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Auction Description for Doyle New York: Belle Epoque: 19th & 20th Century Decorative Arts
Viewing Notes:
Saturday, February 2, 10am-5pm Sunday, February 3, Noon-5pm Monday, February 4, 10am-6pm Tuesday, February 5, 10am-2pm

Belle Epoque: 19th & 20th Century Decorative Arts

by Doyle New York

Platinum House

701 lots with images

February 6, 2013

Live Auction

175 East 87th Street

New York, NY, 10128 USA

Phone: 212.427.2730

Fax: 212.427.7526

Email: BidLive@DoyleNewYork.com

701 Lots
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Emma (Edle von Seehof) Muller Austrian, 1859-1925 An Interesting Tale

Lot 1: Emma (Edle von Seehof) Muller Austrian, 1859-1925 An Interesting Tale

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Description: Emma (Edle von Seehof) Muller Austrian, 1859-1925 An Interesting Tale Signed Emma Muller and inscribed Munchen (ll) Oil on canvas 35 3/4 x 30 inches C 

Condition Report: Frame rubbing. Dirty varnish. Edges with papertape. Glue lined. Scattered craquelure. Few scratches at lower left center. Could not detect restoration under the UV light through the dulling varnish. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Eugene Vincent Vidal The Nosy Maid

Lot 2: Attributed to Eugene Vincent Vidal The Nosy Maid

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Description: Attributed to Eugene Vincent Vidal The Nosy Maid Remnants of a signature (lr) Oil on canvas 13 3/4 x 9 3/4 inches C 

Condition Report: Frame rubbing. Scattered craquleure. Dense varnish, unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Continental School 19th Century Admiring the Newcomers

Lot 3: Continental School 19th Century Admiring the Newcomers

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Description: Continental School 19th Century Admiring the Newcomers Oil on canvas 22 1/4 x 27 inches Unframed C 

Condition Report: Glue relined. Selective cleaning and reglazing in the background and on the coat of the man at the left. One touch of restoration in the young woman's neck at the center. No other visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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After Jean Louis Ernest Meissonier La Rixe (The Brawl)

Lot 4: After Jean Louis Ernest Meissonier La Rixe (The Brawl)

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Description: After Jean Louis Ernest Meissonier La Rixe (The Brawl) Inscribed Peint par Damman/Meissonier on the reverse Oil on panel 9 3/8 x 12 3/4 inches The original of this work is in the Victoria and Albert Museum. C 

Condition Report: Frame rubbing. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Pierre Edouard Frere French, 1819-1886 Sleeping Boy, 1860

Lot 5: Pierre Edouard Frere French, 1819-1886 Sleeping Boy, 1860

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Description: Pierre Edouard Frere French, 1819-1886 Sleeping Boy, 1860 Signed Edouard Frere and dated 1860 (ll) Oil on panel 12 3/4 x 9 5/8 inches C 

Condition Report: Frame rubbing, with possible corresponding inpaint. 1/2 x 1/4 inch area of inpaint in the post above the sitter's hand at center right. Another 3/4 x 1/4 inch area of inpaint in the center right on the rim of the boy's hat. Possible inpaint in the red scarf around the boy's neck. A touch on inpaint in the boy's pants just above the boot. Scattered areas of paint separation, especially in the hand and the red scarf. Dense varnish making it unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Marie (Mizzi) Wunsch German, 1862-1898 Hansel and Gretel: Two

Lot 6: Marie (Mizzi) Wunsch German, 1862-1898 Hansel and Gretel: Two

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Description: Marie (Mizzi) Wunsch German, 1862-1898 Hansel and Gretel: Two Each signed MWunsch with conjoined first initials (ur) Each oil on panel Each 10 1/8 x 7 1/2 inches C 

Condition Report: Each have frame rubbing and uneven varnish. Each of the panels are slightly bowed. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Gabriele Castagnola Italian, 1828-1883 Faust and Marguerite, 1870

Lot 7: Gabriele Castagnola Italian, 1828-1883 Faust and Marguerite, 1870

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Description: Gabriele Castagnola Italian, 1828-1883 Faust and Marguerite, 1870 Signed G. Castagnola and dated Firenze 1870 (ll); inscribed Faust and Margaret/modern original by the Professor/Gav. Castagnola/Louis Pistani's/Picture Gallery/37. Borgognigsanti Second floor/-Florence- on the reverse Oil on canvas 33 1/4 x 22 1/4 inches C 

Condition Report: Frame rubbing. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Aldo Affortunati Italian, 1906-Died circa 1990 The Cardinal's Visit

Lot 8: Aldo Affortunati Italian, 1906-Died circa 1990 The Cardinal's Visit

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Description: Aldo Affortunati Italian, 1906-Died circa 1990 The Cardinal's Visit Signed Affortunati Aldo (ll) Oil on canvas 16 7/8 x 29 inches • 

Condition Report: Frame rubbing. Dirty varnish. Glue relined. There is a dense varnish, making it difficult to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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English School 19th Century The Court of Queen Elizabeth I

Lot 9: English School 19th Century The Court of Queen Elizabeth I

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Description: English School 19th Century The Court of Queen Elizabeth I Signed indistinctly (lr) Oil on canvas 31 1/2 x 52 inches • 

Condition Report: Frame rubbing. Dirty varnish. Scattered craquelure throughout. Visible stretcher marks. There is a 3 inch scratch in the center right. There is a small repaired hole in the feather tail of the peacock at the lower right. There is a repaired tear in the red rug at the center, approximately 3 inches. There is another repaired tear in the face of the woman with the red dress at the center left. There is a dense varnish, unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Antonio Maria de Reyna Manescau Spanish, 1859-1937 San Trovaso, Venice

Lot 10: Antonio Maria de Reyna Manescau Spanish, 1859-1937 San Trovaso, Venice

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Description: Antonio Maria de Reyna Manescau Spanish, 1859-1937 San Trovaso, Venice Signed A. Reyna and inscribed Venezia (lr) Oil on canvas 10 x 20 inches Provenance: Private collection, MA Known as "the painter of Venice," Reyna was born in Malaga and studied there at the School of Fine Art. In 1882 he received a pension for further study in Italy, but Venice was the subject of his art throughout the rest of his life. In this painting, his view is from San Trovaso, the boat-building section of Venice, looking across the canal where the domes of Basilica of St. Mark's are visible. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Frame rubbing. There is scattered inpaint in the sky. There is also some scattered inpaint in the trees and buildings at the center. There is no further restoraton visible under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Alberto Prosdocimi Italian, 1852-1925 Street Scene in Rome

Lot 11: Alberto Prosdocimi Italian, 1852-1925 Street Scene in Rome

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Description: Alberto Prosdocimi Italian, 1852-1925 Street Scene in Rome Signed A. Prosdocimi (ll) Watercolor on paper Sight 15 3/4 x 10 1/4 inches C 

Condition Report: Sandwich mounted. There is some light staining in the sky. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Ettore Roesler Franz Italian, 1845-1907 Tivoli via del Colonnato Scene   Signed E. Roesler Franz and inscrib...

Lot 12: Ettore Roesler Franz Italian, 1845-1907 Tivoli via del Colonnato Scene Signed E. Roesler Franz and inscrib...

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Description: Ettore Roesler Franz Italian, 1845-1907 Tivoli via del Colonnato Scene Signed E. Roesler Franz and inscribed Roma (lr) Watercolor on paper laid down on board 14 3/4 x 21 3/8 inches C 

Condition Report: Toned. Matburn. Slightly faded, however the colors remain quite strong. No apparent damage. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Theodore Chasseriau French, 1819-1856 Portrait of a Young Italian   Bears added signature Th. Cha...

Lot 13: Attributed to Theodore Chasseriau French, 1819-1856 Portrait of a Young Italian Bears added signature Th. Cha...

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Description: Attributed to Theodore Chasseriau French, 1819-1856 Portrait of a Young Italian Bears added signature Th. Chasseriau (lr) Oil on canvas 21 3/8 x 16 inches Provenance: Shepherd Gallery, New York, 1984 This depiction of an Italian woman is attributed to Chasseriau, a French romantic painter who was a student of Ingres and later influenced by Eugène Delacroix. While the linear treatment in this image and the tilt of the woman's head evoke the female figures of Ingres, the subject is less idealized than those in Ingres's art, as the artist captured her serious expression of deep, inward thought. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Glue relined. Frame rubbing. Scattered inpaint in the background and on the woman's shirt. There is 1 inch diameter of inpaint in the upper register at the center. There is a 3/4 diameter area of inpaint in the lower right corner. There is a L-shaped repaired tear approximately 9 x 4 inches in the lower left quadrant. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Henry Pember Smith American, 1854-1907 Venetian Backwater

Lot 14: Henry Pember Smith American, 1854-1907 Venetian Backwater

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Description: Henry Pember Smith American, 1854-1907 Venetian Backwater Signed Henry P. Smith (lr); inscribed An ...lace in Venice on an old partial label on the reverse Oil on canvas 28 x 20 inches C 

Condition Report: Dirty yellowed varnish. Frame rubbing, with some corresponding inpaint in the lower right corner. There is a repaired hole, with corresponding inpaint and a patch on the reverse, in the sky at the center right approximately 1/4 x 1/4 inch. There is another area of inpaint an inch above the repaired hole, approximately 1 x 1 inch. No further restoration is visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Ferruccio Rontini Italian, 1893-1964 Mercato, 1960   Signed F. Rontini and dated 60 (lr); inscribed as...

Lot 15: Ferruccio Rontini Italian, 1893-1964 Mercato, 1960 Signed F. Rontini and dated 60 (lr); inscribed as...

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Description: Ferruccio Rontini Italian, 1893-1964 Mercato, 1960 Signed F. Rontini and dated 60 (lr); inscribed as titled, signed F. Rontini and dated 60 on the reverse Oil on canvas 27 3/8 x 19 1/2 inches Provenance: Estate of a private collector, Long Island, NY C 

Condition Report: Frame rubbing. Surface grime. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Albert Ferdinand Duprat Italian, 1882-1974 View of San Giorgio Maggiore, Venice

Lot 16: Albert Ferdinand Duprat Italian, 1882-1974 View of San Giorgio Maggiore, Venice

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Description: Albert Ferdinand Duprat Italian, 1882-1974 View of San Giorgio Maggiore, Venice Signed A. Duprat (lr) Oil on canvas 18 1/4 x 25 3/4 inches C 

Condition Report: Glue relined. Frame rubbing, with corresponding inpaint. Scattered craquelure throughout, with corresponding inpaint. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Francis Coates Jones American, 1857-1932 On the Terrace

Lot 17: Francis Coates Jones American, 1857-1932 On the Terrace

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Description: Francis Coates Jones American, 1857-1932 On the Terrace Signed Francis C. Jones (ll) Oil on canvas 20 x 14 inches Provenance: Meinhard Galleries, Houston, TX Private collection, FL On the Terrace exemplifies the Gilded Age, a time when such images of idealized female figures in classical attire represented the refinement, beauty, and leisure associated with high culture. Showing his subject seated on a stone bench, Jones gave the work a frieze-like appearance, enhancing its decorative effect. At the same time, by bathing the scene in a gentle light, he conjured a poetic realm distinct from the materialism of an increasingly industrialized America. An artist who trained in Paris with Bougereau and other academic teachers, Jones was among the key American artists to translate French classicism into an American idiom. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Glue relined. Frame rubbing. There is some light inpaint in the face of the woman, in the sky, some light touches in the canapy and the lower register from frame rubbing. There was also a touch of inpaint in the wall at the center left. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Henry Roderick Newman American, 1843-1918 Abu Simbel   Signed H. R. Newman, dated March 6 and inscribe...

Lot 18: Henry Roderick Newman American, 1843-1918 Abu Simbel Signed H. R. Newman, dated March 6 and inscribe...

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Description: Henry Roderick Newman American, 1843-1918 Abu Simbel Signed H. R. Newman, dated March 6 and inscribed as titled (ll) Watercolor and pencil on paper 26 x 17 inches Provenance: Private collection Elected to membership in the Association for the Advancement of Truth in Art in 1864, Newman was a follower of the truth-to-nature precepts stemming from the writings of John Ruskin. After traveling to Europe in 1870, Newman had the opportunity not only to meet Ruskin, but also to travel with him. The two shared their mutual interest in architecture while visiting several Italian cities. Newman continued his fascination with architectural form during the many winters he spent in Egypt, beginning in 1887, which resulted in the largest body of work by an American artist of the era of the land and its monuments. Living on a large dahabeah (houseboat) on the Nile, Newman created meticulous and often delicately rendered depictions of ancient sites. This image is of the famed façade of the temple of Abu Simbel, featuring two of the four 20-meter high colossi of Rameses II that flanked the entrance of the rock-cut structure. Depicting the statues from below, Newman draws attention to their grand scale and frozen expressions. The sand and rubble at the foot of the statues, the cracks and broken areas in them, and the sculptural fragments on the ground add to the poetic feeling of this grand spectacle lasting through time, while Newman's image provides a historic record of this subject long before the temple was moved to the bank of Lake Nasser. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Faded. Toned. This work is laid down to stretchers. There is a crease in the corner where the signature is in the lower left. The lower right corner is missing. There is damage to the corner at the upper left. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Sydney Adamson American/Scottish, fl.1892-1914 (i) The Gamers, 1915, (ii) Through the Market, 1916

Lot 19: Sydney Adamson American/Scottish, fl.1892-1914 (i) The Gamers, 1915, (ii) Through the Market, 1916

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Description: Sydney Adamson American/Scottish, fl.1892-1914 (i) The Gamers, 1915 Signed Sydney Adamson and dated Paris 1915 (ll) Watercolor on paper Sight 9 1/8 x 20 1/4 inches (ii) Through the Market, 1916 Signed Sydney Adamson and dated 1916 Paris (ll) Watercolor on paper Sight 21 3/8 x 13 3/8 inches C 

Condition Report: Each are hinged with tape on verso to the front matting. Each are toned. The gamers: Has some scattered foxing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Rogelio de Egusquiza Spanish, 1845-1915 A Spanish Beauty   Signed REgusquiza with conjoined first initials (...

Lot 20: Rogelio de Egusquiza Spanish, 1845-1915 A Spanish Beauty Signed REgusquiza with conjoined first initials (...

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Description: Rogelio de Egusquiza Spanish, 1845-1915 A Spanish Beauty Signed REgusquiza with conjoined first initials (ur) Oil on panel 7 3/4 x 6 inches Provenance: Private collection Born into a wealthy family in Santander, Spain, Egusquiza moved to Paris after his mother died when he was nine. He studied at the École des Beaux-Arts as well as with Francisco Mendoza and Léon Bonnat. This painting may date from about 1874, when Egusquiza moved to Rome, working there in the studio of fellow Spaniard, Mariano Fortuny y Marsal. Egusquiza's light touch and rapid brushwork evoke Fortuny's style as does the subject of this figure in an especially colorful dress with matching shoes. Eguszuiza clearly enjoyed rendering the textures of the varied objects within the scene, made evident by a softly glowing light. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: The panel is cradled. Scattered craquleure. Frame rubbing. There is uneven varnish. There is some inpainted craquleure in the lower register. Selectively cleaned. There is no further visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Ricardo de Madrazo y Garreta Spanish, 1852-1917 At the Well, 1881   Signed Ricardo de Madrazo. and dated ...

Lot 21: Ricardo de Madrazo y Garreta Spanish, 1852-1917 At the Well, 1881 Signed Ricardo de Madrazo. and dated ...

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Description: Ricardo de Madrazo y Garreta Spanish, 1852-1917 At the Well, 1881 Signed Ricardo de Madrazo. and dated 1881 (ll) Oil on canvas 21 x 14 1/2 inches Provenance: Goupil's, New York Estate of Mr. John F. Barber, Lander, WY Private collection, New York Ricardo de Madrazo was a third generation member of the prominent Spanish Madrazo family of artists. The strong influence on his art of that of his uncle Mariano Fortuny is apparent in At the Well, in which Madrazo depicted a picturesque genre scene and combined realism with vivid light color and lively brush handling. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Frame rubbing. Glue relined. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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F. Liger Hidalgo Spanish, 1880-1945 Alcazar Palace, Seville; Together with Emily Nichols Hatch, Church Interior

Lot 22: F. Liger Hidalgo Spanish, 1880-1945 Alcazar Palace, Seville; Together with Emily Nichols Hatch, Church Interior

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Description: F. Liger Hidalgo Spanish, 1880-1945 Alcazar Palace, Seville Signed F. Liger Hidalgo and inscribed Seville (lr) Oil on canvas 15 x 9 5/8 inches; Together with Emily Nichols Hatch, American, 1871-1959, Church Interior, oil and pencil on board, 9 x 6 inches C 

Condition Report: (i) Frame rubbing. Surface grime. No visible restoration under UV light. (ii) Frame rubbing. Some light surface grime. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Emile Jacque French, 1813-1894 Watering Hole

Lot 23: Charles Emile Jacque French, 1813-1894 Watering Hole

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Description: Charles Emile Jacque French, 1813-1894 Watering Hole Signed Ch. Jacques (ll) Oil on canvas 32 1/4 x 39 1/2 inches Provenance: Private collection, Lake Geneva, WI This painting will be included in the forthcoming catalogue raisonne on Jacque by J.P. Chambon. A painter of the French Barbizon School, Jacque was a friend of Jean-Francois Millet, with whom he moved to Barbizon, France, in 1849, fleeing the cholera epidemic in Paris. This image of a shepherdess and her flock in a densely painted rural landscape is a fine example of a subject Jacque painted with devotion over the course of his Barbizon years. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Frame rubbing. Scattered area of craquelure. Dense varnish, making it difficult to detect further restoration under UV light. There is possible inpaint in the sky. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Louis Emile Adan French, 1839-1937 A Shepherd and His Flock

Lot 24: Louis Emile Adan French, 1839-1937 A Shepherd and His Flock

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Description: Louis Emile Adan French, 1839-1937 A Shepherd and His Flock Signed L. Emile Adan (ll) Oil on canvas 24 1/2 x 36 3/8 inches C 

Condition Report: Frame rubbing. Dirty varnish. Scattered craquelure throughout. There is a 3 inch vertical tear in the sky at the upper center. There is a irregularly shaped tear in the canvas at the lower left, approximately 2 inch long with a corresponding 4 inch x 3 inch area of inpaint. There is also an infilled hole with corresponding patch in the lower right corner, approximately 1/2 inch. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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M. Schroeter American, 19th/20th Century Shepherdess in a landscape with Flock

Lot 25: M. Schroeter American, 19th/20th Century Shepherdess in a landscape with Flock

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Description: M. Schroeter American, 19th/20th Century Shepherdess in a landscape with Flock Signed M. Schroeter and dated 1918 (lr) Oil on canvas 27 x 37 inches C Estate of a Lady

Condition Report: Frame rubbing. Scattered craquelure throughout. Visible stretcher marks along the upper register. There is some light surface grime. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Leon Delachaux By the Pond, 1881

Lot 26: Attributed to Leon Delachaux By the Pond, 1881

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Description: Attributed to Leon Delachaux By the Pond, 1881 Bears signature L. Delachaux (ll); bears inscription Leon Delachaux and date 1881 on the reverse Oil on canvas 15 5/8 x 10 3/4 inches C 

Condition Report: Frame rubbing, with corresponding inpaint. Active paint flaking in the sky, particularly in the center left and the upper right corner. There are already some paint flakes missing. Scattered craquelure throughout, with corresponding inpaint in the sky. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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GJ Delfgauw Dutch, 20th Century Clam Digging

Lot 27: GJ Delfgauw Dutch, 20th Century Clam Digging

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Description: GJ Delfgauw Dutch, 20th Century Clam Digging Signed G. J. Delfgauw (lr) Oil on canvas 16 x 23 5/8 inches C 

Condition Report: Frame rubbing. Scattered craquelure throughout. Dirty varnish. No visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Sidney Richard Percy British, 1821-1886 Ullswater, 1869

Lot 28: Sidney Richard Percy British, 1821-1886 Ullswater, 1869

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Description: Sidney Richard Percy British, 1821-1886 Ullswater, 1869 Signed S. R. Percy and dated 1869 (ll) Oil on canvas 14 x 21 1/2 inches C 

Condition Report: Glue relined. Frame rubbing. There is a 3 inch vertical repaired tear in the canvas at the lower edge at left. There is a 1 inch diagonal possible repaired tear in the mountain at the left center. There are a couple touches of inpaint in the mountain at the right center. There is a small touch in the edge of the canvas in the sky at upper right. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Barrett British, 19th/20th Century On the River Dart

Lot 29: John Barrett British, 19th/20th Century On the River Dart

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Description: John Barrett British, 19th/20th Century On the River Dart Signed J. Barrett (ll) Oil on canvas 12 x 20 1/8 inches C 

Condition Report: Frame rubbing. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Ernest Walbourn British, 1872-1927 When Summer Comes

Lot 30: Ernest Walbourn British, 1872-1927 When Summer Comes

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Description: Ernest Walbourn British, 1872-1927 When Summer Comes Signed Ernest Walbourn (ll); inscribed as titled and with the artist's name on an old label on the reverse Oil on canvas 24 x 36 inches C 

Condition Report: Frame rubbing. Scattered areas of craquelure. Scattered touches of inpaint throughout the sky. There are also scattered touches of inpaint in the trees and grass. There is no further restoration visible under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Paul Emmanuel Peraire French, 1829-1893 Le Plateau d'Avron, 1878

Lot 31: Paul Emmanuel Peraire French, 1829-1893 Le Plateau d'Avron, 1878

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Description: Paul Emmanuel Peraire French, 1829-1893 Le Plateau d'Avron, 1878 Signed P. Peraire (ll); inscribed indistinctly, dated and signed on the reverse N. 99 Le Plateau d'Avron (...Nogent...Marne)/Paris, Juin 1878/P. Peraire Oil on canvas 18 x 35 3/4 inches C 

Condition Report: Relined. Frame rubbing. Visible center stretcher marks. Scattered craquelure, mainly in the whites. Scattered spots of inpainting throughout the sky; scattered along the edges; small spot in the house at far left; few spots in the lower half of the painting; line of inpainting along the right edge. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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French School 19th/20th Century Along a River

Lot 32: French School 19th/20th Century Along a River

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Description: French School 19th/20th Century Along a River Oil on canvas 15 x 23 inches C 

Condition Report: Frame rubbing. There is scattered touches of inpaint in the sky. There is a small repaired hole in the sky at the upper right, with a corresponding patch on the reverse. There is no further restoration visible under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Jose Weiss British, 1859-1919 River Landscape

Lot 33: Jose Weiss British, 1859-1919 River Landscape

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Description: Jose Weiss British, 1859-1919 River Landscape Signed Jos Weiss (ll) Oil on canvas 16 1/4 x 24 1/4 inches C Estate of Georgine Goodman

Condition Report: Frame rubbing. Dirty varnish. Glue relined. There is no visible restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Jean Ferdinand Chaigneau French, 1830-1906 Washerwoman on the Edge of Town

Lot 34: Jean Ferdinand Chaigneau French, 1830-1906 Washerwoman on the Edge of Town

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Description: Jean Ferdinand Chaigneau French, 1830-1906 Washerwoman on the Edge of Town Signed Fn. Chaigneau (lr) Oil on panel 6 x 9 1/4 inches C 

Condition Report: Frame rubbing. Light dirty varnish. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Francois Daubigny French, 1817-1878 Maree Basse

Lot 35: Charles Francois Daubigny French, 1817-1878 Maree Basse

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Description: Charles Francois Daubigny French, 1817-1878 Maree Basse Signed Daubigny (ll) Oil on panel 10 x 17 3/8 inches Provenance: Boussod-Valadon, Paris Sale, Anderson Galleries, New York, The Handsome Library of Charles H. Senff, Mar. 28-29, 1928, lot 51 Exhibited: Baltimore Museum of Art, MD, Loan no. L-52.66 Literature: Robert Hillebranth, Charles-Francois Daubigny: 1817-1878, Morges: Matute, 1976, no. 640 C 

Condition Report: Frame rubbing. There is a dense varnish making it hard to detect restoration under UV light. There is some inpaint in the sky at the center right edge, and in the beach at the center right edge. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Louis Coignard French, 1810-1883 The Watering Hole

Lot 36: Louis Coignard French, 1810-1883 The Watering Hole

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Description: Louis Coignard French, 1810-1883 The Watering Hole Signed L. Coignard (lr) Oil on canvas 10 3/4 x 15 3/4 inches C 

Condition Report: Relined. Frame rubbing, with corresponding inpaint. Scattered craquelure throughout. There is a possible horizontal repaired tear in the sky at the upper center, approximately 2 inches. There are some light scattered touches of inpaint in the sky. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Henri Joseph Harpignies French, 1819-1916 Les Petits Pecheurs

Lot 37: Henri Joseph Harpignies French, 1819-1916 Les Petits Pecheurs

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Description: Henri Joseph Harpignies French, 1819-1916 Les Petits Pecheurs Signed H. Harpignies (ll) Oil on canvas 12 x 15 inches Provenance: Bernheim-Jeune Gallery, Paris, no. 1903 C 

Condition Report: Frame rubbing, with corresponding inpaint. There is some scattered craquelure in the sky, with corresponding inpaint. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Willibald Wex German, 1831-1892 The Matterhorn

Lot 38: Willibald Wex German, 1831-1892 The Matterhorn

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Description: Willibald Wex German, 1831-1892 The Matterhorn Signed Willi Wex. (ll); inscribed as titled on the reverse Oil on panel 7 5/8 x 11 3/4 inches Provenance: Private Collection, NJ C 

Condition Report: Frame rubbing. Could use a cleaning. There are some scattered scratches in the sky and distant mountain. There is a vertical area of paint loss in the grass just below the building, approximately 3/8 of an inch. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Elmer Boyd Smith American, 1860-1943 Haystacks in a Brittany Landscape   Oil on canvas 15 x 21 inches Provenan...

Lot 39: Elmer Boyd Smith American, 1860-1943 Haystacks in a Brittany Landscape Oil on canvas 15 x 21 inches Provenan...

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Description: Elmer Boyd Smith American, 1860-1943 Haystacks in a Brittany Landscape Oil on canvas 15 x 21 inches Provenance: Mississippi Museum of Art, Jackson, MS Smith was born in St. John, in the province of New Brunswick, Canada, and grew up in Boston. From 1881 until 1897, he lived mostly in France, studying in Paris at the Académie Julian, and residing in the early 1890s in the tiny hamlet of Volombre. Here Smith captures the play of light on a quiet scene of haystacks and orderly homes, united visually by their red-pitched roofs. Both through the golden light that filters across the scene and the neat rows of buildings set against a lush landscape of fields and forests, Smith produced an iconic image of a tranquil French village at dawn. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Wax relined. Frame rubbing. There is a slight waive to the canvas. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Harry Russ b. 1865 Pitching Hay   Signed Harry Russ with artist's device (lr) Oil on canvas 30 1/4 x 40...

Lot 40: Harry Russ b. 1865 Pitching Hay Signed Harry Russ with artist's device (lr) Oil on canvas 30 1/4 x 40...

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Description: Harry Russ b. 1865 Pitching Hay Signed Harry Russ with artist's device (lr) Oil on canvas 30 1/4 x 40 1/8 inches Provenance: Estate of Mr. Walter P. Chrysler, Jr. Spanierman Gallery, LLC, New York, 1999 Private collection Little is known of Russ's career. His passport application indicates that he was born in Boston and traveled abroad in 1888, returning to Boston in 1889. He subsequently lived in Brookline, while maintaining a Boston studio. From 1899 to 1901, he was affiliated with Lasell Seminary. Later he lived successively in Weston, Waltham, and Westfield, Massachusetts. Pitching Hay is a striking realist image, rendered with a crisp detail suggestive of the art of Eakins, while Russ rendered the foreground with Impressionist color and light. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: There is a visible stretcher mark in the upper, right and left register. There is scattered inpaint in the sky. There is no further restoration visible under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Marie (Mathieson) Lokke American, 1877-1948 Autumn Landscape with a Fieldhand Resting on a Wheelbarrow   Signed I...

Lot 41: Marie (Mathieson) Lokke American, 1877-1948 Autumn Landscape with a Fieldhand Resting on a Wheelbarrow Signed I...

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Description: Marie (Mathieson) Lokke American, 1877-1948 Autumn Landscape with a Fieldhand Resting on a Wheelbarrow Signed Marie Lokke (lr) Oil on canvas 20 x 30 1/8 inches Provenance: Private collection Marie Lokke was born in Christiana (now Oslo) and studied in Oslo and Dresden before settling in the United States in 1902. In 1903 she married Finn Mathiesen, whom she later divorced. While remaining in the America until returning to Europe in 1916, she exhibited widely (including showing at the Panama-Pacific Exposition in 1915) and studied with Charles Hawthorne in Provincetown. This painting falls into the tradition of images of country life and its labors, captured here with an Impressionist attention to light and a sensitivity to the field worker's moment of rest. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Frame rubbing. Uneven varnish. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Alexis Jean Fournier American, 1865-1948 Farm House, Normandy, 1895   Signed Alexis J. Fournier, inscribed ...

Lot 42: Alexis Jean Fournier American, 1865-1948 Farm House, Normandy, 1895 Signed Alexis J. Fournier, inscribed ...

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Description: Alexis Jean Fournier American, 1865-1948 Farm House, Normandy, 1895 Signed Alexis J. Fournier, inscribed Normandie and dated 95 (lr) Oil on canvas 18 x 22 inches Unframed Provenance: Private collection Born in St. Paul, Minnesota, to French immigrant parents, Alexis-Jean Fournier began his career as a painter of sign and stage scenery. He received his first instruction in 1886 from Douglas Volk, studying both privately and at the Minneapolis School of Art. In 1891, Fournier served as the official artist on H. Jay Smith's 1891 expedition to Colorado and New Mexico. Two years later, with funding by a group of local art patrons, he went to Paris, where he enrolled at the Académie Julian and exhibited a work at the Paris Salon. Dated 1895, this painting is a product of this time in France, the first of several trips to the country for the artist. It portrays a stone manor house probably in or near Dieppe and Arques-la-Bataille, which were the subject of works Fournier exhibited in 1895 and 1896. The balanced composition evokes the harmonious, timeless feeling of its subject. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Frame rubbing. There is a wave to the canvas. There are scattered areas of craquelure and paint separation. There is a small scrape that resulted in a dent and tiny tear in the thatched roof at the upper center. This is approximately 1 inch horizontal. There is a paint flake loss in the lower right corner, approximately 1/8 round. There is some possible inpaint in the tree trunk at the center left, it appears that it could be the original paint, but it fluoresce under UV light. This is difficult to detect. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Elihu Vedder American, 1836-1923 Le Casacce, Between Perugia and Gubbio, 1867   Signed Vedder and dated A...

Lot 43: Elihu Vedder American, 1836-1923 Le Casacce, Between Perugia and Gubbio, 1867 Signed Vedder and dated A...

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Description: Elihu Vedder American, 1836-1923 Le Casacce, Between Perugia and Gubbio, 1867 Signed Vedder and dated Aug 30/67 (lr); inscribed Between Perugia and Le Casacce, Vedder, inscribed Between Perugia and Gubbio and signed Elihu Vedder on the reverse Oil on canvas 8 1/4 x 12 inches Provenance: Collection of Richard and Gloria Manney, NH Private collection Elihu Vedder rendered this painting during a summer sketching tour in Umbria, Italy, with his good friend, the painter Thomas H. Hotchkiss. In a recollection of the trip, Vedder wrote of passing the day and making "innumerable sketches of the mountains, and notes of their ever-changing hues." In this image of the small town of Le Casacce, Vedder created a tightly structured composition, silhouetting the darkened hills in which a lone farmhouse is situated against the overcast sky at the end of the day. Typical of Vedder's work, his emphasis was more on mood than transcription. As scholar Joshua Taylor wrote: "His goal was the construction of an artistic object that had evocative powers, rich in reminiscence . . . . Whether he was painting directly from nature or composing or completing a work in his studio, he retained a fresh, simple manner of painting that convinces the viewer that he himself is looking creatively." (Perceptions and Evocations: The Art of Elihu Vedder, 1979, p. 87) C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Glue relined. Frame rubbing. There are scattered touches of inpaint in the sky, especially at the upper right corner. There is a touch of inpaint in the ground in the lower right corner, there is another touch along the left center register, approximately 1/2 inch. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Robert Loftin Newman American, 1827-1912 Wayside Madonna   Oil on canvas 6 1/8 x 8 inches Provenance: Archiv...

Lot 44: Robert Loftin Newman American, 1827-1912 Wayside Madonna Oil on canvas 6 1/8 x 8 inches Provenance: Archiv...

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Description: Robert Loftin Newman American, 1827-1912 Wayside Madonna Oil on canvas 6 1/8 x 8 inches Provenance: Archives of American Art The key American painter of the late nineteenth century to focus on religious themes, Newman often depicted the subject of the Madonna and Child, envisioning it through the lens of his mystical orientation. Using a layering of rich, deep color, the legacy of his training with Thomas Couture in Paris, he treated figural forms as simple masses blended into landscapes that hover between the recognizable and a realm of fantasy. Here the mother's tiredness and tenderness exude from Newman's expressive treatment. This painting was possibly the work once entitled Wayside Repose, exhibited in the 1894 exhibition of Newman's paintings held at Knoedler Gallery and the Museum of Fine Arts Boston (no. 92, lent by Miss Walker). C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Glue relined. Frame rubbing, with some corresponding inpaint. Scattered craquleure, with some minor corresponding inpaint. There is some possible inpaint in the child's blanket at center. Dense varnish, unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Francis Hopkinson Smith American, 1838-1915 The Garden Courtyard at the Inn of William the Conqueror   Signed F...

Lot 45: Francis Hopkinson Smith American, 1838-1915 The Garden Courtyard at the Inn of William the Conqueror Signed F...

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Description: Francis Hopkinson Smith American, 1838-1915 The Garden Courtyard at the Inn of William the Conqueror Signed F. Hopkinson Smith (ll) Charcoal and goauche on paper laid down to board 17 3/4 x 24 1/4 inches Provenance: Vance Jordan Fine Art, New York, until 2004 Smith was a prodigious watercolorist, an inveterate traveler, as well as a novelist. On his travels, among the locales that captured his imagination most was the Hostellerie Guillaume le Conquerant, a quaint and historic inn in the Normandy town of Dives-sur-Mer, the place from which William the Conqueror and his knights set sail for England in 1066. Smith described the site in his 1912 novel, The Arm-Chair at the Inn, noting its "flower-choked yard flanked about on three sides by a chain of moss-encrusted, red-tiled, seesaw roofs, all out of plumb." Combining opaque strokes and translucent washes, Smith captured the charm of this setting in this work, while demonstrating his consummate control of his medium. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Matburn. Some scattered light stains in the sky at the upper center and in the ground at the lower center. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Gilbert Scott Wright British, 1880-1958 A Stop at the Crown Inn

Lot 46: Gilbert Scott Wright British, 1880-1958 A Stop at the Crown Inn

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Description: Gilbert Scott Wright British, 1880-1958 A Stop at the Crown Inn Signed Gilbert S. Wright (lr) Oil on canvas 21 1/8 x 36 inches C 

Condition Report: Frame rubbing. Dirty varnish. There is a 24 inch arch shaped scratch in the sky. There is no visible inpaint under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Alexander Ritter von Bensa German, 1820-1902 The Royal Coach

Lot 47: Alexander Ritter von Bensa German, 1820-1902 The Royal Coach

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Description: Alexander Ritter von Bensa German, 1820-1902 The Royal Coach Signed v. Bensa (lr) Watercolor on paper Sight 5 x 10 inches C 

Condition Report: Toned. Some light scattered staining. This work was not examined out of the frame. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Andrey Nikolaevich Avinoff Russian, 1884-1948 Orchid

Lot 49: Andrey Nikolaevich Avinoff Russian, 1884-1948 Orchid

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Description: Andrey Nikolaevich Avinoff Russian, 1884-1948 Orchid Inscribed on a note affixed to the backing To Sam Flax/Painting by my brother/Andrey Avinoff/Elizabeth Shoumatoff; inscribed on the verso SLC Radians/SLC Radians/SLC Isabella/X C Princess Royal Watercolor over traces of pencil on paperboard Sheet 19 x 14 5/8 inches; image 12 3/4 x 7 1/2 inches Provenance: The Artist His sister, Elizabeth Shoumatoff Private collection, gift from the above C 

Condition Report: Matburn. Discoloration and wear along the edges. Couple of minor spots of foxing - far right. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Theodore Robinson American, 1852-1896 Moyen-Age

Lot 50: Theodore Robinson American, 1852-1896 Moyen-Age

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Description: Theodore Robinson American, 1852-1896 Moyen-Age Signed Th Robinson (ll) Oil on canvas laid down to board 9 3/4 x 11 1/2 inches Provenance: Brand Galleries, Los Angeles Private collection, LA, 1978 This painting will be included in the forthcoming catalogue raisonne of the work of Theodore Robinson by Sona Johnston and Ira Spanierman. A central figure in the Anglo-American artists' colony in Giverny, France, in the late 1880s and 1890s, Robinson was among few American artists to befriend Claude Monet, and his association with the noted French Impressionist was enduring. On long stays in the Normandy town, Robinson made regular visits to Monet's home and studio, and mentioned Monet often in his diaries. Deriving influence from the French painter, Robinson developed a singular approach to the Impressionist style, lightening his palette and loosening his brushwork, while maintaining a concern for structured compositions and realistic interpretations of nature. His aesthetic can be seen in Moyen-Age, an image of a young woman in a medieval costume, posed at the summit of Les Bruyeres, the line of hills rising directly behind Giverny. Robinson referenced another image of this subject in his diary, stating on January 23, 1893: "Worked on little 'Moyen-age' girl in red picking a flower." He also created a related watercolor, dated 1889 (Baur, no. 309). C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Frame rubbing, with some corresponding light touches of inpaint. There is some very minor touches of inpaint in the sky. There is a small touch of inpaint in the girl's nose and a small touch on her hand. There is some possible inpaint in the grass in the lower right quadrant. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Louis Comfort Tiffany American, 1848-1933 Study of a Young Boy   Signed with the artist's initials L. C. T....

Lot 52: Louis Comfort Tiffany American, 1848-1933 Study of a Young Boy Signed with the artist's initials L. C. T....

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Description: Louis Comfort Tiffany American, 1848-1933 Study of a Young Boy Signed with the artist's initials L. C. T. (lr) Oil on canvas 7 7/8 x 7 7/8 inches Provenance: Cresmer Collection, Chicago, IL Ira Spanierman Gallery, New York, 1962 Private collection, New York Best known for his iridescent glass windows and object d'art, Tiffany was also a painter of oils and watercolors. He depicted Luminist landscapes and Orientalist subjects, while during the late 1870s, he rendered a number of urban images unusual in their era, including Duane Street (Brooklyn Museum). Study of Young Boy is among these works, demonstrating a realist approach that anticipates the art of the Ashcan School. The crouched boy's well-fitting clothes and leather shoes suggest that while he belongs to a city environment, he is not among New York City's street children. C The Spanierman Gallery, LLC Collection of American Art

Condition Report: Old glue lining. One or two minuscule touches of inpaint. No further restoration visible under UV exam. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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