Lot 776
Asian Equestrian Ink
Drawing. Artist Unknown. (Asian, 20th century). Prancing
Horse. Indistinctly signed l/r. Ink on paper. 19 x 24". Framed under
plexiglas to an overall size of 22½ x 28½". In very good
condition overall.
Comprehensive condition report available upon
request.
Estimated Value $350-450.
Lot 777
Asian Equestrian Ink
Drawing. Artist Unknown. (Asian, 20th century). Galloping
Horse. Signed indistinctly and stamped with device l/r. Ink and rice
paper laid down on board. 9½ x 10¾". Framed to an overall size of
16½ x 17½". In excellent condition. No problems to note.
Estimated Value $250-325.
Lot 778
"Chûte de Thereze
sur la riviere Indienne"/"Theresa Falls, Indian River".
Lithographer: Leon Sabatier et Bichebois. Printer: Henry Gaugain. From the
series "Amerique Septentrionale -- Etat De New York". Image size: 8 x
12". Sheet size: 12½ x 10½". Tipped on to larger 17¼
x 13½" page. "11e Livraison" at upper left, "Pl 1." at upper right.
Minor surface soil, else fine.
A wonderful depiction of a New York
state landmark, created primarily for a European audience constantly hungry for
information and depictions of the fascinating (relatively) new country.
Sabatier and Gaugain created an entire series of very popular, very
high-quality, landscape and pictorial scenes.
Estimated Value $300-350.
Lot 779
Etching of Henry Clay.
"Portrait of Henry Clay." Etching on paper with hand tinting. Image
size: 8½ x 12" (likely trimmed). Framed under glass to an overall
size of 13 x 17". Glass has been painted with black border. Spots of foxing
throughout. Still, very attractive and in good condition.
Believed to be
a Currier & Ives print, this stately portrayal presents the "Great Orator"
standing in his office as books and manuscripts lay strewn about his desk.
Estimated Value $300-400.
Lot 780
Gibson, Charles Dana and
Remington, Frederick. Set of four color reproductions of Charles Dana
Gibson works and from Frederic Remington, presented in a large folder. Sheet
size: 14 x 19½". Image size: 9½ x 11½". The
folder shows water damage at the crease and the resulting stains, which would
be easily matted out, have affected the border edge of all eight prints.
Gibson's "Reciprocity" has superficial soiling and would benefit from a gentle
cleaning. Each piece is labeled with a small, decorative paper tag noting
"Artist's Proof", all of which have toned. Overall, condition ranges from good
to very good.
Likely issued early in the 20th century (with copyrights
ranging from 1902-1907), these are eight beautiful examples from two of
America's best-known artists. We must confess to curiosity about the decision
that grouped Gibson's square-jawed men and elegantly beautiful women with
Remington's energetic depictions of life on the frontier... In any case, this
group offers a window on popular art of the early 1900s.
Estimated Value
$125-150.
Lot 781
H.M.S. Cambrian. Old
Aquatint Print. Artist: N.M. Condy. Engraver: E. Duncan.
18½ x 14½", handsomely matted and framed to 25½ x
21½". Nine expertly repaired small tears at bottom edge. Not examined
out of frame, appears to be in fine condition.
Printed in the lower
margin: "H.M.S. Cambrian, 36 Guns / This Print is respectfully dedicated by
permission to Sir William Symonds, Surveyor of the Navy, / by his obliged and
very obedient Servant NM Condy." Symonds, Inspector and Architect of the Royal
Navy, spent much of the early and mid-19th century modifying ship design to
meet the needs of a faster, more agile Navy. The H.M.S. Cambrian was probably
one of the ships built or refitted under Symonds' command. A lovely piece, of a
desirable maritime motif, enhanced by the framing.
Estimated Value
$350-400.
Lot 782
Hassam, F. Childe
(American, 1859-1935). Bowling on the Green. (possibly meant
to be George Washington at Mount Vernon) Initialed in pencil l/r: CH;
also signed and dated on the plate: Childe Hassam Nov 27 1931. Etching on
paper. 14½ x 9½" (by sight). Framed to an overall size of 22 x
17½". Paper is slightly buckled, however the piece is still in very good
to fine condition overall. Not examined out of frame. American painter closely
associated with the French Impressionist style.
Estimated Value
$1,000-1,500.
Lot 783
Hokinson, Helen E. (Lot I)
(1893-1949) American illustrator. From its beginning in 1925, until her
death 1949, Hokinson was one of the premier cartoonists at New Yorker
magazine. Hokinson's well-to-do club women, with their fur wraps and elegant
hats, became a distinctive part of New Yorker's famous repertoire of
characters and images and are instantly recognizable even today.
Lot of
two colored illustrations created for the cover of New Yorker magazine
(Hokinson has inked in the magazine's title). Ink and watercolor on paper.
Sheet size: 12¼ x 15½", image size: 9 x 12". Both
images are stamped verso with The New Yorker Magazine copyright
statement.
Illustration A features two of Hokinson's club women meeting at
the Yale/Harvard football game, both apparently conflicted about which team to
favor. Signed in the lower margin, labeled in red pencil "989" at lower left
corner of margin, toning (acid burns) at top margin would be easily matted out,
as would smudges at right margin. Very good to fine condition.
Illustration
B features a woman offering flowers to her butcher and the date, August 1945,
offers some context -- celebrating the end of rationing or thanks for a little
extra during the War. Mounted on heavy stock, signed in lower right corner,
stamped "August 14, 1945", pencil notations around margins include "283" (in
red), "We have the finished drawing", "Killed" and "9/15/45." Several pinholes
around margin, some soil around margins and light soil in body of illustration,
adhesive residue on verso -- only one corner remains attached to the backing,
four water (or coffee?) stains at the right and bottom margins. The flaws and
soil would be easily matted out and this piece is a wonderful record of the
process of accepting illustrations at The New Yorker Magazine.
Estimated Value $450-500.
Lot 784
Hokinson, Helen E. (Lot
II). Lot of 2 cartoons for The New Yorker Magazine. Both
illustrations are ink on paper and backstamped with New Yorker
Magazine's copyright, specifics are as follows:
Illustration A:
Size: 17½ x 14". A signed illustration (with a thoroughly erased
caption) featuring two club women, one of them with three Scottish terriers.
Recto bottom left corner has "1021" penciled in red, there is some toning
overall, minor soil, three small tears at the bottom edge.Verso has several
stamped and penciled production notes and the original parchment protective
cover is present, stamped "February 10, 1940". Good condition.
Illustration
B: Size: 15 x 18". Signed illustration featuring a woman in a wine shop,
caption (written on protective cover sheet which is no longer attached) reads
"Now let me see -- Champagne goes about three inches to the right of the knife,
doesn't it?" Recto shows minor soil and toning at edges, one correction
(presumably by the artist), a red pencil "348" and a few random pencil marks at
the margins. Verso has adhesive residue and assorted pencil and stamped
production notes. Protective cover date stamped "December 26, 1942". Very good
condition.
Estimated Value $400-500.
Lot 785
Hokinson, Helen E. (Lot
III). Lot of 3 cartoons for The New Yorker Magazine. All three
illustrations are ink on paper and backstamped with New Yorker
Magazine's copyright, specifics are as follows:
Illustration A:
Size: 18 x 13¾". A signed illustration featuring the Ladies'
Garden Club, but unfortunately the caption has been very thoroughly erased.
Recto has red pencil "173" in lower left corner, minor toning and soil at
edges, remnants of working pencil marks. Verso stamped and notated with
production details, adhesive residue at top edge. Very good
condition.
Illustration B: Size: 11 x 9¼, matted to 16 x
14¼". A signed illustration -- two women in a greenhouse, caption reads
"You can't trust them, they spread". Minor mat burns visible around edges,
adhesive residue over caption penciled on mat, "838" in red pencil on bottom
left mat corner, five small spots around periphery of illustration. Verso
reveals illustration merely taped to mat and several pencil production notes
and "SPECIAL" stamp. Overall, very good condition.
Illustration C:
Size: 21½ x 16½". A signed illustration -- woman in garden
store regarding birdhouse salesman, caption reads "What do you think
make the best tenants?" Soil and toning at edges of sheet, a few spots, one
partial hand print (very light) overlays "Helen" in signature; with the
exception of the hand print, all of the flaws would be easily matted out. Verso
shows adhesive residue at top edge, several pencil production notes and stamps,
red residue scattered throughout. Overall, good to very good condition.
Estimated Value $450-550.
Lot 786
Nancy Comic Signed by Ernie
Bushmiller. Original four panel comic strip, signed and dated March 20.
Size: 20¾ x 7". Has a 1964 publication date by United Features
Syndicate. Some surface soil at margins, else very good to fine.
Nancy
shows her Aunt Fritizi how to make $500 by catching a thief for the reward.
Estimated Value $350-450.
Lot 787
Picasso, Pablo
(Spanish, 1881-1973). The Bouquet. Lithograph in colors on
Arches paper. 19½ x 25½". Framed under glass to an overall size
of 22¼ x 28¼". In good condition overall.
Picasso originally
created this design as a poster for the 1958 International Peace Congress in
Stockholm.
Comprehensive condition report available upon request.
(1881-1973). Painter, sculptor, and ceramicist. The son of an art professor,
the young Picasso displayed his talent early in life, and by age 14 was
enrolled in professional art schools, creating masterpieces. After moving to
Paris, his work began to reflect the mood of the city, thereby spurring his
blue and rose periods. However it was the influences of Iberian and African art
that inspired the most prolific painting of this century. "Les Demoiselles
d'Avignon", which began the Cubist movement.
Estimated Value
$250-300.
Lot 788
Steinlen, Theophile
Alexandre (Swiss-French, 1859-1923). A Soldier's Departure.
Ink on paper. Signed l/r: Steinlen; numbered and inscribed u/l: 1918
E Finita. 8¼ x 10". Framed to an overall size of 15 x 17¼". In
good to very good condition overall.
Comprehensive condition report
available upon request. Lithographer and painter. Initially trained as a
textile designer, Steinlen moved to Paris at the age of 22, quickly entering
the cafè circles of such notables as Emile Zola and Aristide Bruant,
eventually creating illustrations for their publications. As one of the
greatest poster artists of the late 19th and early 20th centuries, he has been
called the Norman Rockwell of the 1890s. Known for creating realistic images of
everyday life, Steinlen often used his wife, daughter, and a family of cats as
models for his work. His most notable poster entitled "Chat Noir" was an
advertisement for a cafè of the same name and features a sassy black
cat.
Estimated Value $600-900.
Please note the Steinlen
posters for sale elsewhere in the catalog.
Lot 789
Steinlen, Theophile
Alexandre (Swiss-French, 1859-1923). Study of a Country
Landscape. Initialed with estate stamp l/r: ST. Pencil on paper.
6½ x 4½" (by sight). Removed from his sketchbook, found in his
Paris studio. Framed to an overall size of 13½ x 12". There is a very
light pencil smudge at the upper left, otherwise the sketch is in very fine
condition. Not examined out of frame. Lithographer and painter. Initially
trained as a textile designer, Steinlen moved to Paris at the age of 22,
quickly entering the cafè circles of such notables as Emile Zola and
Aristide Bruant, eventually creating illustrations for their publications. One
of the greatest poster artists of the late 19th and early 20th centuries, he
has been called the Norman Rockwell of the 1890s. Known for creating realistic
images of everyday life, Steinlen often used his wife, daughter, and a family
of cats as models for his work. His most notable poster entitled "Chat Noir"
was an advertisement for a cafè of the same name and features a sassy
black cat.
Estimated Value $350-450.
Please note the
Steinlen posters for sale elsewhere in the catalog.
Lot 790
Steinlen, Theophile
Alexandre "Le Réve". 1890. 35 x 25", framed and matted to 29½
x 37". Lithograph. Printer: Gillot, Paris. A small area of repair at the upper
right edge. In fine condition overall.
With an Asian flair, Steinlen
created this lively poster, advertising a National Academy of Music ballet
production. Using muted ochre tones and mossy greens, the famed printmaker
brightened this composition with a splash of bold orange across the bottom,
highlighting the names of the production's creative team. Note the male dancers
costumed as women parading across the stage.
Estimated Value $750-800.
Lot 791
Warhol, Andy (American,
1928-1987). Mao #99. Signed verso: Andy Warhol; and
numbered verso: 169/250. Acrylic and silkscreen on white paper. 36 x 36".
Framed to an overall size of 44 x 44". In fine to very fine condition
overall.
Note: Copyright 1972, printed by Styria Studio.
Comprehensive
condition report available upon request.
(1928-1987) American artist
and filmmaker, an initiator and leading exponent of the Pop art movement of the
1960s. Through calculated self-promotion, he projected the image of the artist
as a celebrity, astute businessman, and social climber.
In 1965 Andy
Warhol announced his retirement. Though he did continue to work sporadically,
his announcement was most certainly premature. And in 1972 Andy Warhol chose to
return to painting by presenting a monumental, or, iconic portrait: that of Mao
Tse Tung.
While shocking as it might have been to immortalize such a
controversial political figure, Warhol had well established a factory of art
based on producing unconventional imagery, or rather, imagery that was so
conventional it almost seemed void of artistic notice. While it is entirely
possible that Warhol could have been commenting on the decadent lifestyle of
the West, of which he had clearly partaken, it is more likely that he chose
this image for more simplistic reasons.
First, Warhol himself is oft
quoted flatly denying any deep meaning to his choices, stating: "If you want to
know all about Andy Warhol, just look at the surface of my paintings and me,
and there I am. There's nothing behind it." (italics added). In fact, from soup
cans to car crashes, the artist had long favored using the "found object" in
his artwork rather than dreaming up his own unique compositions, even to the
point of asking others to suggest subjects to portray. He likewise preferred to
take the practice one step further, by reproducing objects from images in
photographs, effectively removing himself from the actual creation of an image;
which is the case here. Warhol's inspiration derived from an official
government portrait.
Most importantly though, is the fact that Warhol had
already announced his retirement. After his noteworthy career of exploring
printmaking, this monumental painting heralds Warhol's return to art, and it
does so by presenting a strong image of power to announce, or equal even, this
reemergence back into the artworld. The artist is not making a political
statement, he's making a personal statement.
While Warhol did utilize
the familiar printmaking format for this series, the post-retirement Mao's are
marked by a new style, of freer brushwork. In contrast to the factory-produced
images of his earlier career, Warhol added his own hand-painted strokes over
the screened image, and this was an impressive change to his portraits. Warhol
was returning to artwork, rather than just printmaking.
Estimated Value
$4,000-UP.
Lot 792
Chagall, Marc
(1887-1985) Russian-born French painter and graphic artist, and a pioneer
of 20th Century fantastic art. Chagall turned images drawn from Russian and
Jewish folklore into brilliant stained glass, murals, lithographs and
paintings.
Brilliantly colored lithograph on textured paper. Signed
("Marc Chagall") and numbered (14/40) in pencil. Sheet size: 13 x
18¾". Excellent condition.
A nude couple embraces, surrounded by
foliage, as a goat overlooks the scene. A touching image so typical of Chagall:
the woman's torso is prominent, as is the hand she has placed gently over the
back of her sleeping lover. The surrounding foliage cradles the couple as the
woman cradles the man.
Estimated Value $500-600.