45 Marilyn Guerinot, (American/Texas, b. 1947) "Summer Day on the Beach" oil on canvas signed lower left. Framed. 24" x 30"
Estimate: 1000 - 1500
56 South American School, (18th Century) "Story of Joseph, Son of Jacob" oil on canvas Unframed. 25-1/2" x 21-3/4"
Estimate: 1000 - 1500
283 Robert Philipp, (American, 1895-1981) "At the Cafe" oil on canvas signed lower right. Framed. 10" x 16-1/4"
Estimate: 1200 - 1800
285 Antoinette Schulte, (American, 1897-1981) "Picnic" oil on canvas signed lower left. Framed. 25" x 36"
Estimate: 1000 - 1500
308 Nicholas Briganti, (American/Italian, 1861-1944) "Gondolas at Sunset, Venice" oil on canvas signed lower right. Framed. 14" x 20"
Estimate: 1200 - 1800
506 Adomas Galdikas, (American/Lithuanian, 1893-1969) "Untitled Abstract Landscape" oil on paper signed lower left. Framed and glazed. sight 16" x 23-1/4"
Estimate: 1000 - 1500
532 E. Haines, (American, 20th Century) "Picking Wildflowers" oil on canvas signed lower right. Framed. 24" x 36"
Estimate: 1000 - 1500
538 Joan Mayor, (20th Century) "Reclining Nude in a Blue Interior" oil on canvas signed lower right. Framed. 37-1/2" x 51"
Estimate: 12000 - 18000
540 George Elmer Browne, (American, 1871-1946) "Portrait of a Spanish Lady" oil on canvas signed lower left. Presented in an ebonized, parcel-gilt frame. 40" x 40"
Estimate: 5500 - 8000
541 Leon Kroll, (American, 1884-1974) "After the Bath" oil on canvas signed lower left, verso with "Pierce Galleries, Inc., Hingham, Massachusetts" label. Framed. 36" x 27"
Estimate: 6000 - 9000
542 John Carroll, (American, 1892-1959) "Betsy" oil on canvas signed lower right, with a "Detroit Institute of Arts, Detroit, Michigan" 1918 exhibition label. Framed. 54-1/2" x 45-1/2"
Estimate: 3500 - 5000
547 Elizabeth (LIZO) Shahenian, (Armenian/American, b. 1950) "Memories of Holocaust" oil on canvas signed "Lizo" lower right. Framed. 48" x 48"
Estimate: 1000 - 1500
548 Harold Kraus, (American/Tennessee, Contemporary) "Still Life in Red and Teal" oil on masonite signed lower right. Framed. 46-1/4" x 34-1/4" Provenance: Collection of Julia Brooks and Clarke Thomas Reed, Greenville, Mississippi.
Estimate: 1000 - 1500
549 Leon Kroll, (American, 1884-1974) "Study for the War Memorial Murals", ca. 1939 oil on canvas signed lower left, verso with "Babcock Galleries, New York, New York" and "Rothschild Fine Arts, New York, New York" labels. Framed. 16" x 20"
Estimate: 3000 - 5000
700 Leonardo Nierman, (Mexican, b. 1932) "Ciudad Prismatica", 1964 mixed media on masonite signed and dated lower left, titled, dated and inscribed on a registration form for the "Instituto Nacional de Bellas Artes...Mexico" affixed to frame backing. Presented in a custom-made frame. 23-3/4" x 31-1/2" Provenance: Collection of Jack and the late Sherril Neal, Ridgeland, Mississippi.
Estimate: 1000 - 1500
701 Leonardo Nierman, (Mexican, b. 1932) "Spectral Lights", 1961 mixed media on masonite signed and dated upper left. Presented in a custom-made frame. 16-1/4" x 24" Provenance: Collection of Jack and the late Sherril Neal, Ridgeland, Mississippi.
Estimate: 1000 - 1500
702 Billy Morrow Jackson, (American, 1926-2006) "Relic and Memory" watercolor on board signed lower right, verso with "Bonfer Gallery, New York, New York" and "Kenmore Galleries Inc., Philadelphia, Pennsylvania" labels. Framed. 39" x 25"
Estimate: 1000 - 1500
704 Joseph Dickinson, (American, 20th Century) "Fishermen Throwing Nets", 1967 oil on canvas signed and dated lower left. Framed. 29" x 39-1/2"
Estimate: 1000 - 1500
725 Giuseppe Pino, (American, 1939-2010) "Costa Smeralda" oil on canvas signed "Pino" lower left, titled en verso canvas. Framed. 40" x 60" Notes: Pino, born Giuseppe Daeni Dangelico in Bari - the second largest port in Italy, was a prolific artist and illustrator. He studied at the Art Institute of Bari and the Academy of Brera, where he was deeply influenced by the Pre-Raphaelites' romanticized depictions of women in natural settings, and the Macchiaioli landscapes, characterized by loose patches (macchie) of color applied from plein-air studies. Through the confluence of the two, Pino developed a unique style, characterized by sensuous women-in-waiting in Mediterranean beaches/seaside resorts settings rendered in a tetradic palette of earth tones, redolent of the Macciaioli. The painting offered here of the Smeralda Coast in Sardinia, a popular destination off the coast of Italy, is a fine example of Pino's mature style. The arched stucco architecture, captured through thick swatches of pigment rendered in tertiary siena, sage and cerulean blue, is accented by Roman cisterns abloom with flower beds. True to his bravura for the female form, a fashionable tourist, with the same deep blue chemise as the Mediterranean Sea in the distance, is captured in a spontaneous snapshot. Pino's extraordinary gift for depicting movement and expression in painterly landscapes was seized early on by publishing companies. Between 1960 and 1990, Pino illustrated more than 3,000 book covers, working first for Mondadori and Rizzoli, the two largest publishers in Italy, and after 1978 when he immigrated to New York, Bantam, Simon & Schuster, Penguin USA, Dell, and Harlequin. Under the pen name Fabio, Pino was also the creative mastermind behind many Danielle Steel novel covers. His painting career was equally as illustrious. Shortly after moving to New York, Pino's paintings were discovered by the prominent Borghi Gallery, which held several exhibitions of his work in New York and Boston. Pino retired to Naples, Florida, and continued to paint and work for pleasure as an illustrator up until his death in 2010.
Estimate: 25000 - 40000
759 Arthur Osver, (American, 1912-2006) "Untitled" oil on board signed upper right. Framed. 10" x 17-3/4" Provenance: Purchased 2003, Elliot Smith Contemporary Art, New York, New York and St. Louis, Missouri; Private collection, New Orleans, Louisiana.
Estimate: 1000 - 1500
764 Werner Drewes, (American, 1899-1985) "Garden with Sculpture" oil on canvas signed lower right, inscribed "334B" lower left , signed and titled en verso. Framed. 5-1/2" x 9-3/4"
Estimate: 2000 - 4000
765 Andy Warhol, (American, 1928-1987) "Untitled (Heart) from Exposures", 1979 black marker on back of title page from Andy Warhol's Exposures together with a letter of authenticity from the Andy Warhol Authentication Board. Matted, glazed and framed. 8-1/2" x 9"
Estimate: 2000 - 4000
768 R.C. Gorman, (American, 1931-2005) "Mother and Child", 1986 lithograph in colors signed and dated lower right, numbered "15/150" lower right. Float-mounted and framed. sheet 31" x 35"
Estimate: 1000 - 1500
769 Bill Girard, (American/New Mexico, b. 1936) "Thistle" patinated bronze cast signature and numbered "11/30" on edge of self-base, on a carved wood plinth. overall h. 18-1/2", w. 8", d. 5-1/2"
Estimate: 600 - 900
772 Benton Spruance, (American, 1904-1967) "Touchdown Play", 1933 lithograph on paper pencil-signed lower right, numbered "37/40" lower left, and titled bottom center, initialed in plate "B.S.". Matted, glazed and framed. sight 12-3/4" x 17-3/4" Provenance: Maxwell Galleries Ltd., San Francisco, California; private collection, New Orleans, Louisiana.
Estimate: 1500 - 2500
776 Alexander John Drysdale, (American/Louisiana, 1870-1934) "Misty Morning on the Bayou with Live Oaks", 1913 oil wash on artist board signed and dated lower left. Framed. 17-3/4" x 24"
Estimate: 2000 - 4000
778 Carrie Hill, (American/Alabama, 1875-1957) "Floral Still Life in a Pottery Vase" oil on canvas signed lower right. Framed. 24-3/4" x 28-1/2"
Estimate: 2000 - 4000
830 William Pierce Stubbs, (American, 1842-1909) "Portrait of the Schooner Magnolia" oil on canvas signed lower left. Framed. 22" x 36"
Estimate: 4000 - 7000
838 American School, (Second Quarter 19th Century) "Pair of Pendant Portraits of a Gentleman and a Lady" oils on canvas unsigned. Framed alike. 30" x 23-3/4" and 29-1/2" x 24-3/4", respectively
Estimate: 1000 - 1500
888 American School, (Second Quarter 19th Century) "Portrait of a Girl in a Landscape, Holding a Doll" oil on canvas Unsigned. Presented in a giltwood frame. 24" x 20"
Estimate: 2000 - 4000
903 American School, (19th Century) "Portrait of Foster Tyree Martin" oil on canvas unsigned. Framed. Verso affixed with an affixed attribution to George Caleb Bingham (American, 1811-1879). 20-3/4" x 16-3/4"
Estimate: 1000 - 1500
917 William Richards, (British, 19th Century) "Sketching by the Lake" oil on canvas signed lower right. Framed. 9" x 13"
Estimate: 1000 - 1500
922 Chauncey F. Ryder, N.A., (American, 1868-1949) "First Snow on Moosilauke, N.H.", 1868 oil on canvas backed by wood panel signed lower left, titled and signed on handwritten label en verso, and titled on artist plaque. Framed. 32" x 44-1/4" Notes: He has searched for, and found, all the intimacies of nature in New England. So keen an observer, so perfect a lover, so delicate and so deliberate an interpreter, would not long remain a stranger to a new and more opulent mistress. --Los Angeles Times , Sunday, April 5, 1925 The newspaper review of Chauncey Ryder's exhibit at Cannell and Chaffin's Gallery in Los Angeles beautifully expresses the enduring legacy of Ryder's paintings. Indeed, Ryder's native New England was his mistress, which he devoted his life pursuing throughout Connecticut, New York and New Hampshire, where he spent almost the last forty years of his life. Foster, an Impressionist scion, who pushed representational elements beyond optical illusion into the terrain of abstraction, was a visionary ahead of his American contemporaries. After studying at the Art Institute of Chicago and the Smith Institute, he moved to Paris, joining the art colony at Etaples and studying under Jean-Paul Laurens at the Academie Julian. There Ryder exhibited at the Paris Salon and was exposed to a melange of avant-garde movements - Post-Impressionism, Fauvism, early German Expressionism, as well as the Japanese woodblocks of Hokusai, which influenced all the above-mentioned movements. The dark outlines and contrast of matte, monochromatic colors in the prints left a lasting impression on Ryder. How to create movement through blocks of color and line instead of modeling was something that fascinated Ryder, which he combined with the rapid impasto of Impressionism, using the optics of the human eye to blend pigments instead of the palette. Ryder's landscapes were admired for their vigorous brushwork, for their synergy, captured through their reduction of nature into bold shapes rendered through a muted, but painterly unified palette. The painting of Mt. Moosilauke is a fine example of this. The undertones of cool greens that underscore the horizon and winter vegetation, in the painting offered here, are characteristic of Ryder. His predilection for gray-green tones gave rise to the term "Ryder green" to describe his typical color scheme. Ryder painted many landscapes of southern New Hampshire after moving there in 1910, including this fine view in the southwestern part of the state. Ryder enjoyed much acclaim during his lifetime, including an honorable mention in the Paris Salon of 1907, and numerous awards at the 1915 Panama-Pacific International Exposition and at the 1937 Paris International Exposition. He was represented throughout his career by the dealer William Macbeth, who procured the sale of his paintings to many wealthy east coast patrons, including President Woodrow Wilson and his wife Ellen, who chose to commemorate their 25th wedding anniversary with the purchase of a Ryder landscape, "Valley of Assisi".
Estimate: 12000 - 18000
939 Isaac Henry Caliga, (American, 1857-1934) "Twilight Nude" oil on canvas signed lower right. Presented in a giltwood and gesso frame with artist plaque. 27" x 22"
Estimate: 3000 - 5000
951 Walter I. Cox, (British/American, 1867-1930) "Portrait of a Young Girl Seated" oil on canvas signed lower right . Framed. 30" x 25"
Estimate: 1000 - 1500
955 American School, (Contemporary) "Native American Encampment" oil on canvas signed "Shutt" lower right. Framed. 18" x 24"
Estimate: 1000 - 1500
960 After Adolph Alexander Weinman, (German/American, 1870-1952) "Descending Night" patinated bronze cast signature along back edge of self-base, a small-scale variant of the 1915 sculpture which, along with its pendant "Rising Day", adorned fountains at the Panama-Pacific Exposition in San Francisco, California, on a black marble base. overall h. 26-1/2", w. 18-3/4", d. 10"
Estimate: 700 - 1000