
18 3/8” x 9 1/8” (sight)
Untitled
Charcoal and watercolor on paper (framed)
Initialed
10 1/4” x 8 1/4” (sight)
Untitled
Graphite and watercolor (framed)
5” x 9 3/4” (sight)
PROVENANCE
$2,000–3,000
12
JOSEPH MOERENHOUT (Belgian, 1801-1875)
11
EGON SCHIELE
Austrian, 1890-1918)
Selbstbidnis, ca. 1917/1980
Bronze
Signed, dated and numbered 278/300
11” high
Untitled
Signed
33 3/4” x 46 1/2”
PROVENANCE
$7,000–9,000
LITERATURE
Kallir 4 f
PROVENANCE
Private Collection, Germany
$1,500–2,500
9
13
Two works of art (Les Maitres de L’Affiche):
MAXFIELD PARRISH (American, 1870–1966)
The Century: Midsummer. Holiday Number. August, 1897
Lithograph in colors (framed)
12 7/8” x 5 5/8” (sight)
GEORGES DE FEURE (Dutch, 1868–1943)
Le Journal des Ventes , 1897
12 3/4” x 8 7/8” (sight)
PROVENANCE
Private Collection, Illinois
15
$800–1,200
ALFRED WALTER WILLIAMS (British, 1824-1905)
A Devonshire Valley
42” x 60”
PROVENANCE
14
$5,000–7,000
ALBERT BESNARD (French, 1849-1934)
L’Amour, 1886
Etching (framed)
Signed and inscribed ‘Tirée à 100’
12 3/8” x 9 5/8” (plate)
13 3/4” x 10 3/4” (sight)
PROVENANCE
$800–1,200
11
16
17
18
19
PAUL CESAR HELLEU (French, 1859-1927)
PETER VILHELM ILSTED (Danish, 1861-1933)
Femme au Manteau de Fourrure
Etching and drypoint in colors (framed)
Signed
21” x 13” (plate)
22 1/4” x 14” (sight)
Sunshine, 1909
Mezzotint in colors (framed)
Signed
13” x 10 1/2” (plate)
15 1/2” x 12 1/2” (sight)
Two Young Girls in Doorway, 1913
Mezzotint in colors (framed)
Signed
15 1/2” x 12 1/2” (plate)
16 7/8” x 14” (sight)
Girl with Tray, 1915
Mezzotint in colors
Signed
19 3/8” x 15 3/4” (plate)
23 3/4” x 19 3/4” (sheet)
PROVENANCE
$1,000–1,500
LITERATURE
Olufsen/Svensson 2
PROVENANCE
LITERATURE
Olafsen/Svensson 23
PROVENANCE
LITERATURE
Olufsen/Svensson 33
PROVENANCE
$1,000–1,500
$1,000–1,500
$1,000–1,500
13
20
21
JULES CHERET (French, 1836-1932)
ALPHONSE MUCHA (Czech, 1860-1939)
La Comédie, from Les Arts, 1891
46 7/8” x 31 1/4”
Hiver / Winter from The Seasons, 1896
39 7/8” x 20 1/2” (sight)
LITERATURE
Broido 63, Maindron 56, Reims 307
PROVENANCE
$5,000–7,000
LITERATURE
Rennert / Weill 18, Lendl 54, Mucha P3, Spirit of
Art Nouveau, 44
PROVENANCE
$6,000–8,000
15
Considered one of the preeminent American Impressionists,
Childe Hassam enjoyed fame and recognition early on
in his career. He began exhibiting when he was twentythree years old and received a welcome response from
the public and critics alike. He was a founding member of
the New York Watercolor Club and joined the American
Water Color Society and Society of American Artists. In
1897, he established the Ten American Painters: a group
of America’s most esteemed exhibiting artists of the day.
The bright palette and delicate, detailed brush work of
Hassam’s work have long contributed to his popularity as
a painter. Here in Newburgh, NY from 1914, we see these
attributes materialized. This period of Hassam’s career is
marked by an interest in the interplay of light. Although
he often denied the relationship between his work and
that of the French Impressionists, the connection seems
undeniable. Vibrant colors, short, lively brushstrokes and a
bright aesthetic embody both Hassam’s work and those of
the French masters he studied and worked alongside while
in Europe.
22
CHILDE HASSAM (American, 1859-1935)
Newburgh, NY, 1914
Signed and dated
14 3/8” x 21 1/4” (sight)
PROVENANCE
Private Collection, Chicago
Note: This watercolor will be included in Kathleen M.
Burnside and Stuart P. Feld’s forthcoming catalogue
raisonne of the artist’s work.
$25,000–35,000
17
23
ETHEL SPEARS (American, 1903-1974)
Railway Station, Beverly Hills, ca. 1925
Signed
11” x 17” (sight)
PROVENANCE
Covington Fine Arts Gallery, Inc., Arizona
(label on verso)
$1,000–1,500
26
BORIS LOVET-LORSKI (Lithuanian/American, 1894-1973)
Untitled
Bronze on marble base
Signed
15 1/4” high
17” (with base)
PROVENANCE
$8,000–12,000
24
25
ROCKWELL KENT (American, 1882-1971)
RICO LEBRUN (Italian/American, 1900-1964)
Man at Mast, 1929
Woodcut on Japan paper
Signed
From an edition of 100
8” x 5 1/2” (image)
11 3/8” x 8 3/4” (sheet)
Untitled, 1935
Ink and wash on paper (framed)
Signed and dated
19” x 25” (sheet)
LITERATURE
Burne-Jones 33
PROVENANCE
Private Collection, Maryland
$800–1,200
PROVENANCE
Private Collection
$1,200–1,800
19
27
29
ALLEN TUCKER (American, 1866- 1939)
JOHN MARIN
(American, 1870 - 1953)
Untitled
20” x 24”
PROVENANCE
Art Student’s League, New York
$3,000–5,000
Untitled, 1932
Pencil on paper (framed)
Signed and dated
5” x 6 5/8” (sight)
PROVENANCE
$1,500–2,500
28
30
ALLEN TUCKER (American, 1866- 1939)
YASUO KUNIYOSHI
(American/Japanese, 1893–1953)
Untitled, 1937
Signed and dated
27 5/8” x 18 3/4” (sight)
PROVENANCE
$800–1,200
Ruins in the Sand Dunes, 1941
Graphite on paper (framed)
Signed
13 7/8” x 16 7/8” (sheet)
PROVENANCE
The Downtown Gallery, New York
(label on verso)
Private Collection, Washington, D.C.
$1,500–2,500
21
31
YASUO KUNIYOSHI (American/Japanese, 1893–1953)
Girl in Feathered Hat, 1928
Signed “Yasuo Kuniyoshi by S. M. Kuniyoshi”
13” x 10 1/8” (sheet)
PROVENANCE
The Downtown Gallery, New York (label on verso)
$1,500–2,500
33
SERGE BRIGNONI (Swiss, 1903-2002)
Two works of art:
Reminiscence of Spain, 1936
Watercolor and gouache on paper laid to
canvas (framed)
Signed and dated
9 1/4” x 13 3/4”
PROVENANCE
East River Gallery, New York (label on verso)
Willard Gallery, New York
Spagne Lunaire, 1937
Watercolor and gouache on artist board
(framed)
Signed and dated
9 1/2” x 14”
PROVENANCE
$2,000–3,000
32
YASUO KUNIYOSHI (American/Japanese, 1893–1953)
Nude
Signed “Yasuo Kuniyoshi by S. M. K”. on verso
15 7/8” x 13” (sight)
PROVENANCE
The Downtown Gallery, New York (label on verso)
$1,500–2,500
34
GEORGES ROUAULT (French, 1871-1958)
Two works of art:
La Parade from Cirque de l’Étoile Filante, 1935
Etching and aquatint in colors (framed)
11 3/4” x 10 1/2” (plate)
12 1/2” x 11” (sight)
L’ Ecuyere from Maitres et petits
Lithograph (framed)
Signed
16 1/4” x 11 1/4” (sight)
PROVENANCE
$1,200–1,800
23
35
36
HENRI MATISSE (French, 1869-1954)
MARIE LAURENCIN (French, 1883-1956)
Le Silence Habité des Maisons, 1947
Aquatint in colors (framed)
Signed in plate
Numbered 177/200
21” x 17” (plate)
21 3/4” x 17 3/4” (sight)
Untitled (Cover illustration for Gravures / Décoration / La plus
accessible / Collection la plus variée), 1932
Signed and numbered 17/100
19 1/2” x 12 7/8” (sight)
PROVENANCE
Chambre Syndicale des Éditeurs, Paris
Galerie Moderne at Bentano’s, New York (label on verso)
$2,000–4,000
PUBLISHER
PROVENANCE
$1,000–1,500
37
JOSEPH FLOCH (Austrian, 1895 -1977)
Untitled (Portrait)
Signed
17” x 14 1/8”
PROVENANCE
Private Collection, Massachusetts
$6,000–9,000
25
38
40
ERNEST FIENE
(German/American, 1894-1965)
LESLIE RAGAN
(American, 1897 -1972)
Untitled (Tugboat on the East River)
Signed
24 1/4” x 34 1/4”
Untitled
Gouache on paper laid to board (framed)
Signed
17” x 20 1/2” (sight)
PROVENANCE
PROVENANCE
$800–1,200
$2,000–3,000
39
41
CECIL BELL
(American, 1906-1970)
LEONETTO CAPPIELLO
(Italian, 1875-1942)
Untitled, 1944
Signed and dated
14 3/8” x 21 1/2” (sight)
Contratto, 1922
Lithograph in colors mounted to cloth
54 3/4” x 39” (sheet)
PROVENANCE
Rennert 366, Drink 158
$800–1,200
LITERATURE
PROVENANCE
$3,000–4,000
27
43
EMILE ALBERT GRUPPE
(American, 1896-1978)
Untitled
Signed
24 1/8” x 30 1/8”
PROVENANCE
$3,000–5,000
44
HAYLEY LEVER
(American, 1876-1958)
Street in Gloucester, 1937
Oil on canvasboard (framed)
Signed and dated
16” x 20”
PROVENANCE
$2,500–3,500
42
JAMES CARROLL BECKWITH (American, 1852-1917)
Untitled (Santa Barbara), 1917
Oil on board
Signed and dated
13 3/4” x 10 1/8”
PROVENANCE
$4,000–6,000
29
45
HENRY MARTIN GASSER
(American, 1909-1981)
Mountain Vista
Oil on Masonite (framed)
Signed
16” x 20”
47
PROVENANCE
PHIL PARADISE (American, 1905-1997)
$2,000–3,000
Watering Trough
Signed
21 1//2” x 29 3/4” (sight)
PROVENANCE
$1,500–2,500
46
HENRY MARTIN GASSER
(American, 1909-1981)
Three works of art:
Italy
Signed
22” x 14 7/8” (sight)
48
Untitled
Signed and inscribed
8 3/8” x 21 1/2” (sight)
Old Rogers Ranch
Signed
18 3/8” x 25 1/2” (sight)
California Field Workers
Signed
7 3/8” x 9 5/8” (sight)
PROVENANCE
EMIL KOSA, JR. (American, 1903 -1968)
PROVENANCE
Phoenix Art Museum (label on verso)
The Stewart Inn & Gallery, California (label
on verso)
$1,500–2,500
All pictured online
$1,200–1,800
31
The following fourteen lots, which include bronzes from the Hall
of Man, are from the personal collection of the late Paul Nassau.
Mr. Nassau was the son of Lillian Nassau, the pioneering dealer
in the work of Tiffany Studios and the Art Nouveau and Art Deco
periods. After joining his mother’s firm in the early 1970s, Mr.
Nassau sought to diversify its holdings by focusing his expertise
on American sculpture. Impressed by the Hoffman sculptures in
the famous Geraldine Rockefeller Dodge auction at Sotheby’s in
1975, he purchased three from the sale. These and other works by
Hoffman were a focal point of Mr. Nassau’s personal collection.
Malvina Hoffman was a successful and celebrated American
woman sculptor in a period dominated by men. Born in
Brooklyn, New York in 1887, Hoffman enrolled in classes at the
Art Students League when she was only fourteen, studying
under Gutzon Borglum. After the death of her father in 1910,
she moved to Paris where she worked with Auguste Rodin for
four years. In 1929, she was commissioned by Stanley Field,
President of the Field Museum in Chicago, to undertake an
unprecedented project: documenting the diversity of humanity
through sculpture for the Field Museum’s Hall of Man. The 104
sculptures Hoffman produced after years of travel and study are
considered her masterpiece and compose the largest corpus
of her work. The original installation, reflecting its time, viewed
human cultural evolution as progressive and displayed Hoffman’s
works as such, from “primitive” cultures to “civilized” Europeans;
it was de-installed in 1969. Now, 50 of these masterly works are
on view again in Looking at Ourselves, Rethinking the Sculptures
of Malvina Hoffman, a new exhibition that places her fine art in
a scientific historical context for the first time.
49
50
MALVINA HOFFMAN (American, 1887-1966)
Cambodian Dancer, 1932
Gilt bronze on onyx base
Signed, dated and titled “Cambodian, Malvina
Hoffman 1932” with foundry mark “Alexis
Rudier fondeur, Paris
7 1/4” high
19 5/8” (with base)
Balinese Dancer, 1937
Bronze on stone base
Signed and dated “(c) 1937 MALVINA” with
foundry mark “Roman Bronze Works, NY”
17 1/2” high
19” high (with base)
LITERATURE
Collection of Paul Nassau, New York
Malvina Hoffman, Heads and Tales, Charles
Scribner’s Sons, New York, 1936, pg. 175
PROVENANCE
$3,000–5,000
PROVENANCE
$3,000–5,000
33
53
Java Woman and Bali Boy
Bronze with parcel gilt on wood base
Signed “Malvina Hoffman” with foundry mark
“Alexis Rudier, fondeur Paris”
26 1/2” high
LITERATURE
Malvina Hoffman, Yesterday is Tomorrow: A
Personal History, Crown Publishers, New York,
1965, pgs. 270 and 271
Malvina Hoffman, Heads and Tales, Charles
Scribner’s Sons, New York, 1936, pgs. 175 and
270 with life size version pg. 355
PROVENANCE
The Contents of Giralda, from the Collection of
the Late Geraldine Rockefeller Dodge (Dodge
Sale), Sotheby Parke Bernet Inc., New York,
October 7-11, 1975, lot 695
$5,000–7,000
51
52
Senegalese Tom Tom Player, 1932
Bronze
Signed and dated
“M.Hoffman (c) 1932”
22 1/2” high
Standing Figure
Signed “(c) Malvina Hoffman” with foundry mark “Bedi-Rassy”
13” high
LITERATURE
Malvina Hoffman, Heads and Tales, Charles Scribner’s Sons, New
York, 1936, pg. 91 with life size version pgs. 8 and 136
PROVENANCE
$1,000–1,500
PROVENANCE
The Contents of Giralda, from the Collection of the Late Geraldine
Rockefeller Dodge (Dodge Sale), Sotheby Parke Bernet Inc., New
York, October 7-11, 1975, lot 694
$3,000–5,000
35
54
55
Head of a Senegalese Man of Ceylon, 1931
Signed and dated “(c) Malvina Hoffman 1931/Field Musuem
Chicago” with foundry mark “A. Rudier Fondeur, Paris”
8” high
9” (with base)
Bust of an African Man
Bronze on wood base
Signed “(c) Malvina Hoffman Field Museum Chicago” with foundry
mark “ “Alexis Rudier Fondeur, Paris”
10 1/2” high
13” (with base)
PROVENANCE
The Contents of Giralda, from the Collection of the Late Geraldine
York, October 7-11, 1975, lot 667
PROVENANCE
$800–1,200
57
$800–1,200
56
Rickshaw Coolie
Bronze on wood base
Signed “Malvina Hoffman” with foundry mark “Alexis Rudier
Fondeur, Paris”
8 1/2” high
LITERATURE
Malvina Hoffman, Heads and Tails, Charles Scribner’s Sons,
New York, 1936, pg. 223
Dyak Cock Fighters
Pair of bronzes with parcel gilding
One signed “(c) Malvina Hoffman Field Museum Chicago” with
foundry mark “Alexis Rudier fondeur Paris”
Second has foundry mark “Alexis Rudier, Paris”
11” high and 12 1/8” high
LITERATURE
Malvina Hoffman: Heads and Tales, Charles Scribner’s Sons, New York,
1936, p. 175
PROVENANCE
The Contents of Giralda, from the Collection, of the Late Geraldine
York, October 7-11, 1975,lot 679
$5,000–7,000
PROVENANCE
$800–1,200
37
62
Bullfighter, 1953
Bronze on wood base
Signed and dated “(c) 1953 Malvina Hoffman”
with foundry mark “Roman Bronze Works Inc.
N.Y.”
14” high
LITERATURE
58
58
Ni Poli Dancer of Bali
Bronze on wood base
Inscribed “Bali Malvina Hoffman”
6” high
9” (with base)
Head of a Java Man, 1932
Signed and dated “M. Hoffman 1932 (c)”
5 1/2” high
8” (with base)
LITERATURE
Malvina Hoffman: Heads and Tales, Charles Scribner’s Sons, New
York, 1936, pg. 258
Malvina Hoffman: Yesterday is Tomorrow: A
Personal History, Crown Publishers, New York,
1965, pg. 340
PROVENANCE
$1,500–2,500
PROVENANCE
$800–1,200
PROVENANCE
$800–1,200
63
MABEL CONKLING (American, 1871-1966)
Vase with Three Figural Handles
Bronze
Signed “MABEL CONKLING” with foundry mark
“Kunst Foundry NY
12 1/4” high
60
61
Portrait of David or Sgt. Kohonamoku, 1931
Bronze on wood base
Signed and dated “(c) Malvina Hoffman 1931”
5” high
Head of a Georgian Man, 1933
Bronze on wood base
Signed, dated and titled “Georgian/(c) 1933 M. Hoffman” with
foundry mark“
7 1/2” high
LITERATURE
Malvina Hoffman: Heads and Tales, Charles Scribner’s Sons, New
York, 1936, pgs. 185 and 186
PROVENANCE
$800–1,200
PROVENANCE
$2,000–3,000
PROVENANCE
$800–1,200
39
64
65
ALEXANDER PROCTOR (American, 1860-1950)
KATHERINE WEEMS LANE (American, 1899-1989)
Head of a Cowboy
Bronze
Signed “A.P. Proctor” with foundry mark “Roman Bronze NY”
12” high
Kangaroo
Signed “K.L. Weems” with foundry mark “RBW”
12” high
PROVENANCE
$2,500–3,500
PROVENANCE
$3,000–5,000
41
66
BEN SHAHN (American, 1898-1969)
Three offset lithographs in colors published by the
Political Action Committee:
Break Reactions Grip, ca. 1946
41 3/8” x 20” (sheet)
Warning! Inflation Means Depression, ca. 1946
41 1/8” x 27 5/8” (sheet)
For All These Rights We’ve Just Begun to Fight, 1946
28 7/8” x 38” (sheet)
PRINTER
United States Government Printing Office for the
Office of War Information
PROVENANCE
67
68
The Dialogue
Mixed media on paper (framed)
Signed
39 1/2” x 25” (sight)
Untitled Figure Study for Roosevelt Mural
Ink on paper
32” x 23” (sheet)
PROVENANCE
$2,000–4,000
PROVENANCE
$1,000–1,500
$1,500–2,500
43
71
THOMAS HART BENTON
(American,1889-1975)
Slow Train Through Arkansas, 1941
Lithograph (framed)
Signed
10 1/2” x 13 1/8” (sight)
LITERATURE
Fath 46
PROVENANCE
$2,000–3,000
69
Untitled
Three ink on paper
Each with estate authentication
Largest: 17 1/2” x 10 1/2” (sheet)
Smallest: 12 3/4” x 10 1/4” (sheet)
PROVENANCE
The Estate of Ben Shahn, New Jersey
$1,000–1,500
70
72
JUSTINE FULLER (American, 1925 -1965)
O. LOUIS GUGLIELMI
(American, 1906-1956)
Untitled, 1946
Oil on board (framed)
Signed and dated
24 3/8” x 21”
PROVENANCE
$800–1,200
Untitled
Tempera and collage on paper (framed)
12 1/2” x 8 3/4” (sight)
PROVENANCE
Washburn Gallery, New York (label)
$1,800–2,400
45
Fern Coppedge is one of the most well-known artists of the New Hope Circle. She was
likewise an early member of The Philadelphia Ten, a group of gifted women artists who
joined in 1917 to promote their work and support one another in a male-dominated field.
Coppedge was renowned for trekking through heavy weather and thick brush to obtain
the perfect vantage for her landscapes - a direct contrast to the stereotypical female
‘parlor painter’ of the early 20th century.
Fern Coppedge’s palette is singularly vibrant relative to that of her New Hope Circle
contemporaries: vivid blues, roses, oranges and golds that stray from nature. She knew
her perception of color was unique; as a child, she was often chided for seeing hues and
tones that others did not. In her later work, she flattened her compositions with uniform
planes of color. Her fearless use of color in landscapes and other representative subject
matter defines her appeal to collectors of both figurative American art and Modernism.
73
FERN ISABEL KUNS COPPEDGE (American, 1883-1951)
Spring on the Delaware
Oil on canvas (Ben Badura frame)
Signed
16” x 16”
PROVENANCE
$20,000–30,000
47
74
DANIEL GARBER (American,1880 -1958)
Edge of the World, 1925
Etching (framed)
Signed, titled and noted DG imp.
7 3/4” x 9” (plate)
8 1/8” x 9 3/8” (sight)
PROVENANCE
$1,200–1,800
75
76
VIRA B. M c ILRATH SCHEIBNER (American, 1889-1956)
HUGH H. BRECKENRIDGE (American, 1870-1937)
Untitled
Signed
22” x 28”
A Moonlit Path, ca. 1911-12
24 1/8” x 20 1/4”
PROVENANCE
$2,000–3,000
PROVENANCE
$4,000–6,000
49
77
HENRY BAYLEY SNELL
(American, 1858-1943)
Untitled
Signed
11 1/2” x 13 1/2”
PROVENANCE
$2,500–3,500
78
HENRY BAYLEY SNELL
(American, 1858-1943)
A Stiff Breeze
Oil on illustration board (framed)
Signed
7 1/2” x 10 1/2”
PROVENANCE
Worcester Art Museum, Massachusetts
(label on verso)
$2,000–3,000
79
ROBERT SPENCER (American, 1879-1931)
The Grey Bridge
Signed
12 1/4” x 14 1/4”
PROVENANCE
$8,000–12,000
51
As a central figure in the New Hope Circle and an early exhibitor with The Philadelphia
Ten, Mary Elizabeth Price is a significant figure in American Art. Born into a family already
immersed in the arts, Price studied under Daniel Garber and Hugh H. Breckenridge at the
Pennsylvania Academy of the Fine Arts. She utilized methods mastered by artists of the
Renaissance in her own work, combining gesso, red clay, gold leaf and oil paint to create
compositions uniquely her own.
The Well Digger from Titusville, painted in 1928, embodies Price’s desire to capture the
everyday. Price’s varied and clipped brushstrokes present a dichotomous painting which
places the hard edges of heavy machinery against the soft foliage of the New Jersey
countryside. Painted a year after Price received the prestigious Carnegie Prize for Best
American Oil Painting, The Well Digger from Titusville, demonstrates Price’s original style and
mature painterly approach.
80
MARY ELIZABETH PRICE (American, 1877-1965)
The Well Digger from Titusville, 1928
Signed and titled
26 1/8” x 20”
EXHIBITION
The Painterly Voice, Bucks County’s Fertile Ground,
James A Michener Art Museum, Doylestown, PA,
October 22, 2011-April 1, 2011
PROVENANCE
Gratz Gallery, New Hope, PA (label on verso)
$30,000–50,000
53
81
WALTER EMERSON BAUM (American, 1884-1956)
Untitled (Easton)
Signed
16” x 20”
PROVENANCE
$3,000–5,000
82
WALTER EMERSON BAUM (American, 1884-1956)
Untitled
Signed
4” x 5”
PROVENANCE
The artist
Private Collection
$1,500–2,500
83
WILLIAM LANGSON LATHROP (American, 1859-1938)
Untitled
Signed
25 1/2” x 22”
PROVENANCE
Malcolm Polis, The Plymouth Meeting Gallery, Plymouth Meeting, PA
$8,000–12,000
55
84
86
ANTHONY MICHAEL AUTORINO
(American, 1937-2015)
JOSEPH BARRETT (American, b. 1936)
New Hope from Lewis Island, 2002
Signed, dated and titled
22” x 28”
PROVENANCE
$2,400–3,600
PROVENANCE
$1,800–2,500
85
87
JOSEPH MEIERHANS
(American, 1890-1980)
JOSEPH BARRETT (American, b. 1936)
Untitled, 1946
Pastel on paper (framed)
Signed and dated
10 1/4” x 13 1/2” (sight)
PROVENANCE
$800–1,200
Yellow House
Oil on canvas (in artist-made frame)
Signed and titled
16” x 14”
Lambertville in Snow
Oil on canvas (in artist-made frame)
Signed and titled
16” x 14”
PROVENANCE
$1,200–1,500
57
90
(American, 1937-2015)
Morning Lambertville from H.Q. Road, 2002
14” x 16”
PROVENANCE
$1,200–1,800
88
ROBERT WALTSAK (American, b. 1944)
Sailing off of Mantoloking Shores
Oil on canvas (artist frame)
Signed and titled
36” x 60”
PROVENANCE
$1,200–1,800
91
(American, 1937-2015)
August, Harvey Cedars, 2002
8” x 11 1/2”
PROVENANCE
$800–1,200
89
ROBERT WALTSAK (American, b. 1944)
A Day in Bay Head
Oil on canvas (artist frame)
Signed
24” x 30”
PROVENANCE
$800–1,200
59
92
93
ROBERT KULICKE (American, 1924–2007)
BRUCE KURLAND (American, 1938-2013)
Untitled (Pear)
Oil on wood panel
Initialed
14” x 8 1/2”
Bone, 1973
Initialed, dated and titled
8” x 10”
PROVENANCE
Collection of Edward & Audrey Sabol
$1,500–2,500
PROVENANCE
$1,200–1,800
94
RICHARD ALAN SCHMID (American, b. 1934)
Gaylordsville, Connecticut, 1960
18” x 20”
PROVENANCE
The artist
$12,000–18,000
61
95
97
ANNE STEELE MARSH
(American, 1901-1995)
ERIC SLOANE (American, 1905-1985)
In the Corner, ca. 1962
Signed
29 1/2” x 24”
PROVENANCE
The artist
Wood Bin
Signed and titled
23” x 24”
PROVENANCE
$3,000–5,000
$1,200–1,800
96
98
GARY ERBE
(American, b. 1944)
ERIC SLOANE (American, 1905-1985)
Untitled, 1965
Signed and dated
40” x 42”
PROVENANCE
Sea Breeze
Signed and titled
20 1/8” x 24”
PROVENANCE
$3,000–5,000
$3,000–5,000
63
99
100
ROMARE BEARDEN (American, 1911-1988)
ROMARE BEARDEN (American, 1911-1988)
Untitled (Black in America), ca. 1974
32 3/8” x 23” (sight)
Mother and Child, 1971
Screenprint in colors and offset lithograph
24” x 18” (sheet)
PROVENANCE
PRINTER
$3,000–5,000
Shorewood Bank Street Atelier, New York
PUBLISHER
The Center for Constitutional Rights, David Godine, 1972
LITERATURE
Gelburd/Rosenberg GG#34
PROVENANCE
$2,500–3,500
101
ROBERT GWATHMEY (American, 1903-1988)
Still Life, 1967
Signed
30 1/4” x 24 1/8”
EXHIBITION
Robert Gwathmey, Guild Hall Museum, New York, July 28-September 16, 1984
PROVENANCE
Terry Dintenfass Gallery, New York (label on verso)
$7,000–10,000
65
102
JACOB LAWRENCE
(American, 1917-2000)
The Library, 1978
Screenprint in colors (framed)
Signed, dated, titled and numbered A.P.
18/30
12 1/8” x 16 3/8” (sight)
PRINTER
The Screen Workshop, East Hampton,
New York
PUBLISHER
Five Towns Music and Art Foundation,
Woodmere, New York
LITERATURE
Nesbett L78-1
PROVENANCE
$3,000–5,000
103
ROBERT GWATHMEY
(American, 1903-1988)
Non-Fiction, 1941
Screenprint in colors
Signed
21 3/4” x 17” (sheet)
LITERATURE
Williams 5
PROVENANCE
$800–1,200
104
HUMBERT L. HOWARD (American, 1905-1990)
Untitled, 1972
Signed and dated
31” x 25 1/4”
PROVENANCE
$2,500–3,500
67
Dorothy Norman was a photographer, writer, social activist and art patron. Born into a wealthy Philadelphia family in 1905,
Norman attended Smith College and the University of Pennsylvania, where she met and married the affluent Edward A. Norman.
The young couple moved to New York City, where, fortuitously, Norman wandered into Alfred Stieglitz’s Intimate Gallery in 1927.
This happenstance encounter resulted in a long term collaboration between Stieglitz and Norman, both professionally and
privately. In addition to her own accomplishments as a photographer, Norman worked as an editor and writer. She was also an
outspoken activist for civil rights in the 1930s and 1940s.
The next twelve lots feature items from Dorothy Norman’s personal collection.
107
ALFRED STIEGLITZ (American, 1864-1946)
Goats along the Seine, 1897
Two photogravures (framed separately)
11 1/2” x 16 5/8” (sight, each)
PROVENANCE
From the Collection of Dorothy Norman
$1,200–1,800
105
DOROTHY NORMAN
(American, 1905-1997)
Three works of art:
East Falmouth Meeting House, ca. 1930
Gelatin silver print
Signed, titled, dated with artist’s stamp
3 7/8” x 3”
Church Steeple, Cape Cod
Signed and titled with artist’s stamp
3” x 2 1/2”
Church Steeple, New England, ca. 1930
3 1/2” x 2”
PROVENANCE
$1,200–1,800
106
DOROTHY NORMAN
(American, 1905-1997)
Two works of art:
Moonflower, Woods Hole, Cape Cod, 1934
3 3/4” x 2 7/8”
Woods Hole Harbor, Cape Cod, ca. 1930
Signed, dated, titled with artist’s stamp
3 7/8” x 2 3/4”
108
EDWARD STEICHEN (American, 1879-1973)
J.P. Morgan, 1903
Gelatin silver print dry-mounted to board
Inscribed
10” x 7 7/8” (image)
12 7/8” x 10” (sheet)
PROVENANCE
$1,000–1,500
PROVENANCE
$1,000–1,500
69
109
ANSEL ADAMS
(American, 1902-1984)
Untitled (John Marin Painting)
Gelatin silver print dry-mounted to board
Signed
7” x 9 1/4” (image)
10 7/8” x 14” (sheet)
PROVENANCE
$800–1,200
111
JAMINI ROY (Indian, 1887-1972)
Untitled
Four ink on paper mounted to board
Each signed
Largest: 6 1/4” x 5 3/8” (sheet)
10 1/8” x 7 3/8” (boards)
PROVENANCE
All pictured online
$1,500–2,500
110
112
DOROTHY NORMAN
(American, 1905-1997)
JAMINI ROY (Indian, 1887-1972)
John Marin
Twenty-two gelatin silver prints
Most initialed
Largest 5” x 3 3/8”
Smallest 3” x 2 1/8”
PROVENANCE
Untitled
Three ink on paper mounted to board
Each signed
Largest: 4 1/2” x 6” (sheet)
10 1/4” x 7 1/2” (boards)
PROVENANCE
$2,000–3,000
All pictured online
$1,000–1,500
71
113
ALLEN GINSBURG (American, 1926-1997)
Untitled (Dorothy Norman in her New York Home,) 1987
Five gelatin silver prints
Each signed and inscribed
14” x 10 7/8” (each)
PROVENANCE
All pictured online
$800–1,200
114
115
LIBRARY OF DOROTHY NORMAN
EPHEMERA FROM DOROTHY NORMAN
Seven books:
“Photo-Secession” pamphlet from 4/10/1908
Sandburg, Carl, Steichen, Edward: The Photographer, Harcourt,
Brace and Company, pub., 1929 (noted: out of series, signed by
Steichen and Sandburg)
Exhibition materials from Intimate Gallery, various materials 19251929 including exhibition information on John Marin, Georgia
O’Keeffe, Marsden Hartley, Arthur Dove, Francis Picabia, Peggy
Bacon
America & Alfred Steiglitz: A Collective Portrait, Doubleday, Doran
& Company, Inc., 1934 (inscribed and signed by Steiglitz)
Along with two other books signed by Dorothy Norman and three
unsigned books
PROVENANCE
$1,000–1,500
Seven volumes of “Twice a Year” (Vol. 1 three copies, Vol. III-IV,
V-VI, VII, X-XI)
Handwritten edits by Dorothy Norman (possibly of Twice a Year)
Catalogues: Selections from the Dorothy Norman Collection on
Exhibition at the Philadelphia Museum of Art, 5/24 thru 9/1/1968
Alfred Stieglitz: Photographer, Museum of Fine Arts, Boston, 1965
Alfred Stieglitz: Introduction to American Seer, by Dorothy
Norman
116
117
MIKLOS L. SEBEK (American, b. 1941)
ETTORE COLLA (Italian, 1896-1968)
Homage to Gaudi, 1983
Signed and numbered 1/12 (only two produced, 1/12 and AP)
30” high
32” high (with base)
Untitled
Ceramic on wood base
Signed
14 1/2” high
20” x 6” x 6” (with base)
EXHIBITION
51st Annual Exhibition, Aububon Artists, Inc., National Arts Club,
New York, 1993 (received Silver Medal of Honor Award)
The Intimate Eye: Photographs by Dorothy Norman at the Guild
Hall Museum, East Hampton, New York 6/22/1986 thru 7/27/1986
(two)
PROVENANCE
$2,500–3,500
PROVENANCE
Private Collection, Nebraska
$1,800–2,400
PROVENANCE
$600–800
73
118
CHARLOTTE YAZBEK (Mexican, 1919-1989)
Broken Man, 1964
Bronze on wood base
Signed and dated
17 1/2” x 15” x 13” (with base)
PROVENANCE
$3,000–5,000
120
119
RUFINO TAMAYO (Mexican, 1899-1991)
FRANCISCO ZUNIGA (Mexican, 1912-1998)
Four works on paper:
Untitled (Woman), 1975
Bronze
Signed, dated and numbered IV/X
19” high
Cabeza
Woodcut (framed)
Signed
11 7/8” x 7 5/8” (plate)
13 1/2” x 9” (sight)
PROVENANCE
$2,000–3,000
Untitled (Caricature)
Pencil on paper
Signed
9 1/2” x 8 1/2” (sheet)
Feliz Año Nuevo
Woodcut
3 1/2” x 4 3/4” (sheet)
Untitled (Tamayo)
Paper cut-out
Unsigned
7” x 5 1/4” (sheet)
PROVENANCE
The artist
Betty Esman
Note: Betty Esman (Samuels) was an artist who had her first
gallery opening with Milton Avery. Betty and her husband, Vernon
Samuels, were good friends of Olga and Rufino Tamayo and
collected many of Tamayo’s works. This lot is accompanied by
a handwritten note from Betty Esman describing the occasion
when Tamayo created the “Cabeza” woodcut while visiting her.
The lot also includes a second unsigned example of this image.
The pencil drawing was also created created when Tamayo was
visiting her New York studio and apartment. The cutout was sent
by Tamayo to friends as a Christmas card. The Betty and Vernon
Samuels Papers are now held by the Smithsonian.
$3,000–5,000
75
121
124
HANS ERNI
(Swiss, 1909-2015)
Mujer con los Brazos en Alto, 1976
Mixografia (framed)
29 7/8” x 22 1/2” (sheet)
PRINTER
Taller de Gráfica Mexicana, Mexico City
PUBLISHER
Transworld Art, New York
PROVENANCE
Untitled, 1950
Tempera on paper (framed)
Signed and dated
38 3/4” x 29 3/4” (sight)
PROVENANCE
Main Street Galleries, Chicago (original
sales receipt)
$2,000–3,000
$1,500–2,000
125
ENRICO PONTREMOLI
(Italian, 1914-1968)
Untitled
Signed
23 1/2” x 28 3/4”
PROVENANCE
$1,000–1,500
122
123
GERARDO CANTU (Mexican, b. 1934)
Salome, 1983
Lithograph in colors on paper (framed)
30” x 21 1/2” (sheet)
2 Mujeres
Signed
47 1/8” x 35 3/8”
PROVENANCE
PROVENANCE
Private Collection, Texas
$800–1,200
$800–1,200
77
126
SALVADOR DALI (Spanish, 1904-1989)
Ace of Spades and Jack of Diamonds from Playing Cards, 1967
Lithograph in colors
Signed and numbered
26 3/4” x 19 1/2” (sheet, each)
PRINTER
Draeger Frères, Paris
PROVENANCE
$1,500–2,500
127
SALVADOR DALI (Spanish, 1904-1989)
Crucifixion, 1980
Black marble sculpture with sixteen brass appliqués, twelve metal
rays and four red beads
Signed “Dalí” and numbered, inscribed and dated “92/750 ©
DALART N. V. 1980”
14” x 9 1/2” x 1 1/8”
PROVENANCE
Private Collection, North Carolina
$2,000–3,000
128
M.C. ESCHER (Dutch, 1898–1972)
Ascending and Descending, 1960
Lithograph (framed)
Signed and noted No 2 21/50 II
16 1/8” x 12 3/4” (sight)
LITERATURE
Bool 435
PROVENANCE
Private Collection, Arizona
$15,000–20,000
79
131
PABLO PICASSO (Spanish, 1881-1973)
Carnaval (Carnival), 1967
Linocut in colors (framed)
25” x 20 1/2” (image), 27 3/8” x 22 3/4” (sight)
129
PRINTER
GEORGES BRAQUE (French, 1882-1963)
Arnéra, Vallauris
Théière et Pommes, 1946
Signed and noted H.C.
18 3/4” x 29” (sight)
PUBLISHER
Arnéra, Vallauris
LITERATURE
Bloch 1242
PUBLISHER
PROVENANCE
Maeght Éditeur, Paris
Private Collection, Florida
LITERATURE
$5,000–7,000
Vallier 33
PROVENANCE
$4,000–6,000
130
131A
GEORGES BRAQUE (French, 1882-1963)
Le Char II, 1953
18 1/2” x 24” (sheet)
Untitled, 1929
Lithograph in Le Manuscrit Autopraphe book
11” x 8 3/4” (sheet)
PUBLISHER
Bloch 96; Mourlot XXVI; Cramer 17
LITERATURE
Vallier 81
LITERATURE
PROVENANCE
$1,500–2,500
PROVENANCE
$1,500–2,500
81
133
134
Jeune Femme, 1949
Lithograph (framed)
Numbered 47/75
17 3/8” x 12 5/8” (sight)
Homme nu assis en Tailleur et deux femmes, 1968
Etching and aquatint on wove paper (framed)
3 1/4” x 2 1/4” (plate)
5 1/8” x 4 1/2” (sight)
PRINTER
Mourlot, Paris (1953)
PUBLISHER
Mourlot, Paris for Centenaire Mourlot
LITERATURE
Mourlot 153, Bloch 1836
PROVENANCE
132
JOAN MIRO (Spanish, 1893-1983)
$3,000–5,000
La lumiere de la lame; Anti-platon, 1962
Four etchings in colors (framed separately)
Each numbered 14/15
3 1/2” x 5” (plate, each)
4” x 5 1/4” (sight, each)
PRINTER
Crommelynck
PUBLISHER
Galerie Louis Leiris, Paris
LITERATURE
Bloch 1600, Baer 1616
PROVENANCE
Private Collection, Florida
$2,000–3,000
PUBLISHER
LITERATURE
Dupin 309-335, Cramer books 77
PROVENANCE
$2,000–3,000
83
135
137
CLAUDE VENARD (French, 1913-1999)
Plate 19 from Album 19, 1961
Lithograph (framed)
26” x 20” (sheet)
Nu Sur la Plage
Signed
39 1/2” x 39 1/2”
PRINTER
Maeght, Paris
PUBLISHER
Maeght, Paris
LITERATURE
PROVENANCE
Galerie Romanet Rive Gauche, Paris (label
on verso)
$5,000–7,000
Fernand Mourlot 330
PROVENANCE
$1,500–2,500
136
138
CLAUDE VENARD (French, 1913-1999)
L’Astre Patagon from Derrière le Miroir,
1960
17 3/4” x 23 7/8” (sight)
Untitled, 1963
Signed and dated
39 1/2” x 39 1/2”
LITERATURE
Mourlot 265
PROVENANCE
$5,000–7,000
PROVENANCE
$1,000–1,500
85
139
PABLO PICASSO
(Spanish, 1881-1973)
L’abduction from Séries 156, 1966
Etching on wove paper (framed)
Stamped signature (as issued) and
numbered 12/50
8 5/8” x 12 1/2” (plate)
10 7/8” x 14 5/8” (sight)
PUBLISHER
Galerie Louise Leiris, Paris, 1978
PROVENANCE
$1,200–1,800
140
141
142
AFTER PABLO PICASSO
(Spanish, 1881-1973)
AFTER PABLO PICASSO (Spanish, 1881-1973)
AFTER PABLO PICASSO (Spanish, 1881-1973)
Portraits Imaginaires, (6.4.69 II), 1969
Noted F Hors Commerce
25 7/8” x 19 3/4” (sheet)
Portraits Imaginaires, (26.3.69 III), 1969
25 7/8” x 19 3/4” (sheet)
PRINTER
PRINTER
Portraits Imaginaires, (26.3.69 II), 1969
25 7/8” x 19 3/4” (sheet)
PRINTER
Marcel Salinas
PUBLISHER
Edition Cercle d’Art, Paris
PROVENANCE
$2,000–2,500
$2,000–2,500
Marcel Salinas
$2,000–2,500
PUBLISHER
PROVENANCE
Marcel Salinas
PUBLISHER
PROVENANCE
87
143
145
LE COURBUSIER (French, 1887-1965)
RAYA SORKINE
(French, b. 1936)
Les Trois Femmes Assises, 1940/43
18 1/8” x 13 5/8” (sight)
PUBLISHER
Mourlot, Paris
PROVENANCE
La vie de Poetes
Signed
45” x 57 1/2”
PROVENANCE
Private Collection, Tennessee
$3,000–5,000
$1,800–2,400
146
MARC CHAGALL
(French/Russian, 1887-1985)
The Couple under the Curtain, 1984-85
Signed and noted ‘bon a tirer’
20 7/8” x 16 7/8” (sight)
LITERATURE
Mourlot 1044
PROVENANCE
$2,000–3,000
144
HENRY MOORE (British, 1898-1986)
Two works of art:
Two Women Bathing Child II, 1973
Signed and numbered H.C. XXV/XXV
19 1/2” x 25 1/2” (sheet)
LITERATURE
Cramer 310
Sculptural Objects, 1949
Offset lithograph in colors (framed)
Signed and dated in the plate
19 1/2 x 29 3/4” (sight)
PROVENANCE
$1,500–2,500
89
147
MARC CHAGALL (French/Russian, 1887-1985)
Le P
etit Poisson et le Pecheur from the Fables
of La Fontaine, 1927/1930
Etching with watercolor (framed)
Signed in plate
11 1/2” x 9 1/4” (plate)
13 5/8” x 11 1/4” (sight)
PRINTER
Maurice Potin, Paris
PUBLISHER
Tériade, Paris
PROVENANCE
$800–1,200
148
149
XXE SIECLE, NOUVELLE SERIE, NO 22, NOEL 1963, E´QUIVALENCES ET CONFRONTATIONS
NAT NEUJEAN (Belgian, b. 1923)
Three original lithographs, in colors, by Magritte, Victor Brauner and César
Edition of approximately 2000
9 1/2” x 12 3/8” (sheet, each)
Untitled
Bronze
55” x 20” x 21”
PRINTER
Mourlot, Paris
PUBLISHER
Maeght, Paris
PROVENANCE
PROVENANCE
The artist
$5,000–7,000
$600–800
91
154
SAMUEL BAK (Polish, b. 1933)
Untitled, 1959
Signed and dated
18” x 21 1/2”
150
151
MASSIMO CAMPIGLI (Italian, 1895-1971)
ZORAN ANTONIO MUSIC (Italian, 1909-2005)
Le Bagnanti, 1955
Signed and dated
19 3/4” x 25 5/8” (sheet)
Donne Dalmate, 1953
15 1/8” x 22 1/4” (sheet)
$1,500–2,500
PROVENANCE
PROVENANCE
PROVENANCE
$600–800
$600–800
155
RENATO CRISTIANO (Italian, b. 1926)
Untitled, 1961
Signed and dated
12 1/4” x 18 3/8”
PROVENANCE
$2,000–3,000
152
153
BEN BENN (American/Russian, 1884-1983)
MARY CALLERY (American, 1903-1977)
Red Sunset
Signed and titled
8 3/4” x 11 3/4” (sight)
Mother and Child
Bronze mounted to steel plate
6” x 9 3/4” x 3 1/2”
PROVENANCE
Private Collection, Washington D.C.
$800–1,200
PROVENANCE
$800–1,200
93
159
BILL SCHENCK (American, b. 1947)
Sunset on the Mimbres River, 1987
Oil on canvas
39 7/8” x 39 7/8”
PROVENANCE
Elaine Horwitch Galleries (label on verso)
$2,000–3,000
156
157
PANG TSENG YING (American/Chinese, 1916–1997)
Untitled
Signed
34 3/4” x 14 3/4” (sight)
Untitled
Signed
22 7/8” x 10 7/8” (sight)
PROVENANCE
PROVENANCE
$1,000–1,500
$800–1,200
160
JANE WILSON (American, 1924-2015)
Blow the Wind Westerly, 1963
60” x 70”
EXHIBITION
Recent Landscapes by Eight Americans,
Museum of Modern Art, New York
Women, The North Carolina Museum of
Art, North Carolina, February 25-April 20,
1972
PROVENANCE
158
Tibor de Nagy, New York
Graham Gallery, New York (label on verso)
$2,000–3,000
Untitled
Signed
22 7/8” x 10 7/8” (sight)
PROVENANCE
$800–1,200
95
ARTIST LISTING
Adams, Ansel (American, 1902-1984)
109
After Pablo Picasso (Spanish, 1881-1973)
140, 141, 142
Autorino, Anthony Michael (American, 1937-2015)
Bak, Samuel (Polish, b. 1933)
84, 90, 91
154
Lever, Hayley (American, 1876-1958)
44
Lovet-Lorski, Boris (Lithuanian/American, 1894-1973)
26
Marin, John (American, 1870 - 1953) 29
Marsh, Anne Steele (American, 1901-1995)
95
Barrett, Joseph (American, b. 1936)
86, 87
Matisse, Henri (French, 1869-1954)
35
Baum, Walter Emerson (American, 1884-1956) 81, 82
Meierhans, Joseph (American, 1890-1980)
85
Bearden, Romare (American, 1911-1988)
99, 100
Miró, Joan (Spanish, 1893-1983)
Beckwith, James Carroll (American, 1852-1917)
42
Moerenhout, Joseph (Belgian,1801-1875)
Bell, Cecil (American, 1906-1970) 39
Moore, Henry (British, 1898-1986)
Benn, Ben (American/Russian, 1884-1983)
Benton, Thomas Hart (American,1889-1975)
Besnard, Albert (French, 1849-1934)
Braque, Georges (French, 1882-1963)
12
144
152
Moran, Edward (American, 1829-1901) 7
71
Mucha, Alphonse (Czech, 1860-1939) 21
14
Music, Zoran Antonio (Italian, 1909-2005)
151
Neujean, Nat (Belgian, b. 1923)
149
129, 130
Breckenridge, Hugh H. (American, 1870-1937) 132, 135, 136
76
Norman, Dorothy (American, 1905-1997)
Brignoni, Serge (Swiss, 1903-2002) 33
Paradise, Phil (American, 1905-1997) Callery, Mary (American, 1903-1977)
153
Parrish, Maxfield (American, 1870–1966)
Campigli, Massimo (Italian, 1895-1971)
150
Picasso, Pablo (Spanish, 1881-1973) Cantu, Gerardo (Mexican, b. 1934)
123
Pontremoli, Enrico (Italian, 1914-1968)
125
Price, Mary Elizabeth (American, 1877-1965) 80
Cappiello, Leonetto (Italian, 1875-1942)
41
Chagall, Marc (French/Russian, 1887-1985)
146, 147
Chase, William Merritt (American, 1849-1916) 9
105, 106, 110, 114, 115
47
13
131, 131A, 133, 134, 139
Pritchard, George Thompson (American, 1878-1962)
5
Proctor, Alexander (American, 1860-1950) 64
Chéret, Jules (French, 1836-1932)
20
Ragan, Leslie (American, 1897 -1972) 40
Colla, Ettore (Italian, 1896-1968)
117
Rouault, Georges (French, 1871-1958)
34
Conkling, Mabel (American, 1871-1966) 63
Roy, Jamini (Indian, 1887-1972)
Coppedge, Fern Isabel Kuns (American, 1883-1951)
73
Scheibner, Vira B. McIlrath (American, 1889-1956) Cristiano, Renato (Italian, b. 1926)
155
Dali, Salvador (Spanish, 1904-1989)
126, 127
Schenck, Bill (American, b. 1947)
Schiele, Egon (Austrian, 1890-1918)
111, 112
75
159
11
Erbe, Gary (American, b. 1944)
96
Schmid, Richard Alan (American, b. 1934) 94
Erni, Hans (Swiss, 1909-2015) 124
Sebek, Miklos L. (American, b. 1941)
116
Escher, M.C. (Dutch, 1898–1972)
128
Shahn, Ben (American, 1898-1969)
66, 67, 68, 69
Fiene, Ernest (German/American, 1894-1965) 38
Sharp, Joseph Henry (American, 1859-1953) 3
Floch, Joseph (Austrian, 1895 -1977) 37
Sloan, John (American, 1871-1951)
6
Fuller, Justine (American, 1925 -1965) 70
Sloane, Eric (American, 1905-1985) 97, 98
Garber, Daniel (American,1880 -1958)
74
Snell, Henry Bayley (American, 1858-1943)
77, 78
Gasser, Henry Martin (American, 1909-1981) 45, 46
Sorkine, Raya (French, b. 1936)
145
Ginsburg, Allen (American, 1926-1997)
113
Spears, Ethel (American, 1903-1974)
23
Gruppe, Emile Albert (American, 1896-1978) 43
Spencer, Robert (American, 1879-1931) 79
Guglielmi, O. Louis (American, 1906-1956) 72
Steichen, Edward (American, 1879-1973)
Gwathmey, Robert (American, 1903-1988)
101, 103
Stieglitz, Alfred (American, 1864-1946)
108
22
Tamayo, Rufino (Mexican, 1899-1991)
120, 121, 122
Helleu, Paul César (French, 1859-1927) 16
Tucker, Allen (American, 1866- 1939) 27, 28
49, 50, 51, 52, 53, 54, 55,
56, 58, 59, 60, 61, 62
Howard, Humbert L. (American, 1905-1990)
Ilsted, Peter Vilhelm (Danish, 1861-1933) 104
17, 18, 19
Kent, Rockwell (American, 1882-1971)
24
Kosa, Jr, Emil (American, 1903 -1968) 48
Kroll, Leon (American, 1884-1974)
Kulicke, Robert (American, 1924–2007) Kuniyoshi, Yasuo (American/Japanese, 1893–1953)
8
92
30, 31, 32
van Hoytema, Theodorus (Dutch, 1863-1917)
Venard, Claude (French, 1913-1999) 10
137, 138
Walker, William Aiken (American, 1838-1921)
1
Walkowitz, Abraham (American/Russian, 1878-1965)
2
Waltsak, Robert (American, b. 1944)
Waugh, Frederick Judd (American, 1861-1940) Williams, Alfred Walter (British, 1824-1905) 88, 89
4
15
Wilson, Jane (American, 1924-2015)
160
Kurland, Bruce (American, 1938-2013) 93
XXe siecle, Nouvelle serie,No 22, Noel 1963,
E´quivalences et confrontations
148
Lane, Katherine Weems (American, 1899-1989)
65
Yazbek, Charlotte (Mexican, 1919-1989)
118
Lathrop, William Langson (American, 1859-1938)
83
Ying, Pang Tseng (American/Chinese, 1916–1997)
Laurencin, Marie (French, 1883-1956)
36
Zúñiga, Francisco (Mexican, 1912-1998)
Lawrence, Jacob (American, 1917-2000)
102
Le Corbusier (French, 1887-1965)
143
Lebrun, Rico (Italian/American, 1900-1964)
25
1. GENERAL
Questions?
Contact Miriam Tucker, Managing Partner
[email protected]
Each lot in this catalogue is offered for sale
subject to the terms set out below, as changed
or supplemented by provisions a) written in other
places within these Terms of Sale, b) in written
supplements to this Catalogue or other materials
prepared by us and c) as stated by the auctioneer
or posted in writing at the auction, prior to a bid
being accepted for a lot. No other communications
by any employee of the Auction House is intended
to be binding, and such communications are
made for informational purposes only. By bidding
at the auction the buyer and all bidders agree to
be bound by these terms or those changed and
supplemented, whether bidding in person, through
a representative, by phone, by internet, or other
absentee bid.
Rago Arts and Auction Center (Hereafter referred to
as “the Auction House”).
609-397-9374 (p) / 609-397-9377 (f)
All bidders are responsible for reading and
understanding these Terms of Sale, as well as any
supplemental notices. If you have any questions
after having read the Terms of Sale, please contact
the C.E.O., Miriam Tucker, at [email protected]
or 609.397.9374, extension 141.
All items in our Unreserved Auctions are “As-Is,
Where-Is.”
Upon the fall of the auctioneer’s hammer, the
successful bidder becomes the buyer and owner of
the property and is responsible for the property, the
amount of the successful bid, the buyer’s premium,
applicable taxes, and other charges provided
for in the Terms of Sale in U.S. Dollars, payable
immediately.
The thirty (30) day warranty shall commence on
the date of sale and continue to run without any
tolling even if the Buyer within that thirty (30) day
period 1) fails to inspect or pay, 2) requests delay in
shipment, 3) provides incorrect shipping address or
information or 4) is unavailable to receive shipment.
Sales Results: Preliminary results will be available
online shortly after each sale at www.ragoarts.com.
Final sales results will be available as soon as the
Auction House has audited and verified all sales,
usually within one day of the auction.
The Auction House retains all rights to photographs
and other intellectual property contained in this
catalogue.
2. AUCTIONEER’S DETERMINATION FINAL
A lot will be sold to the highest bidder as
determined in the sole and exclusive judgment
of the auctioneer. The auctioneer will also have
the sole and exclusive power and authority to a)
resolve any disputes between bidders, b) determine
whether to pass or re-offer a lot for sale, c) reject
or challenge any bid or advance in the bidding,
d) exclude any bidder from the premises and e)
otherwise regulate the bidders, the bidding and its
increments.
107
Hassam, Childe (American, 1859-1935) Hoffman, Malvina (American, 1887-1966)
Terms of Sale
156, 157, 158
119
3. BUYER’S PREMIUM, PURCHASE PRICE, TAXES,
AND BILLING
For purchases made in the room or by phone or by
absentee bid and paid for by check, cash, money
order or wire transfer: A buyer’s premium will be
applied to the hammer price of each lot equal to
25% on the first $200,000; 20% between $200,000
and $3 million.
For purchases made in the room or by phone or
by absentee bid and paid for by Visa, MasterCard,
Discover or PayPal: A 2% surcharge will be added to
the total invoice (hammer price, buyer’s premium as
above, any applicable taxes).
For purchases made through any online bidding
platform, regardless of means of payment: A buyer’s
premium will be applied to the hammer price of
each lot equal to 28% on the first $200,000; 23%
between $200,000 and $3 million.
Taxes: If you are shipping to a New Jersey address
or if you pick up the lots you have won at our New
Jersey location, you must pay the State’s 7% sales
tax. The only exception is for those who hold a
97
valid resale license and file the completed New
Jersey State Sales Tax Form (New Jersey Seller’s
Certificate Form ST3 or Non New Jersey Seller’s
Certificate Form ST-3NR) with Rago at time of
payment. No New Jersey sales tax is charged for
purchases shipped out of state.
Billing: All successful bidders will be sent invoices
by e-mail or mail (if we do not have an email
address on file) within the two business days that
follow the auction.
4. METHODS OF PAYMENT AND FEES
Cash. Check. Wire Transfers. Money Order. Visa.
MasterCard. Discover. PayPal. (NOTE: A 2%
surcharge will be added for payments made by Visa,
MasterCard, Discover or PayPal. See Terms of Sale
paragraph 3.)
All payments are due immediately upon receipt of
invoice. We reserve the right to hold all goods paid
for by check until payment has cleared.
If payment is not received within fifteen (15) days,
the Auction House reserves the right to impose
from the date of sale a late charge of 1 1/2% a
month of the total purchase price.
5. PAYMENT, COLLECTION, AND SHIPPING
RESPONSIBILITIES OF BUYER
Buyer Obligations: On the fall of the auctioneer’s
hammer, title to the property immediately
transfers to the successful bidder who, in turn,
becomes the buyer of the Property. The buyer
immediately assumes full risk and responsibility
for the purchased Property, including all costs and
expenses of handling, shipping, insurance, taxes,
export, and otherwise, and is liable for the full
purchase price, plus the buyer’s premium, applicable
taxes, and any other associated expenses.
Collection of Property and Storage Charges:
The buyer will pay for the purchased Property
immediately and remove it from the premises of the
Auction House within fourteen (14) days of the sale.
We are not responsible for any damage or loss on
property purchased but not removed from premises.
If the purchased Property is not removed within
thirty (30) days of the sale, the buyer will thereafter
be assessed a $10 per lot storage charge per day.
The Auction House may, at its discretion, remove
the purchased Property to public storage at the
buyer’s risk and expense. All associated charges will
be added to the total invoice and must be paid in
full before the Property will be released.
Those who choose to pick up their property from
the Auction House following the sale must call
24 hours in advance to arrange pick-up. Regular
hours for pick up are Monday – Friday, from 9:00
a.m. – 11:30 a.m. and from 1:30 p.m. to 5:00 p.m.
Please bring your own packing materials. The
Auction House is closed on Federal holidays and on
Mondays following full auction weekends. Weekend
pick-ups are made by special arrangement and/or
by appointment only. Note: New Jersey sales tax of
7% must be added to your invoice when picking up
merchandise unless you have a valid resale number
on file.
The buyer is responsible for the shipment of
all purchased property. We will work with any
shipper of your choosing. If you have any shipping
preference for any reason, please make sure your
shipper carries insurance. We are not responsible
for any damage or loss that occurs while your
objects are in another’s care. We will also not be
responsible for any damage or loss that occurs
if you choose a shipping method that we have
advised against and we will require a waiver from
you acknowledging this.
As a convenience to the buyer, the Auction House
will, if requested, give your property to a third party
shipper. This company will pack and ship or arrange
shipment for you via UPS, FedEx or other carrier,
fully insured, for a fee payable in advance by credit
card. Shipments are made within a few days after
payment has been received.
All international customs, duties, and other tariffs
are the responsibility of the Buyer. The Auction
House and all third party shippers will declare the
selling price as the value in all cases.
Shipping larger items: Larger items are objects
such as furniture, andirons, floor vases, or any other
item whose safe packing will exceed the limits of
common carriers. The Auction House can arrange
delivery by freight almost anywhere in the United
States, fully insured, for a fee. The delivery of large,
heavy, or expensive objects is not an inexpensive
proposition and we urge you to consider this before
bidding.
Firearms: Rago sells only antique firearms as
defined by the U.S. Bureau of Alcohol, Tobacco and
Firearms. Due to New Jersey firearms regulations,
all handguns, pistols, and revolvers will only be
shipped via Federal Express and will only be
delivered to a person who holds a Federal Firearms
License or a Curios and Relics License. Handguns,
pistols, and revolvers can only be picked up at
Auction House by a person who holds a Federal
Firearms License or the proper New Jersey handgun
permits, which must be shown and logged. There
are no exceptions. No firearms will be sold or
shipped internationally.
Property purchased and left at the auction house
for 90 days will be sold or donated for you.
6. BUYER DEFAULT
Remedies: If any of the Terms of Sale are not fully
complied with by the buyer, the buyer will be in
default without need of notice by the Auction
House. The buyer shall be liable to the Auction
House and the consignor for the total purchase
price, including all premiums, charges, and expenses
specified in the Terms of Sale. Interest shall accrue
at the rate of 18% per annum commencing with the
date of the auction. In addition to other remedies
available to the Auction House by law, the Auction
House may, at its option, a) cancel the sale of the
lot(s) on which the buyer defaulted and of any
other lots sold to the defaulting buyer at the same
or any other auction(s) and retain as liquidated
damages all payments made by the buyer, b) resell
the purchased Property, whether at public auction
or private sale, or c) pursue any combination of
a) and b) above. In event of default, the buyer
will be responsible to the Auction House and the
consignor for any deficiency, any and all costs and
expenses, including reasonable attorneys’ fees,
collection fees and expenses, late charges, and
other damages. The Auction House may, at its
discretion, apply any proceeds of sale otherwise
due to the buyer or monies of the buyer in the
Auction House’s possession to reduce or satisfy the
buyer’s obligations.
Security Interest: As security for full payment to the
Auction House and the consignor of all amounts
due, the buyer grants the Auction House the
right to retain a security interest in the Property
purchased at auction and in any other property or
money of buyer in the Auction House’s possession
or coming the Auction House’s possession
(collectively, ’collateral’). The Auction House shall
have the rights of a secured creditor as provided by
the Uniform Commercial Code and other applicable
law. Such security interest in the Property or other
collateral will cease when the Property is physically
delivered to the buyer or the buyer’s agent.
7. WARRANTIES AND GUARANTEES
All items are served “As-Is, Where-Is,” except
as expressly stated otherwise in the following
paragraph:
All information in the catalogue concerning
authenticity is guaranteed for a period of thirty
(30) days from the date of sale. In that time, prior to
payment to the consignor of the work, the Auction
House will allow the buyer to submit, at his own
expense, an opinion in writing from a recognized
expert, pre-approved by the Auction House and
the purchaser, regarding authenticity. In the event
the work is judged inauthentic by the expert, the
work may be returned in the same condition as
at time of sale and the buyer’s full purchase price
will be refunded. Refunds shall not include costs
of transportation, insurance, or other expenses
that may have been incurred by the buyer. It is the
buyer’s responsibility to make payment in a timely
fashion such that the property can be released and
inspected within this thirty (30) day time frame.
Should the buyer not do so, or should the buyer
request the auction house to delay shipment,
should he give an incorrect shipping address, or be
unavailable to receive shipment, the thirty (30) day
warranty shall still apply. If the Auction House has
paid the consignor the amounts due consignor as a
result of the sale, the Auction House will (i) refund
to the buyer the amount of the buyer’s premium
and applicable taxes received from the buyer, and
(ii) make written demand upon the consignor for
the payment of the balance of the purchase price.
If the consignor fails to honor the written demand
for a refund of the balance of the purchase price,
the Auction House will furnish buyer the name
and address of the consignor, and assign to buyer
all of the Auction House’s rights for the return of
the balance of the purchase price of the affected
lot. Upon this disclosure and assignment, the
Auction House will have no further liability to buyer
or responsibility to pursue the buyer’s claim. The
Auction House will extend reasonable cooperation
to buyer, provided that such cooperation does
not require out-of-pocket expenditures by the
Auction House. This limited right of rescission is
available only to the original buyer and may not be
relied upon by any heir, agent, transferee, assign,
or other third party or assigned to any subsequent
transferee of the Property which gives rise to the
claim.
This Warranty does not cover any description that
states there is a conflict of specialist opinion; any
description that states (or is bracketed in a section
described as) “as-is“ or “not guaranteed.”
This Warranty does not cover any typographical
errors. This Warranty does not cover wear on
furniture. This Warranty does not cover flakes,
surface scratches, or manufacturing flaws in glass
or ceramics.
The description of clocks and lighting devices,
whether in catalogues or condition reports, may
be incomplete and not identify every mechanical
replacement, repair, or defect. The absence of
reference to the condition of a clock or lighting
device does not imply it to be in working condition
or without defects, repairs, restorations, or
replacement parts.
The description of jewelry, whether in catalogues,
condition reports, or any other form, is rendered
as opinion, including, but not limited to, specialist
opinion as to authenticity, the enhancement or
treatment of gemstones, the weight of gemstones,
the country of origin, the authorship or origin
(manufacture) of an item, its period (or c.) or the
authenticity of its marks.
No warranty is made that any watch is in working
condition or without defects, restorations, or
working parts.
Buyers are advised to check watch works prior to
auction.
All measurements are approximate.
This disclaimer of liability on our part applies
whether the information is included in the
catalogue, advertisements, announcements, or
communicated through our representatives, bills of
sale, or elsewhere, and whether written or oral.
No Warranty of Reproduction: Neither the
consignor nor we make any warranty or
representation, express or implied, as to whether
a buyer will acquire any reproduction rights,
copyrights or other intellectual property rights in, or
with respect to, the Property.
The Auction House makes no warranties, express
or implied, as to the merchantability or fitness for
purpose except as otherwise expressly stated in
these Terms of Sale.
8. QUALIFYING TO BID
As a security measure for our consignors and our
company, all bidders must establish credit. You will
be asked to furnish identification and a valid credit
card number, credit references and/or (for absentee,
phone and online bidders) an initial deposit in the
form of a pre-authorization hold equal to 10% of the
low estimate of the total number of lots on which
you are bidding. First time and international buyers
bidding on Asian lots with a total low estimate of
$5,000 or greater will be asked to a) furnish an
initial deposit in the form of a pre-authorization
hold equal to 30% and b) grant the Auction House
the right to charge your credit card 30% of the
selling price on the day of sale. If you are acting as
another’s agent or principal, we may request a letter
of authorization. If you are successful and do not
remit payment as specified, the amount owed will
be charged to your credit card together with such
charges set forth in these terms of sale. If you have
any questions, contact Eliane Talec, ext. 118.
Bidding Numbers: All bidders must register and
receive a bidding number from the Auction House
prior to bidding at the auction.
9. BIDDING INCREMENTS
All unreserved bidding starts at 50% of the low
estimate unless there are two or more competing
absentee bids in excess of this figure. The
auctioneer has the sole and exclusive power,
discretion, and authority to regulate the bidding
and its increments.
Increments
• $10 until $100 is reached
• $25 until $500 is reached
• $50 until $1,000 is reached
• $1,000 until $30,000 is reached
• $10,000 over $100,000
10. ABSENTEE BIDS
Absentee bids are requested by no later than
6:00 p.m. on the business day before the auction.
We accept absentee bids by phone, by mail, in
person, or by fax. Absentee bidders are emailed
bid confirmations – If you do not receive a
bid confirmation by the afternoon prior to the
auction, please call us. When you do receive a bid
confirmation, please double check for accuracy.
All absentee bidding is handled as though you are
in attendance. We buy all designated lots for you
one bidding increment above where competition
stops. Please check and comply with these
increments. In case of failure to comply, we will
reduce each off-increment bid to the next lower
figure.
“Plus” bids: Because of our structured bidding
increments, it is more likely that several people will
leave identical bids. Since an earlier bid left with
the auction house wins in the event of a tie, a later
bid with an added “plus” bid to the next increment
would win the piece.
Absentee bids left with third party online bidding
platforms are sent to the auction house as the lot
comes up for auction and not before. There is no
time advantage to absentee bids left with third
party online bidding platforms.
All absentee bidder names and bids are held in
strictest confidence, disclosed only in the event of
a question after the sale.
Absentee bidding is a convenience offered to our
customers and, while we will make every effort to
execute your instructions, the Auction House is
not liable or responsible for any errors or failure
to do so. If you place absentee bids with the
Auction House, then choose to attend in person,
bid by phone or any other means, it is solely your
responsibility to cancel any or all absentee bids
prior to the start of the auction.
11. TELEPHONE BIDS
Rago guarantees you a line and a phone agent for
bidding until 4 PM on the day prior to an auction.
After that time, we will gladly accept your absentee
bids, even during the auction (up to 30 minutes
before a lot goes on the block). Changes to bid
lists left with us prior to the deadline will always
be accommodated as best we can, as will follow-up
phone bids for those who attend/must leave the
auction and other exceptional cases.
If you need condition reports, please request and
review them prior to reserving phone lines.
Telephone bidders are emailed bid confirmations
– If you do not receive a bid confirmation by the
afternoon prior to the auction, please call us. When
you do receive a bid confirmation, please double
check for accuracy.
We can call you at two phone numbers ONLY during
the auction. If you are unsure of where you or your
agent will be during the sale, we recommend you
leave absentee bids.
Please do not change your phone number after
your phone lines have been confirmed; if you do,
the Auction House will not be responsible for any
breakdown in communications. Overseas phone
numbers only will be confirmed the day before the
auction.
We do not have the capacity to assign phone
agents to clients who want to listen only or who will
not bid the minimum selling price. Therefore, if you
bid by phone, you must be willing to open bidding
and bid to within 2/3 of the low estimate should
the bidding go that far. You may, however, leave
absentee bids for any amount.
Bids are placed on the telephone at the discretion
of the Auction House and at the caller’s risk.
Telephone bidding is a convenience offered to our
customers and, while we will make every effort to
execute your instructions, the Auction House is
not liable or responsible for any errors or failure to
do so.
If you place absentee bids with the Auction House
or Live Auctioneers and also bid in person, by phone
or any other means, it is solely your responsibility
to cancel any or all absentee bids prior to the start
of the auction. If you do not or cannot, regardless
of reason, you will be held responsible for the
property’s purchase.
15. ESTIMATES
The estimates provided in this catalogue are our
opinion of the price that a willing buyer would
pay for the property at auction, based, where
possible, on prices paid for comparable items sold
in the past. They are neither a representation nor
a prediction of the actual selling price that will
be realized at auction, post-auction sale, or upon
resale, which may be substantially different from
these estimates. We shall not be liable in any way
for such a difference.
16. WITHDRAWAL OF PROPERTY FROM SALE
The Auction House reserves the right to withdraw
property from the sale for any reason and with no
liability whatsoever for such withdrawal.
12. INTERNET BIDS
The Auction House has also engaged the services
of third party online bidding platforms called
Bidsquare and Live Auctioneers. Please proceed
to these sites for all necessary information on how
to bid and buy online using this system. The user
of Bidsquare and/or Live Auctioneers indemnifies
and holds the Auction House and its consignors
harmless against any claim arising out of or
resulting from your use of the Bidsquare and/or Live
Auctioneers sites, including all losses, damages,
liabilities, and all fees (including attorney’s fees),
costs, and expenses incurred in connection with
any claim. Under no circumstances, including, but
not limited to, negligence, shall the Auction House
and its consignors be liable for lost profits or any
special, incidental, or consequential damages that
result from the use of, or the inability to use, this
site.
If you place absentee bids with the Auction House
and/or a third party site and also bid in person,
by phone or any other means, it is solely your
responsibility to cancel these absentee bids prior
to the start of the auction. If you do not or cannot,
regardless of reason, you will be held responsible for
the property’s purchase.
Absentee bids left with third party online bidding
platforms are released to the Auction House when
a lot comes up for sale. The Auction House cannot
distinguish these from bids made in real time. They
have no timed advantage.
13. CONDITION REPORTS
Condition reports are rendered as specialist
opinion by the staff of the Auction House and/or
independent consultants and not as statements of
fact. We do not guarantee the content of written or
verbal condition reports.
Up-to-date condition reports can be accessed
online at ragoarts.com. If you would like additional
information, please call (609) 397-9374, fax
condition report requests to (609) 397-9377 or
e-mail them to [email protected]. Our specialists
will respond to requests as quickly as possible.
Please be patient. We get many requests and we
make every effort to respond to all of them in a
timely fashion. The Auction House is not liable or
responsible for any errors or failure to do so.
14. RESERVES
A reserve is the confidential minimum price
established by the Auction House and the
consignor. The reserve will never exceed the low
estimate of the lot. The Auction House prohibits
consignors from bidding on their own property, but
may implement the reserve by bidding on behalf of
the consignor at the auction up to the reserve.
99
17. RESCISSION BY BUYER
All items are served “As-Is, Where-Is,” except as
expressly stated otherwise in Paragraph 7. Buyer
acknowledges and expressly agrees that the
provisions of this Paragraph state the sole and
exclusive remedy available to a buyer in the event
of non-conformity in Property purchased. The
buyer understands and agrees that the exclusive
remedy for any breach of the warranty shall be a
rescission of the sale and a refund of the original
purchase price (bid plus buyer’s premium), as well
as any applicable taxes paid. Neither the Auction
House nor its Consignor shall be liable for damages
beyond the remedy expressly provided for herein,
such as, but not limited to, direct, indirect, special,
incidental, punitive, or consequential, including
the loss of profit or revenue, cost of obtaining
alternative property, claims of customers of the
buyer or otherwise.
18. RESCISSION BY THE AUCTION HOUSE
In the event the Auction House receives notice
of an adverse claim with respect to purchased
Property, the Auction House shall have the right
(but not the obligation), in its sole and absolute
discretion, to rescind the sale to the buyer, upon
written notice to the buyer. Upon such notice, the
buyer will promptly return the purchased property
to the Auction House’s premises in the same
condition as when purchased.
The Auction House will then promptly refund the
purchase price, including the buyer’s premium
and applicable taxes paid. Buyer will have no
further recourse against the Auction House or
the consignor, and the Auction House and the
consignor shall not be liable for any damages of any
nature suffered by the buyer.
19. GOVERNING LAW AND FORUM FOR DISPUTES
The laws of New Jersey shall govern the auctions
of the Auction House. Any disputes that may arise
in connection with the auction and/or any auction
purchase, and all of the terms and conditions
set forth herein above, shall be governed by and
construed in accordance with New Jersey law.
Anyone who participates in the auction and/or
makes auction purchases agrees to submit to the
jurisdiction of the courts of the State of New Jersey
with respect to any dispute arising in connection
with the auction and/or any auction purchases. In
the event that the Auction House needs to bring
an action to enforce the terms and conditions
herein and/or to collect any sum due and owing to
it the Auction House shall be entitled in addition
to collect its reasonable attorney’s fees, collection
agency fees, and cost of suit.
20. LIMITATIONS OF LIABILITY
The Auction House acts only as the agent for the
consignor and in no event will be liable for any
breach or default by the consignor.
21. SEVERABILITY AND WAIVER
If any provision of portion of these Terms of Sale
shall be deemed unlawful, void, or unenforceable
under applicable law, that provision or portion
shall be stricken and severed from the remaining
provisions, which shall remain in full force and
effect. Failure to enforce any of the provisions in
these Terms of Sale shall not be deemed a waiver
of the right to enforce any other provisions of these
Terms of Sale.
22. NO ASSIGNMENT
Unless the Auction House consents in writing,
buyers may not assign their rights or any of their
obligations related to an auction or other sale by
the Auction House.
23. NO MODIFICATIONS
These Terms of Sale may not be changed unless the
Auction House and buyer have agreed to do so in a
written agreement signed by both parties.
bids and refuse to ship.
25. FIREARMS
Rago sells only antique firearms as defined by the
U.S. Bureau of Alcohol, Tobacco and Firearms. All
Firearms will be sold in accordance with State of
New Jersey and Federal firearms laws and any
relevant State of New Jersey and Federal laws. It
is the sole responsibility of buyers to familiarize
themselves with their local laws and requirements
for the possession of firearms; to identify and
obtain any necessary license or permit prior to
bidding; and to abide by all Federal, State and local
laws and requirements. The Auction House and the
Consignor make no representations or warranties
as to whether any lot is or is not subject to such
restrictions and will have no responsibility with
regard to these matters. Rago sells only antique
firearms as defined by the U.S. Bureau of Alcohol,
Tobacco and Firearms. Due to New Jersey firearms
regulations, all handguns, pistols, and revolvers will
only be shipped via Federal Express and will only be
delivered to a person who holds a Federal Firearms
License or a Curios and Relics License. Handguns,
pistols, and revolvers can only be picked up at
Auction House by a person who holds a Federal
Firearms License or the proper New Jersey handgun
permits, which must be shown and logged. There
are no exceptions. No firearms will be sold or
shipped internationally.
24. EXPORT OR IMPORT - ENDANGERED/
THREATENED/PROHIBITED SPECIES
The State of New Jersey prohibits the import,
sale, purchase, barter, or possession with intent
to sell of any ivory, ivory product, rhinoceros
horn, or rhinoceros horn product with exceptions
that are irrelevant to commercial sale. As used
in this act “Ivory” means tooth or tusk from any
animal, including, but not limited to an elephant,
hippopotamus, mammoth, narwhal, walrus, or
whale, or any piece thereof, whether raw ivory
or worked ivory, or made into, or part of, an ivory
product. As concerns worked products made
of species legal to sell under current Federal
guidelines, it is the sole responsibility of buyers
to familiarize themselves with International and
U.S. state laws or requirements for import and
export; to identify and obtain any necessary export,
import, endangered species or other permit prior
to bidding; and to abide by International and U.S.
laws and requirements. The Auction House and the
Consignor make no representations or warranties
as to whether any lot is or is not subject to export
or import restrictions or any embargoes and will
have no responsibility with regard to these matters.
a) International: Several countries do not allow
the importation of lots containing materials made
from endangered species. This includes, but is not
limited to coral and tortoiseshell. An export license
may be required for the export of certain materials,
as well. b) State of California: California Penal Code
sections 653o - 653r make it illegal to import into
California for commercial purposes, to possess with
intent to sell, or to sell within the state, the dead
body, or any part or product thereof, of any polar
bear, leopard, ocelot, tiger, cheetah, jaguar, sable
antelope, wolf (Canis lupus), zebra, whale, cobra,
python, sea turtle, colobus monkey, kangaroo,
vicuna, sea otter, free-roaming feral horse, dolphin
or porpoise (Delphinidae), Spanish lynx, or elephant.
Starting in 2015, it will be unlawful to import into
this state for commercial purposes, to possess
with intent to sell, or to sell within the state, the
dead body, or any part or product thereof, of any
crocodile or alligator. Should a buyer in California
state an intent to sell the certain animal parts
named in California Penal Code sections 653o 653r, the Auction House reserves the right to reject
26. MISCELLANEOUS
Private Sales: These Terms of Sale shall apply to
both auction and private sales of property.
Paragraph Headings: Paragraph and subheadings
are included in these Terms of Sale for ease of
reference and should not be used to interpret the
meaning of the substantive provisions.
Addendum to Terms of Sale: Jewelry
For centuries, natural gemstones have been
enhanced in a variety of ways, including heating,
oiling and other methods. These treatments
are accepted by the international jewelry and
gemstone trade. The Auction House makes no
representations or warranties, express or implied,
as to whether natural stones have been treated or
enhanced, whether specifically referenced or not.
All stones have been identified by standard
gemological field tests as the mounting permits
and the Auction House will make available to
prospective buyers any gemological certificates
in its possession. It will not always be feasible to
obtain a qualified lab report on every stone offered
through the Auction House. Buyers wishing to
have a grading or gemological report from an
independent recognized laboratory such as the
Gemological Institute of America, the European
Gemological Laboratories or the American
Gemological Institute may request one at their own
expense or hire an independent adviser of their
choosing.
Weights given are based solely on measurements
and known gemological formulae; they are
approximate, not exact. Weight may differ once
a stone is removed from its setting. Buyers are
advised to verify weight estimates prior to auction
Addendum to Terms of Sale: Coins and Currency
Grading is a not an exact science. It is a matter
of opinion as to condition and other attributes.
Because of this, grading can and will differ
among third party grading services (even
though consensus grading is employed by most),
independent experts, dealers, collectors and
auction houses, including our own. Due to the
subjectivity of coin and currency grading, a given
piece evaluated twice by the same expert may be
assigned a different grade each time. Opinion as
to the grading, condition or other attributes of any
property may have a material effect on value.
Therefore all coins and currency are served “As-Is,
Where-Is,” by the Auction House except as to
authenticity, as expressly stated in the Terms of
Sale. They are sold without any additional express
or implied warranty, including, but not limited
to, grade. This includes all coins and currency,
including, but not limited to, those:
RAGO FINE ART DEPARTMENT
SHIPPING/RECEIPT OF PURCHASED PROPERTY
Auction Management: Meredith Hilferty, Miriam Tucker
A bid is a contract to buy. So on the fall of the auctioneer’s hammer, the successful bidder becomes
the owner and assumes full responsibility for the purchased property. This includes all costs and the
expenses of any handling, shipping, insurance, taxes, or export.
Specialist-in-Charge: Meredith Hilferty
Senior Fine Art Cataloguer: Amy Hunt
Specialist: Lauren Bradley
When the Auction Center receives and processes your payment, your property is released for
shipping, delivery by freight, or pick-up. Please allow up to three weeks.
NOTE: Some property in this sale may require specialized shipping. Please call us for our
recommendations.
Client Relations Specialist: Mick Byers
SHIPPING SMALL ITEMS BY COMMON CARRIER (UPS, FEDEX, DHL OR USPS):
RAGO ARTS AND AUCTION CENTER
Chief Operating Officer: Michael Ingham
We have engaged shippers to pick up several times a week from the auction house. Our
recommended shippers for small items are Masterpiece Shipping and The Flemington UPS Store.
Once we receive your payment and the completed shipping form authorizing the release of your
property to the shipper, we will add your lot(s) to the list for the next pick up. You will receive a
shipping quote for your approval within 48 hours after the shipper has picked up your lot(s). If for
any reason the quote is not acceptable to you, your property will be returned to the auction house
so that you can make alternate arrangements.
• With reference to the opinion of Auction
House as to grading;
Chief Administrative Officer: Eliane Talec
Masterpiece Shipping
• Subsequently submitted to a third-party
grading service for determination or certification;
Director, Estate Services: Sebastian Clarke
• Encapsulated and therefore unable to be
physically examined.
Director, Appraisal Services: Laurel Porcelli
• Referencing the opinion of a third-party
grading service;
• With no reference to the opinion of a thirdparty grading service;
The Auction House reserves the right to differ with
the grades assigned to property, by certificate or
otherwise, regardless of the grading service and will
not be bound by any prior or subsequent opinion,
determination or certification by third-party grading
services including, but not limited to, National
Guaranty Company (NGC), Professional Coin
Grading Service (PCGS), Paper Money Guaranty
(PMG) and Currency Grading and Authentication
(CGA) or any other any grading service, third party
organization or dealer. There is no guarantee or
warranty implied or expressed that the grading
standards utilized by the Auction House will meet
the standards of any grading service at any time in
the future.
The Auction House has graded uncertified coins
and currency with reference to the current
interpretation of the American Numismatic
Association’s standards at the time of grading.
The Auction House reserves the right to re-grade
property re-consigned for any reasons, including,
but not limited to a change of grading standards,
differences in opinion, mishandling over time.
The Auction House will not be liable for any patent
or latent defect or controversy pertaining to or
arising from any encapsulated coins or currency. In
any such instance, purchaser’s remedy, if any, shall
be solely against the service certifying.
Partners-in-Charge:
David Rago, Suzanne Perrault, Miriam Tucker
David and Vicki Child, Owners-Operators
4950-C Old York Road
Art Director: Anthony Barnes
Photography Studio Director: Lynnette Mager Wynn
Photographer: Jared Kramer
• Catalog illustrations may not be to scale or
reflect the depicted property’s actual size.
Buckingham, PA 18912-2000
T: 215-794-1199 | F: 215-794-1177
The UPS Store #1752
203 Main Street
Flemington, NJ 08822
T: 908-806-4842 | F: 908-806-4843
Photography Intern: Breanna Sokoloff
SHIPPING LARGER ITEMS BY FREIGHT:
Client Services Manager: Karen Davies
Client Services: Martine Webber
Foreman of Operations: Croix Leadem
Art Handlers and Movers: Casey Kochis (crew chief),
Charles Chamberlin, Jason Kwon, Sean Leslie,
Richard Palleschi, Justin Thomas
Display by: Arlen Sam Brown
Controller: Lisa Kolva
Please note:
• Certain types of plastic may react with a
coin’s metal or transfer plasticizer to notes, causing
damage. Avoid storage in materials that are not
inert.
Buckingham Green
Some furniture, bulky or odd shaped items may exceed the allowable dimensions or weight
restrictions of UPS, Fed Ex and similar carriers. The auction house can provide assistance in
arranging for delivery by freight. Depending on the location, we can recommend a variety of third
party shippers. We are also happy to work with the freight company of your choosing. Please keep
in mind that delivery of these types of items can be an expensive proposition and we urge you to
consider this before bidding. Please remember that it is your responsibility to pay for all deliveries.
PICK UP AT RAGO:
Hours for pick up are Monday – Friday, from 9:00 a.m. – 11:30 a.m. and from 1:30 p.m. to 5:00 p.m.
The shipping department closes each day from 11:30 – 1:30. The Auction House is closed on Federal
holidays and on Mondays following two and three day auctions. We require 24 hours’ notice in
advance of pick up. Please bring your own packing materials.
IMPORTANT NOTES:
Weekend pick ups are made by special arrangement and/or by appointment only.
Marketing Associate: Adrienne Lieberman
New Jersey sales tax of 7% must be added to your invoice when picking up merchandise unless you
have a valid resale number on file.
Digital Content Creator: Nicholas Fonteix
All property must be paid for and removed from Rago Arts & Auction Center within 15 business days
of the auction. Unless special arrangements are agreed upon in writing before the sale. Storage
fees are charged beginning on day 16. For more details see our Terms of Sale.
Public Relations/Marketing Assistant: Robin Harris
Auction Administration: Rebecca Schild
Administrative Staff: Kathy Buscavage, Guy Benthin
Our thanks to the entire auction staff.
101
CONDITION REPORT FORM
phone: 609.397.9374
fax: 609.397.9377
We are happy to provide you with condition reports on all lots as requested. We are neither professional restorers nor conservators
and specialist opinions are subjective and not a statement of fact. Therefore, we do not guarantee the content of the written or verbal
condition report. Not withstanding this report, all lots are offered and sold in accordance with the Terms of Sale listed in print and online
at ragoarts.com.
Lot#
Description
Specific Questions
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A new online bidding site with real goods you won’t find anywhere else.
Where what you see is what you get, from leading auctioneers you know and trust.
Live and timed auctions. New property added daily. Easy to navigate. Reliable. Private. Secure.
Telephone ___________________________________________________________________________________________________________________
E-mail ________________________________________________________________________________________________________________________
INTERNAL USE ONLY
Bid live online for all Rago Auctions. Register Today.
Check Condition Online
Print Initials: ___________________________
Add to/confirm in AuctionFlex
Date __________________________________________________________________________
BIDDING FORM
Buyer Number
phone: 609.397.9374
fax: 609.397.9377
e-mail: [email protected]
ABSENTEE BID
PHONE BID
Name ___________________________________________________________________________________
Business Name ____________________________________________________________
Address ______________________________________________________________________________________________________________________
City __________________________________________________________
State _____________________________________________________
Zip Code ____________________________________________________
E-mail _____________________________________________________
Telephone __________________________________________________
Fax ________________________________________________________
CC # (Visa/MC/Disc.) _______________________________________________________
If using Resale ID, a copy must accompany this form.
Exp. Date _________________
Country ________________________
CSV code (from back) __________________
Resale ID Number ____________________________________________
Lot#
Description
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State _____________________
Absentee/Contigency Phone
PLEASE ADHERE TO THE
BIDDING INCREMENTS
$10 until $100 is reached
$25 until $500 is reached
$50 until $1,000 is reached
$1,000 until $30,000 is reached
$10,000 over $100,000
Rago’s guarantees you a line and
a phone agent for bidding until 4
PM on the day prior to an auction.
After that time, we will gladly
accept your absentee bids, even
during the auction and will do our
best to accomodate before the lot
goes on the block.
TELEPHONE BID PHONE NUMBER – DAY OF SALE:
1).
_____________________________________________________________________________________
2).
_____________________________________________________________________________________
CHECK, SIGN AND DATE BELOW OR BIDS WILL NOT BE EXECUTED
I am bound by Terms of Sale
I have read the condition report(s) online / requested all needed information
I am responsible to contact Rago if bid confirmation is not received by 5pm on the day prior to the auction
I am responsible for canceling Absentee Bid if I choose to bid in person/by phone
I understand the buyer’s premium (see below)
The buyer’s premium for each lot purchased is 25% on the first $200,000 of the hammer price,
20% on the portion from 200,000 through $3,000,000.
Signature _____________________________________________________________________________
Date ________________________________________________________________________
INTERNAL USE ONLY
Check Boxes Above
Absentee/Plus
Print Initials: ___________________________
New/Hold
AF: confirm contact info/check notes
Date/Time ___________________________________________________________________
Addendum
Increments

19/20th C . American/Europ ean Art S aturday, M ay 7, 2016

Transcription

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