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Auction Description for Barridoff: Fine Auction: American and European Art
Viewing Notes:
Tuesday, April 23, 6 PM?-?8 PM and Wednesday, April 24, 10 AM?-?5 PM and online at Artfact.com

Fine Auction: American and European Art

by Barridoff Galleries


168 lots with images

April 24, 2013

Live Auction

Auction Location: Institute of Contemporary Art, Maine College of Art

The Porteous Building, 522 Congress St.

Portland, ME, 04101 USA

Phone: (207) 772-5011

Fax: (207) 772-5049

Email: fineart@barridoff.com

168 Lots
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George Grosz - Street Scene ca. 1917-1920

Lot 1: George Grosz - Street Scene ca. 1917-1920

Estimated Price: Log in or create account to view price data

Description: George Grosz Ger. 1893-1959 Street Scene ca. 1917-1920 Signed "G. Grosz" l.r. Ink on paper 22 3/4 x 17 1/4 in. (57.8 x 43.8 cm) Property of Carl N.Schmalz, Emeritus Professor of Fine Arts, Amherst College, formerly Prof of Fine Arts at Harvard University and Bowdoin College Provenance: To the current owner

Condition Report: Good condition good appearance. Not laid down. Two very tiny/insignificant blemishes at extreme edge of one side . DISCLAIMER Apologies for the length of the disclaimer. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases in our condition reports that may be a kind of shorthand for longer explanations.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

View additional info and full condition report »
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François Gall - At the Beach

Lot 2: François Gall - At the Beach

Estimated Price: Log in or create account to view price data

Description: François Gall Fr. 1912-1987 At the Beach Signed "F. Gall" l.l. Oil on canvas 8 5/8 x 10 5/8 in. (21.9 x 27.0 cm)

Condition Report: Good condition, good appearance, little to no restoration, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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François Gall - Le Treport

Lot 3: François Gall - Le Treport

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Description: François Gall Fr. 1912-1987 Le Treport Signed "F. Gall Tréport" l.r. Oil on canvas 8 5/8 x 10 5/8 in. (21.9 x 27.0 cm)

Condition Report: Good condition, good appearance, little to no restoration, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

View additional info and full condition report »
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Alfred F. de Prades - On the Hunt

Lot 4: Alfred F. de Prades - On the Hunt

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Description: Alfred F. de Prades Br. ca. 1820-ca. 1890 On the Hunt Signed "F. de P." l.r. Watercolor, gouache, and body color 24 x 15 in. sight (61.0 x 38.1 cm) sight Property of Laura and Jeffrey Trippe, Yarmouth, Maine

Condition Report: Good condition, good appearance. Not examined out of frame, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

View additional info and full condition report »
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Jean-Jacques Berne-Bellecour - Cavalry Soldiers

Lot 5: Jean-Jacques Berne-Bellecour - Cavalry Soldiers

Estimated Price: Log in or create account to view price data

Description: Jean-Jacques Berne-Bellecour Fr. 1874-1939 Cavalry Soldiers SIgned and dated "Jean Berne-Bellecour 1906" l.l. Oil on panel 18 x 13 1/2 in. (45.7 x 34.3 cm) Property of a collector, Virginia

Condition Report: Good condition, good appearance, little to no restorationDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

View additional info and full condition report »
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John Berney Ladbrooke - Mother and Child Near Home

Lot 6: John Berney Ladbrooke - Mother and Child Near Home

Estimated Price: Log in or create account to view price data

Description: John Berney Ladbrooke Br. 1803-1879 Mother and Child Near Home Oil on canvas 16 x 24 in. (40.6 x 61.0 cm) Property Property of the Dietrich Family, LLC., Brooksville, Maine

Condition Report: Good condition, good appearance, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Denis Pierre Bergeret - Still Life

Lot 7: Denis Pierre Bergeret - Still Life

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Description: Denis Pierre Bergeret Fr. 1846-1910 Still Life Signed "D. Bergeret" l.r. Oil on canvas 19 1/2 x 57 in. (49.5 x 144.8 cm) Property of a Maine family

Condition Report: Good condition, good appearance, heavy old varnish but not lined and appears to have very little to no scattered restorationDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

View additional info and full condition report »
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Enrico Coleman - Leading Horses in the Campagna

Lot 8: Enrico Coleman - Leading Horses in the Campagna

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Description: Enrico Coleman It. 1846-1911 Leading Horses in the Campagna Signed "H. Coleman-Roma" l.r. Watercolor 10 x 18 in. (25.4 x 45.7 cm)

Condition Report: Good condition, good appearance, no apparent loss of color, some browning at the extremes where the old, possibly original front mat touches the watercolor paper, not laid down but taped along the edges to the front mat from the back of the watercolor (see image) DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Jean Georges Vibert - The Cardinal

Lot 9: Jean Georges Vibert - The Cardinal

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Description: Jean Georges Vibert Fr. 1840-1902 The Cardinal Signed J. G. Vibert" l.l. Watercolor 11 x 7 in. (27.9 x 17.8 cm)

Condition Report: Good condition, good appearance. Not examined out of frame.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Julio de Diego - Ancient Ceremony, 1943

Lot 10: Julio de Diego - Ancient Ceremony, 1943

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Description: Julio de Diego Sp. 1900-1979 Ancient Ceremony, 1943 Signed "D. Diego" l.l. Mixed media 15 1/4 x 21 1/4 in. (38.7 x 54.0 cm)

Condition Report: Good condition, good appearance, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Camille Vennemann - The Wandering Violinist

Lot 11: Camille Vennemann - The Wandering Violinist

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Description: Camille Vennemann Bel. 1827-1868 The Wandering Violinist SIgned and dated "Camille Vennemann 1852" l.r. Oil on canvas 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm)

Condition Report: Minor paint loss in the upper right corner and the lower right corner where the canvas meets the frame, otherwise, good condition, good appearanceDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Ugo Matania - The Woven Basket

Lot 12: Ugo Matania - The Woven Basket

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Description: Ugo Matania It. b. 1888 The Woven Basket Signed "Ugo Matania" l.l. Oil on canvas 26 x 19 in. (66.0 x 48.3 cm)

Condition Report: Appears to be dirty and untouched, tear to right of figure as seen in image, otherwise mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Henry H. Parker - The Silent Waters of the Thames

Lot 13: Henry H. Parker - The Silent Waters of the Thames

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Description: Henry H. Parker Br. 1858-1930 The Silent Waters of the Thames Signed "Henry H. Parker" l.l.; also titled and signed, both as above, verso Oil on canvas 20 x 30 in. (50.8 x 76.2 cm)

Condition Report: Good condition, good appearance, not lined, minor scattered restoration in the sky DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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James Webb - Thunder Cloud

Lot 14: James Webb - Thunder Cloud

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Description: James Webb Br. 1825-1895 Thunder Cloud Signed "James Webb" and dated indistinctly l.l.' also titled and signed, both as above, verso Oil on canvas 26 x 51 1/2 in. (66.0 x 130.8 cm)

Condition Report: Good condition, good appearance. Two small spots of restoration in the sky (upper left and upper right). Lined.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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School of Jacopo Bassano - Adoration of the Shepherds, after Titian

Lot 15: School of Jacopo Bassano - Adoration of the Shepherds, after Titian

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Description: School of Jacopo Bassano It. 16th C. Adoration of the Shepherds, after Titian Oil on canvas 21 x 28 in. (53.3 x 71.1 cm) Property of Carl N.Schmalz, Emeritus Professor of Fine Arts, Amherst College, formerly Prof of Fine Arts at Harvard University and Bowdoin College

Condition Report: Good condition, good appearance. Small tear in the corner, u.r. Not lined.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Guercino, Circle of - Athena

Lot 16: Guercino, Circle of - Athena

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Description: Guercino, Circle of It. 1591-1666 Athena Ink on paper 4 3/4 x 3 1/4 in. (12.1 x 8.3 cm) Property of Carl N.xSchmalz, Emeritus Professor of Fine Arts, Amherst College, formerly Prof of Fine Arts at Harvard University and Bowdoin College

Condition Report: Good condition, good appearance. Not laid down.Not examined out of frame.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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French-Flemish School - A Goddess, Probably Juno

Lot 17: French-Flemish School - A Goddess, Probably Juno

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Description: French-Flemish School 17th C. A Goddess, Probably Juno Sanguine drawing 16 x 9 in. (40.6 x 22.9 cm) Property of a Maine family

Condition Report: In need of some restoration, not laid down, condition problems apparent in imageDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Adam Elsheimer - Untitled with Nudes

Lot 18: Adam Elsheimer - Untitled with Nudes

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Description: Adam Elsheimer Ger. 1578-1610 Untitled with Nudes Ink on paper 1 3/4 x 2 1/4 in. (4.4 x 5.7 cm) Property of Carl N.Schmalz, Emeritus Professor of Fine Arts, Amherst College, formerly Prof of Fine Arts at Harvard University and Bowdoin College

Condition Report: Good condition, good appearance, not examined out of frame.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Berthe Morisot - Julia and Her Cat, ca. 1889

Lot 19: Berthe Morisot - Julia and Her Cat, ca. 1889

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Description: Berthe Morisot Fr. 1841-1895 Julia and Her Cat, ca. 1889 Etching 5 3/4 x 4 1/2 in. (14.6 x 11.4 cm) Property of Carl N.Schmalz, Emeritus Professor of Fine Arts, Amherst College, formerly Prof of Fine Arts at Harvard University and Bowdoin College

Condition Report: Good condition, good appearance. Not examined out of frame.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Pablo  Picasso - Sculpture d'un jeune homme à la coupe, Suite Vollard, pl.7

Lot 20: Pablo Picasso - Sculpture d'un jeune homme à la coupe, Suite Vollard, pl.7

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Description: Pablo Picasso Sp. 1881-1973 Sculpture d'un jeune homme à la coupe, Suite Vollard, pl.7 Signed "Picasso" b.r. Etching 10 1/2 x 7 3/4 in. (26.7 x 19.7 cm) Property of Carl N.Schmalz, Emeritus Professor of Fine Arts, Amherst College, formerly Prof of Fine Arts at Harvard University and Bowdoin College

Condition Report: Good condition, good appearance, not examined out of frame.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Pierre Bonnard - From Daphnis and Chloe, (an unpublished variant), ca. 1902

Lot 21: Pierre Bonnard - From Daphnis and Chloe, (an unpublished variant), ca. 1902

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Description: Pierre Bonnard Fr. 1867-1947 From Daphnis and Chloe, (an unpublished variant), ca. 1902 Lithograph 5 1/2 x 6 in. (14.0 x 15.2 cm) Property of Carl N.Schmalz, Emeritus Professor of Fine Arts, Amherst College, formerly Prof of Fine Arts at Harvard University and Bowdoin College

Condition Report: Good condition, good appearance. Not examined out of frame.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Oskar Kokoschka - Portrait of a Woman

Lot 22: Oskar Kokoschka - Portrait of a Woman

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Description: Oskar Kokoschka Aus. 1886-1980 Portrait of a Woman Signed "Kokoschka" l.r. Charcoal 13 1/2 x 11 in. (34.3 x 27.9 cm) Property of a Maine family

Condition Report: Good condition, good appearance., not laid downDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Lyonel Feininger - Off the Coast, 1951

Lot 23: Lyonel Feininger - Off the Coast, 1951

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Description: Lyonel Feininger Am./German 1871-1956 Off the Coast, 1951 Signed "Lyonel Feininger" b.r. Lithograph 9 1/4 x 14 3/4 in. sight (23.5 x 37.5 cm) sight Property of a Maine family

Condition Report: Good condition, good appearance. Not examined out of frame.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Marcel Adolph Bain - On a Boat at the Bend in a River Near a French Town

Lot 24: Marcel Adolph Bain - On a Boat at the Bend in a River Near a French Town

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Description: Marcel Adolph Bain Fr. 1878-1992 On a Boat at the Bend in a River Near a French Town Signed "Marcel Bain" l.r. Oil on canvas 23 1/2 x 28 1/2 in. (59.7 x 72.4 cm)

Condition Report: Good appearance, good condition. Not lined. Mint or very nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Emilio Grau Sala - Grapes

Lot 25: Emilio Grau Sala - Grapes

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Description: Grau Sala Sp. 1911-1975 Grapes Signed "Grau Sala" l.r. and "Grau Sala, Paris" verso Oil on canvas 26 x 21 1/2 in. (66.0 x 54.6 cm) The correct size of the current lot, when measured carefully, is the same as known work by the artist and slightly different from the size listed in the hard copy of the catalogue for this sale. The correct size of the current lot and comparable lots elsewhere is 25 3/4 x 21 1/4 in. (65.4 x 54.0 cm) The son of Emilio Grau Sala has confirmed the authenticity of both oils by his father in this sale.

Condition Report: Good condition, good appearance, good appearance, good condition. Not lined. Mint or very nearly mint DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Martha Walter - Tunisian Market

Lot 26: Martha Walter - Tunisian Market

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Description: Martha Walter Am. 1875-1976 Tunisian Market Signed "Martha Walter" l.l. of c. Watercolor 14 x 18 in. (35.6 x 45.7 cm)

Condition Report: Good condition, good appearance, not laid down, strong color, stored in a box with the other Walters in the sale with no exposure to light of any kind until recentlyDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Martha Walter - Tunisian Park

Lot 27: Martha Walter - Tunisian Park

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Description: Martha Walter Am. 1875-1976 Tunisian Park Signed "Martha Walter" l.l. Watercolor 7 1/2 x 9 1/2 in. sight (19.1 x 24.1 cm) sight

Condition Report: Good condition, good appearance, not laid down, strong color, stored in a box with the other Walters in the sale with no exposure to light of any kind until recentlyDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Martha Walter - Meeting Place #1

Lot 28: Martha Walter - Meeting Place #1

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Description: Martha Walter Am. 1875-1976 Meeting Place #1 Signed "Martha Walter" l.r. Watercolor 9 1/2 x 11 1/2 in. sight (24.1 x 29.2 cm) sight

Condition Report: Good condition, good appearance, not laid down, strong color, stored in a box with the other Walters in the sale with no exposure to light of any kind until recentlyDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Martha Walter - Meeting Place #2

Lot 29: Martha Walter - Meeting Place #2

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Description: Martha Walter Am. 1875-1976 Meeting Place #2 Signed "Martha Walter" l.l. Watercolor 6 3/4 x 8 3/4 in. (17.1 x 22.2 cm)

Condition Report: Good condition, good appearance, not laid down, strong color, stored in a box with the other Walters in the sale with no exposure to light of any kind until recentlyDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Emilio Grau Sala - Champs Elysee

Lot 30: Emilio Grau Sala - Champs Elysee

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Description: Grau Sala Sp./Fr. 1911-1975 Champs Elysee Signed "Grau Sala" l.r. Oil on canvas 38 x 29 in. (96.5 x 73.7 cm) The correct size of the current lot, when measured carefully, is the same as known work by the artist and slightly different from the size listed in the hard copy of the catalogue for this sale. The correct size of the current lot and comparable lots elsewhere is 36 1/4 x 28 3/4 in. (92.1 x 73.0 cm) The son of Emilio Grau Sala has confirmed the authenticity of both oils by his father in this sale.

Condition Report: Good condition, good appearance, no apparent restoration when examined with a blacklight, mint or very nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Mary Cassatt - Study for

Lot 31: Mary Cassatt - Study for "At the Opera"

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Description: Mary Cassatt Am. Study for "At the Opera" Bearing the estate stamp "Mary Cassatt-Collection Mathilde" l.r. Pencil 5 x 8 1/2 in. (12.7 x 21.6 cm) Property of a gentleman, Portland, Maine

Condition Report: Good appearance, good condition, not laid downDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Franklin Townsend Hutchens - River, Giverny

Lot 32: Franklin Townsend Hutchens - River, Giverny

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Description: Frank Townsend Hutchens Am. 1869-1937 River, Giverny Signed "F. T. Hutchens" l.r. Oil on canvasboard 13 x 15 1/2 in. (33.0 x 39.4 cm)

Condition Report: Good condition, good appearance, mint or very nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Henry Ernest Schnakenberg - The Avenue (Fifth Avenue, New York)

Lot 33: Henry Ernest Schnakenberg - The Avenue (Fifth Avenue, New York)

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Description: Henry Ernest Schnakenberg Am. 1892-1970 The Avenue (Fifth Avenue, New York) Signed "H. E. Schnakenberg" l.r. Oil on canvas 36 x 30 in. (91.4 x 76.2 cm)

Condition Report: Good condition, good appearance, lined, otherwise mint or very nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Harry Aiken Vincent - Cape Ann Inlet

Lot 34: Harry Aiken Vincent - Cape Ann Inlet

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Description: Harry Aiken Vincent Am. 1864-1931 Cape Ann Inlet Signed "H. A. Vincent" l.l. Watercolor 20 x 28 in. (50.8 x 71.1 cm)

Condition Report: Good condition, good appearance, not examined out of frame, does not appear to be laid downDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Samuel Peter Rolt Triscott - From the Maine Shore

Lot 35: Samuel Peter Rolt Triscott - From the Maine Shore

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Description: Samuel Rolt Rolt Triscott Am. 1846-1925 From the Maine Shore Signed "S. P. R. Triscott" l.r. Watercolor 19 1/2 x 6 1/4 in. sight (49.5 x 15.9 cm) sight

Condition Report: Good condition, good appearance, not examined out of frame, possible minor loss of intensity of color, does not appear to be laid downDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Walter Lansil - Grand Canal, San Marco, Venice

Lot 36: Walter Lansil - Grand Canal, San Marco, Venice

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Description: Walter Lansil Am. 1846-1925 Grand Canal, San Marco, Venice Signed "W. Lansil" l.r. Oil 8 1/4 x 12 in. (21.0 x 30.5 cm)

Condition Report: Good condition, good appearance. Three inch spot of restoration in the sky, u.l.(uncertain if it is lined or not).DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Saul Raskin - Lake Kinnereth and Kibbutz Kinnereth

Lot 37: Saul Raskin - Lake Kinnereth and Kibbutz Kinnereth

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Description: Saul Raskin Am. 1878-1966 Lake Kinnereth and Kibbutz Kinnereth Titled as above in both English and Hebrew and signed "Saul Raskin" in Hebrew only l.l. Watercolor 17 1/4 x 14 1/2 in. (43.8 x 36.8 cm) Property of Dr. and Mrs. Herman Gladstone, Tucson

Condition Report: Good condition, good appearance. Not examined out of frameDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Rosamond  Lombard Smith  Bouvé - The Dock at Monhegan

Lot 38: Rosamond Lombard Smith Bouvé - The Dock at Monhegan

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Description: Rosamond Lombard Smith Bouvé Am. 1876-1949 The Dock at Monhegan Signed "Rosamond L. Smith" l.l. Oil on canvasboard 10 x 14 in. (25.4 x 35.6 cm) Property of a collector, Virginia

Condition Report: Good condition, good appearance, Good condition, good appearance, not examined out of frame, does not appear to be laid downDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Charles Edwin Lewis Green - At Low Tide

Lot 39: Charles Edwin Lewis Green - At Low Tide

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Description: Charles Edwin Lewis Green Am. 1844-1915 At Low Tide Signed "C. E. L. Green" l.r. OIl on canvas 10 x 14 in. (25.4 x 35.6 cm)

Condition Report: Good condition, good appearance, little to no restoration, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Henry James Soulen - Winter Creek

Lot 40: Henry James Soulen - Winter Creek

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Description: Henry James Soulen Am. 1888-1956 Winter Creek Oil on canvas 35 x 30 in. (88.9 x 76.2 cm) Property a collector, Virginia

Condition Report: Good condition, good appearance, little to no restoration, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Emile Gruppé - Mt. Overlook, Woodstock, New York, 1926

Lot 42: Emile Gruppé - Mt. Overlook, Woodstock, New York, 1926

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Description: Emile Gruppé Am. 1896-1978 Mt. Overlook, Woodstock, New York, 1926 Signed "Emile Gruppé,: l.r.; and dated and titled "1926 Mt. Overlook, Woodtsock, N.Y." verso Oil on board 11 3/4 x 15 3/4 in. (29.8 x 40.0 cm)

Condition Report: Good condition, good appearance, very little and very minor scattered restorationDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Charles Woodbury - Bathing Girl, Ogunquit

Lot 43: Charles Woodbury - Bathing Girl, Ogunquit

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Description: Charles Woodbury Am. 1864-1940 Bathing Girl, Ogunquit Signed "Charles H. Wioodbury" l.r. Oil on board 8 x 10 in. (20.3 x 25.4 cm)

Condition Report: Good condition, good appearance. Mint or nearly so.DISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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John Sloan - Blue Granite Rocks, Gloucester, 1915

Lot 44: John Sloan - Blue Granite Rocks, Gloucester, 1915

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Description: John Sloan Am. 1871-1951 Blue Granite Rocks, Gloucester, 1915 Signed "John Sloan" l.r. Oil on canvas 20 x 24 in. (50.8 x 61.0 cm)

Condition Report: Good appearance, good conditon, lined, otherwise no apparent restoration when examined under a black lightDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Edward Henry Potthast - Sailing Vessels

Lot 45: Edward Henry Potthast - Sailing Vessels

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Description: Edward Henry Potthast Am. 1857-1927 Sailing Vessels Signed "Potthast" l.l. Oil on panel 8 x 10 in. (20.3 x 25.4 cm)

Condition Report: Good condition, good appearance, Good condition, good appearance, little to no restoration, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Abbott Graves - The Flower Vendor

Lot 46: Abbott Graves - The Flower Vendor

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Description: Abbott Graves Am. 1859-1936 The Flower Vendor Signed "Abbott Graves" l.r. Pastel 13 1/4 x 9 1/2 in. sight (33.7 x 24.1 cm) sight Property of a collector, Virginia

Condition Report: Good appearance, good color, not examined out of frameDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Arthur Hoeber - A Serene Afternoon in New Jersey

Lot 47: Arthur Hoeber - A Serene Afternoon in New Jersey

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Description: Arthur Hoeber Am. 1854-1915 A Serene Afternoon in New Jersey Signed "Arthur Hoeber" l.l. Oil on canvas 20 x 30 in. (50.8 x 76.2 cm)

Condition Report: Minor scattered restoration in the sky, with a 2" area of restoration in the sky, center. Otherwise good condition, good appearanceDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Paul Sample - A New England Town

Lot 48: Paul Sample - A New England Town

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Description: Paul Sample Am. 1896-1974 A New England Town Signed "Paul Sample" l.r. Oil on canvas on Masonite 8 3/4 x 13 3/4 in. (22.2 x 34.9 cm)

Condition Report: Good condition, good appearance. A few minor spotsof restoration in the skyDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Vivian Akers - Shepard's Point, Lake Pennesseewassee, Norway, Maine

Lot 49: Vivian Akers - Shepard's Point, Lake Pennesseewassee, Norway, Maine

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Description: Vivian Akers Am. 1886-1866 Shepard's Point, Lake Pennesseewassee, Norway, Maine Signed "Vivian Milner Akers" l.r. Oil on canvas 25 x 30 in. (63.5 x 76.2 cm) Property of David Stone, South Paris, Maine

Condition Report: Good condition, good appearance, not lined, little to no restoration, mint or nearly mintDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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Mabel Woodward - Market Scene

Lot 50: Mabel Woodward - Market Scene

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Description: Mabel Woodward Am. 1877-1945 Market Scene Oil on board 11 x 13 in. (27.9 x 33.0 cm)

Condition Report: Good conditioDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports.n, good appearance. mint or nearly mint If you would like more specific detail about condition, please ask by email or phone.

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George Oberteuffer - Boat House, Boothbay Harbor

Lot 51: George Oberteuffer - Boat House, Boothbay Harbor

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Description: George Oberteuffer Am. 1878-1940 Boat House, Boothbay Harbor Signed "Oberteuffer" l.r. Oil on canvasboard 14 3/8 x 17 1/4 in. (36.5 x 43.8 cm) Provenance: James Graham and Sons, New York (label with title as above verso)Auction, Shannon's. October 26, 2006, lot 99Freeman's, June 13, 2010, lot 97

Condition Report: Good condition, good appearance. Not linedDISCLAIMERIf the condition report only states "Good condition, good appearance" or the like with nothing further, it is our opinion that the painting appears to have little to no restoration and does not appear to be lined. Craquelure will be described in condition reports if it seems, in our opinion, to be extensive, separated, or obtrusive, especially for its date. All oils, especially earlier examples, must be assumed to have some craquelure. Loss of intensity or color in watercolors will be mentioned only if it seems, in our opinion, to be significant or obtrusive. Almost every watercolor has some loss of intensity from aging and direct or indirect light over time. We qualify those pictures we feel to be in mint condition with the term "mint or nearly mint", "pristine or nearly pristine", "little or no restoration", "little or no restoration, probably none", or the like, in order to avoid problems arising from differences of opinion and interpretation. We use "restoration" to mean inpaint or overpaint, and treat lining and thinness (or overcleaning/loss of paint surface) as issues separate from restoration. "Very minor scattered restoration" means it seems to us almost not worth mentioning; "minor scattered restoration" means a bit more. "Scattered restoration" alone may mean anything from several scattered spots to many scattered spots, but none of these is usually or particularly meaningful or bothersome. Unless very serious, we usually don't include thinness of surface paint in most condition reports because, again, it is often a matter of opinion and taste. The problem would have to be very obvious to the naked eye to be included. We do not mention minor ghosts of a crease or line on the surface caused by a stretcher unless it is in some way atypical or impacts significantly on the surface. If an image is painted directly on Masonite, board, canvasboard or the like, it is not considered lined and therefore nothing about its being lined is mentioned in condition reports. Barridoff Galleries tries to distinguish between works painted directly on such supports and those canvases that are laid down on such supports, but does not guarantee the type of support or lining. In general, if the lining or relining is not mentioned, it means that we do not believe it is lined. Although we will answer as best we can any questions in regard to the surface, if the buyer has questions about it, he or she is cautioned to examine the work under consideration in person or have an expert look at it for him/her. If a condition report includes no mention of lining, the subject artwork is probably not lined or is painted directly on a hard surface such as a panel. No one representing Barridoff Galleries is a qualified expert in regard to condition or restoration. While we do our best to provide an accurate description of condition no matter the medium, our description is in no way to be understood as a guarantee. Again, bidders are herein advised to examine any item in the sale prior to bidding in person and/or to have a qualified restorer of his/her own choosing do so for them. The Conditions of Sale found on the inside front cover and on page 4 of the catalogue (as well as on the barridoff.com online catalogue) also preclude any statements made in any other fashion and in any regard. Condition reports are in no way to be considered a guarantee of any kind. Our expertise in regard to condition is limited. This is particularly true of works on paper (including photographs), sculpture, and, most particularly of all, Old Masters. Those very few, if any, paintings whose condition reports may be more extensive and technical, are done by or with the help of a professional restorer. However, this disclaimer applies to all condition reports. If you would like more specific detail about condition, please ask by email or phone.

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