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Auction Description for Auctionata US: 700: American & European Fine Art
Auction Description:
This jewel of an auction features a thoughtfully curated selection of 19th – 20th century landscapes and portraits. Works by Edouard Bisson, Vernon Jay Morse, H. Claude Pissarro, and Konstantin Kryzhitsky stand out in this superb assortment of paintings, prints, and drawings from Europe, Russia, and the United States. 
Viewing Notes:
A preview at Auctionata is only possible by prior appointment. Contact: Tel: 1 (855) 275-2242, E-mail: usbids@auctionata.com Auction Location: The Fuller Building 595 Madison Avenue Fifth Floor New York, NY 10022
Sale Notes:
This jewel of an auction features a thoughtfully curated selection of 19th – 20th century landscapes and portraits. Works by Edouard Bisson, Vernon Jay Morse, H. Claude Pissarro, and Konstantin Kryzhitsky stand out in this superb assortment of paintings, prints, and drawings from Europe, Russia, and the United States.

700: American & European Fine Art (45 Lots)

by Auctionata US


45 lots with images

December 6, 2016

Live Auction

New York, NY, USA

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Lots with images first
Constantin Kluge, Notre Dame de Paris, Oil on Canvas, 20th C.

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Description: Oil on canvasFrance, 20th centuryConstantin Kluge (1912-2003) French painterSigned “C. Kluge“ lower rightProvenance: Roberts Gallery, Toronto; Frost and Reed, LondonDimensions: 23 1/4 x 35 1/2 in. (59 x 90.1 cm)Good condition Constantin Kluge (French, 1912-2003) Constantine Kluge was born in Riga, Latvia, on January 29, 1912. After competing his studies at the French College in Shanghai, he traveled to France to study architecture. In 1962 he was awarded the gold medal at the Salon des Artistes Francais. Kluge was later named Chevalier de la Legion d'Honneur by the French Ministry of Culture and in 1991, he was awarded the Grand Medal of the City of Senlis. From 1963 onward he exhibited at the Wally Findlay Galleries in Paris, New York, Chicago, Palm Beach and Beverly Hills. Condition Canvas has been lined. Surface is stable and impasto is good. Retouching throughout the sky visible under UV light. Good Condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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André Gisson, View of San Simeone Piccolo, Venice, Oil

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Description: Oil on CanvasItaly, early 20th CenturyAndré Gisson (American, 1921-2003)Signed 'Gisson' lower leftDimensions: 30 x 30 in; 76.2 x 76.2 cm.Frame Dimensions: 35 x 35 1/4 in; 88.9 x 89.5 cm.Very Good Overall Condition Condition Canvas is not lined. The surface is stable. There is a minor 1 in. surface scratch visible in the extreme right lower corner. Under the UV light there is an area of retouching in the left sky and an area of strengthening to the outline of the roof of the building to the right of the church dome. There is an area of restoration approximately 2 1/2 -3 in. long around the gondola of the extreme right edge addressing a previous tear with an accompanying gesso treatment on the reverse. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Ivan Mikhailovich Grabovsky, Notre Dame, Oil on Canvas, 1910

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Description: Ivan Mikhailovich Grabovsky, Notre Dame in the Snow, 1910Oil on CanvasFrance, 1910Ivan Mikhailovich Grabovsky (Russian, 1878-1922)Signed in cyrillic and dated lower right Dimensions: 12 1/2 x 18 in; 31.8 x 45.7 cm.Frame Dimensions: 16 1/2 x 23 in; 41.9 x 58.4 cm.Very Good Overall Condition Ivan Mikhailovich Grabovsky (Russian, 1878-1922) Grabovsky belongs to the generation of Russian artists who had the great fortune to study under one of the masters of Russian painting Ilya Repin at the Imperial Academy of the Arts at the turn of the century. Considered to be more of an impressionist in his style, Grabovsky’s repertoire includes romantic city views of, small picturesque villages and some landscape compositions. The present work depicts a winter vista of the church of Notre Dame in Paris from across the Seine. Condition Canvas is not lined. The surface is stable and has good impasto. Under the UV light there is a light wash to the sky, but otherwise no apparent restoration. The canvas is in overall good condition and could benefit from a light clean. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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James A.M. Whistler, Etching, La Veille aux Loques, USA, 1858

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Description: Etching and drypoint on thin, antique cream laid paperUSA, 1858James Abbott McNeil Whistler (1834-1903) – American painter and printmaker‘La Vielle aux Loques’Signed in plate lower right ‘Whistler’ (the ‘s’ reversed)Second state of fourFrom Twelve Etchings from NatureKennedy 21; Mansfield 21; Thomas 9; Wedmore 14Full margins, mattedPlate dimensions: 8 x 5 ? in. (20.3 x 14.9 cm.)Sheet dimensions: 10 ? x 8 ? in. (27.6 x 20.6 cm.)Overall dimensions: 15 ½ x 12 ¾ in. (39.4 x 32.4 cm.) An old woman sits, holding a piece of cloth in her lap, framed in an open doorway. Working by the light from the door, the space around the figure is cramped with pots, sacks, boxes and bottles. Although the subject appears to be worn-out with age in a poverty-stricken environment, Whistler captures her with great respect, displaying a crowded but well-organized workspace. With an expert use of shade and light, this well-known etching by the artist recalls Rembrandt on a small-scale. La Vieille aux Loques was etched in 1858 and published in Douze eaux-fortes d'après Nature (Twelve Etchings from Nature, the 'French Set') in November 1858. Signed in the plate with the ‘s’ in Whistler’s signature reversed, this print is from the second state of four. With full margins and matted, the plate measures 8 x 5 ? inches. Several variations of staining at both top and bottom sheet edge from previous hinges on verso showing through to recto the bottom sheet edge stain has a purple hue. James A.M. Whistler (American, 1834-1903) James Abbott McNeill Whistler changed the course of art history with his radical techniques and adoption of Asian design principles, which emphasized a two-dimensional flattening of painted forms and their arrangement into abstract patterns. A London-based expatriate, Whistler embraced and promoted the doctrine that art should not serve narrative, but rather project the artist’s subjective feelings through the handling of the medium. His revolutionary methods changed existing approaches to oil paint, pastel, watercolor, etching—even interior design and the decorative arts. The flat, expressive, and radically simplified forms in his Venice pastels, and his use of fluid blue and gray pigments in his abstract nocturnes, altered how his contemporaries like Édouard Manet and Edgar Degas saw and understood art. He scandalously named one of his most famous paintings Arrangement in Grey and Black, No. 1 (1871), suggesting the reduction of a portrait of his mother to an arrangement of formal elements. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Giovanni Battista Piranesi, Group of 3 Etchings on Laid Papers

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Description: Group of 3 Etchings on Laid PapersItaly, 1751-1776Giovanni Battista Piranesi (1720-1778) – Italian etcher, architect and archaeologist‘XLII Veduta interna di una delle tre Sale sepolcrali credute della Famiglia di Augusto’From Le Antichità Romane II (The Antiquities of Rome, volume 2), 'Veduta del Castello dell’Acqua Paola sul Monte Aureo' (From Vedute di Roma), and 'Palazzo Stoppani'From Focillon 269, Hind 21, and Hind 128 (State I of III) respectivelyEach mattedSmallest Plate Size: 15 x 20 1/4 in. (38.1 x 51.5 cm.) Second Smallest Plate Size: 15 ½ x 24 in. (39.4 x 60.1 cm.)Largest Plate Size: 16 3/8 x 26 ½ in. (41.6 x 67.3 cm.) Smallest Overall Size: 23 x 30 ¾ in. (58.4 x 78.1 cm.)Second Smallest Overall Size: 23 x 31 ¾ in. (58.4 x 80.6 cm.)Largest Overall Size: 23 3/8 x 33 ¼ in. (59.4 x 84.5 cm.) Good Condition Giovanni Battista Piranesi (Italian, 1720-1778) Known as one of the greatest printmakers of the 18th century, Giovanni Battista Piranesi always considered himself an architect. Born in Venice as the son of a stonemason and master builder, Piranesi studied stage design and perspective construction. In 1740, he traveled to Rome and apprenticed himself to Giuseppe Vasi, the foremost producer of etched views of Rome which often sold to tourists and pilgrims. Piranesi quickly mastered the art of etching and busied himself designing fantastic complexes of buildings that could only exist in dreams. In 1747, the artist began his "Vedute di Roma (Views of Rome)" series for which he is best known. He continued to produce plates for this series until the year of his death in 1778. Condition 'Le Antichità Romane'- Deckled edges. Surface soiling; scattered foxmarks in margins; center crease backed with wove paper; 2 inch repaired tear lower margin; repaired hole, smaller than a pencil eraser, lower margin. Hinged upper margin verso; time staining verso. 'Veduta Del Castello'- Rippling; vertical crease running down center of sheet; two small repaired holes, smaller than a pencil eraser, in lower left and center margin. Surface dirt upper margin and verso. Hinged upper margins verso; pencil inscriptions verso. 'Palazzo Stoppani'- Trimmed margins, Pale toning 1 inch around image; scattered foxmarks; 2 ½ inch repaired tear extreme lower margin; small repaired pin dot hole repaired upper right margin; 2 inch vertical crease upper center. Hinged upper margin verso. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Armin Landeck, Engraving, Delmonico’s Roof (small plate), 1943

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Description: Engraving on wove paperUSA, 1943Armin Landeck (1905-1984) – American printmaker specializing in New York architectural views‘Delmonico’s Roof’ (small plate)Signed and dated in pencil lower right ‘Landeck 1943’Inscribed in pencil lower left ‘Ed 100’Titled in pencil lower margin ‘DELMONICO’S ROOF (SMALL)’From an edition of 100Kraeft 92Full margins with deckled edges; framed and mattedImage dimensions: 12 ½ x 9 in. (31.8 x 22.9 cm.)Sheet dimensions: 19 x 14 ¾ in. (48.3 x 37.5 cm.)Overall dimensions: 21 ? x 17 ? in. x 1 (54.9 x 44.7 x 2.5 cm.)Good condition A linear, single-point perspective of the roof of the old Delmonico Hotel located at 3 East 14th Street in New York City, this engraving by Armin Landeck showcases the artist’s skill as a printmaker, executed with a sure hand. Now demolished, Landeck maintained a studio at the hotel for many years, favoring the interior as a subject matter for its dramatic lighting and architectural complexity. Executed in 1943, this engraving on wove paper is signed and dated from an edition of one hundred. The work has full margins and is framed and matted. The image measures 12 ½ x 9 inches and is in overall good condition, with pale mat burning from current mat. Armin Landeck (American, 1905-1984) American printmaker Armin Landeck studied architecture at Columbia University. Unable to find a job as an architect, he turned to printmaking and teaching, working at the Brearly School until his retirement in 1958. From 1934-1942, Landeck was very productive, creating citycapes representing a lonely and barren New York City. These won him popular and critical acclaim, and established his reputation as a skillful printmaker. During the following ten years he continued to use drypoint and etching in his prints as well as pure copper engraving, but engraving would become his preferred medium. He won fourteen awards during this time, including three for his print,Rooftop. In the 1950s his work became more abstract, and Landeck used larger plates to achieve bold, compelling lines, but realism was always at the base of his work. In 1953, he received the John Simon Guggenheim Fellowship to work in Europe. Landeck continued to produce prints until the last years of his life, which include scenes of New York City, his greatest source of inspiration. He was elected a National Academician, a Guggenheim fellow, a member of the Society of American Etchers and Society of American Graphic Artists. Armin passed away in 1984. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Marie Deville-Chabrolle, Bronze, La Femme Du Venitien, C. 2005

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Description: BronzeFrance, C. 2005Marie-Paule Deville-Chabrolle (born 1952)Signed: ‘DEVILLE CHABROLLE’ on edge of back drape andEngraved ‘1/8’ with foundry mark ‘Delval’ on left pedestal footDimensions: 33.07 in x 13.39 in x 14.96 in; 84 cm x 34 cm x 38 cm (height x width x diameter)Good condition This beautiful sculpture is an original bronze sculpted by Marie Paule Deville-Chabrolle called ‘La Femme Du Venitien.’ The elegant bronze is a nude woman seated crossed legged with cloth draped around her waist, covering her legs and falling to the floor. Her face evokes a relaxed expression with closed eyelids while her hands reach gracefully behind her back. The bronze is numbered 1/8 and has the foundry stamp ‘Delval.’ The artist’s signature is engraved on the edge of the draped cloth. The sculpture is in good condition. There are minor scratches throughout the surface and normal signs of age and wear. The statue measures 33.07 in. x 13.39 in. x 14.96 in.; 84 cm. x 34 cm. x 38 cm. (height x width x diameter). Marie-Paule Deville-Chabrolle (born 1952) Marie-Paule Deville-Chabrolle is a French artist known for her sculptures and red chalk drawings. Deville-Chabrolle spent two years at the Fine Arts Faculty of Phnum Penh in Cambodia and two years at the Fine Arts School of Pau. Deville-Chabrolle is distinguished by the Accademia Internationale ‘Greci Marino’ in Italy. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Kees Van Dongen, Boîte de la Nuit, Etching, 1927

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Description: Etching on cream wove paperFrance, 1927Kees Van Dongen (1877-1968) – Dutch FauvistSigned in pencil lower left ‘Van Dongen’Proof, aside from the album edition of 250From Tableaux de ParisJuffermans 4Full margins with deckled edges; mattedImage dimensions: 8 ½ x 6 ¾ in. (21.6 x 17.1 cm)Sheet dimensions: 12 ¾ x 9 ¾ in. (32.4 x 24.8 cm)Overall dimensions: 20 x 17 in. (50.8 x 43.2 cm)Good condition This etching by Kees Van Dongen, titled Boit de la Nuit, depicts a party attended by largely abstract figures drinking, dancing and socializing. Gathered in the dark, the room is brightly lit by a chandelier, revealing the revelry below. Everyone seems to be enjoying the party, except for a lone, seated figure who faces us with hooded eyes. The work is an etching in black on cream woven paper with image dimensions of 8 ½ x 6 ¾ inches, sheet dimensions of 12 ¾ x 9 ¾ inches and overall dimensions of 20 x 17 inches. The artist’s signature is located in pencil in the lower left corner. In overall good condition with no evidence of tears or repairs. Kees van Dongen (Dutch, 1877-1968) Cornelis Theodorus Maria van Dongen, better known as Kees Van Dongen, began his art studies at the Royal Academy of Fine Arts in Rotterdam at age sixteen. At the end of 1899, he moved to Paris and participated in the controversial 1905 Salon d’Automne in association with the group of artists who famously became known as the “Fauves.” After World War I, Van Dongen found immense popularity for his use of lush Fauvist colors in a sensual style and was highly sought after as a modern portrait artist by the illustrious personages of French beau monde. He was made the Knight of the French Legion of Honor in 1926 and bestowed the Order of the Crown of Belgium in 1927. By 1929, two works had already been collected by the Musée du Luxembourg. Many of his works have since been acquired by institutions like the Musée National d'Art Moderne and Museum of Modern Art, with an extensive collection held in the New National Museum of Monaco. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Edith Vanderbilt, Promenade, 1925

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Description: Nickel Plated BrassUSA, 1925Edith Vanderbilt (American, 1873-1958) – American PhilanthropistHeight: 39 1/2 in; 100.3 cm.Base: 9 1/2 in; 24.1 cm.Good condition Condition Some wear evident on the top of the base, as well as some overall wear to a few areas of the torso Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Pavel Konchalovsky, Nude, Oil on Canvas, 20th Century

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Description: Oil on canvasRussia, 20th CenturyPavel Konchalovsky (Russia, 20th Century)Bears signature lower rightDimensions: 24 1/2 X 33 in; 62.2 x 83.8 cm. Condition: Not lined. The surface shows two small paint losses in the lower left corner. Under the UV light the painting is difficult to read due to a heavily discolored surface varnish but there appear to be a few slight areas of reinforcement in the background. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Charles Kiffer, Dancers in Front of the Mirror, Oil on Canvas

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Description: Oil on Canvas, UnframedFrance, 20th CenturyCharles Kiffer (France, 1902-1992) signed "Kiffer' lower leftDimensions: 36 x 28 1/2 in; 91.4 x 72.4 cm.Very Good Overall Condition Charles Kiffer (France, 1902-1992) Trained at the Ecole de Beaux Arts at the beginning of the 20th century, Charles Kiffer found his niche designing posters and making caricatures of famous personalities in France such as Yves Montand, Edith Piaf and Charles Trenet. He also was revered as a designer of theatrical sets, for dancers and circuses where, once again he was in the milieu of stars such as Brigit Bardot and Josephine Baker. In his painting of dancers getting ready for a show, Kiffer channels all the energy of the moments before a show and the anticipation of performing. Condition The canvas is not lined. The surface is stable and has good impasto. Under the UV light there is no apparent restoration. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Édouard Vuillard, Man Seated by Window, Oil on Board

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Description: Auction announcements 28th November 2016 Lot 12: This lot is attributed to Édouard Vuillardbr> Oil on BoardFrance, early 20th CenturyJean-Édouard Vuillard (France, 1868-1940)Signed 'E. Vuillard' lower right Dimensions: 13 1/2 x 8 3/4 in; 34.3 x 22.2 cm.Frame Dimensions: 20 1/2 x 17 1/4 in; 52.1 x 43.8 cm.Overall Very Good Condition Jean-Édouard Vuillard (France, 1868-1940) Jean-Édouard Vuillard was a French painter and printmaker associated best-remembered for his affiliation with the Nabis. The son of a retired captain, Vuillard moved with his family to Paris in 1878 where he received a scholarship to continue his education, and later became a member of the studio of the painter Diogène Maillart. In 1887, Vuillard passed the entrance examination for the École des Beaux-Arts, and by 1890 he had joined the Nabis, a group of art students inspired by the synthetism of Gauguin. In his paintings and decorative pieces, Vuillard depicted mostly interiors, streets, and gardens. Marked by a gentle humor, they are executed in the delicate range of soft, blurred colors characteristic of his art. His work has been featured in several important solo exhibitions world-wide, including at the Musée d'Orsay in Paris, and at the National Gallery of Art in Washington, D.C. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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James A. M. Whistler, Group of 4 Prints, 19th Century

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Description: James A.M. Whistler, Lithograph, ‘Girl with Bowl’, 1895Lithograph on China paperFrance, 1895James Abbott McNeil Whistler (1834-1903) – American painter and printmakerEdition of approximately 600From L'YmagierPrinted by Lemercier, ParisFull margins, mattedWay 82; Levy 121; Spink 118Image dimensions: 5 ½ x 2 ¾ in. (13.6 x 6.7 cm.)Sheet dimensions: 11 x 8 ¾ in. (27.9 x 22.2 cm.)Overall dimensions: 11 x 14 (27.9 x 35.6 cm.)Good conditionJames A.M. Whistler, Etching & Drypoint, ‘The Pool’, 1859Etching and drypoint on cream laid paperUK, 1859James Abbott McNeil Whistler (1834-1903) – American painter and printmakerMacDonald’s sixth state (of 6)Kennedy 43; Glasgow 49Wide marginsImage dimensions: 5 ½ x 8 3/8 in. (13.8 x 21.2 cm.)Overall dimensions: 11 x 14 (27.9 x 35.6 cm.)James A.M. Whistler, 'A Lady at a Window', 1879Drypoint printed in black on cream laid paperUK, 1979James Abbott McNeil Whistler (1834-1903) – American painter and printmakerMacDonald's fourth state (of 4), after cancellationEdition of approximately 20 after cancellationPublished by The Fine Art Society, LondonAccording to MacDonald, only 2 impressions are known before cancellationKennedy 138; MacDonald 148Narrow marginsDimensions: 9 ¼ x 6 ¼ in. (23.5 x 16 cm.)Overall dimensions: 11 x 14 (27.9 x 35.6 cm.)Good conditionEtching on imitation Japan paperUK, 1879James A.M. Whistler, Etching & Drypoint, 'Fulham', 19th CenturyJames Abbott McNeil Whistler (1834-1903) – American painter and printmakerMacDonald's fifth state (of 5), with the drypoint lines in the trees at right still distinctKennedy 182; Glasgow 181Full margins; mattedImage dimensions: 5 ¼ x 8 in. (13.5 x 20.5 cm.)Sheet dimensions: 11 ¼ x 15 ¾ in. (28.6 x 40 cm.)Overall dimensions: 14 x 17 in. (35.6 x 43.2 cm.)Good condition James A.M. Whistler (American, 1834-1903) James Abbott McNeill Whistler changed the course of art history with his radical techniques and adoption of Asian design principles, which emphasized a two-dimensional flattening of painted forms and their arrangement into abstract patterns. A London-based expatriate, Whistler embraced and promoted the doctrine that art should not serve narrative, but rather project the artist’s subjective feelings through the handling of the medium. His revolutionary methods changed existing approaches to oil paint, pastel, watercolor, etching—even interior design and the decorative arts. The flat, expressive, and radically simplified forms in his Venice pastels, and his use of fluid blue and gray pigments in his abstract nocturnes, altered how his contemporaries like Édouard Manet and Edgar Degas saw and understood art. He scandalously named one of his most famous paintings Arrangement in Grey and Black, No. 1 (1871), suggesting the reduction of a portrait of his mother to an arrangement of formal elements. Condition 'Girl with Bowl' - Executed in 1895, this lithograph on China paper is from an edition of approximately 600. Printed by Lemercier, Paris, the work has full margins. The sheet measures 11 x 8 ¾ inches. Soft handling crease in upper left, otherwise in good condition with no evidence of tears or repairs. 'The Pool'- Executed in 1859, this etching and drypoint on cream laid paper measures 5 ½ x 8 3/8 inches. Several repaired tears along sheet edges, mainly upper and left sheet edge, including creasing and handling soiling in margins. 'A Lady at a Window' - Very minor tear right margin, soft handling crease upper left corner. Otherwise in good condition. 'Fulham' - Matted with full margins, the work measures 5 ¼ x 8 inches. Flattened diagonal crease in upper right margin and soft creasing at extreme upper left corner of sheet, all well away from image. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Louis Icart, Danseuses de Cirque s'habillant, Oil on Canvas

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Description: Oil on CanvasFrance, early 20th CenturyLouis Icart (France, 1880-1950)Signed 'Louis Icart' lower left and signed and titled on the reverseDimensions: 16 1/4 x 13 in; 41.3 x 33 cm.Frame Dimensions: 20 x 17 in; 50.8 x 43.2 cm.Very Good Overall Condition Louis Icart (France, 1880-1950) Louis Icart stands as one of the most influential artists of the Art Deco period in 1920s France. His distinctive willowy female models and dancers dressed in resplendent gowns were strongly inspired by fashion trends of the day and solidified by his time as a fashion illustrator for French design studio Paquin. The vast diffusion of his prints and etchings made him a household name and during his lifetime his popularity soared. He was also an accomplished painter as the present oil attests employing a limited palette of colors but a sensitive and impressionists rendering of these dancers. Indeed, Icart’s style is indebted at influence from the French masters Degas and Monet and from the symbolist Gustav Moreau. Condition Canvas is not lined. The surface is stable and has good impasto. Under the UV light there is no apparent restoration. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Group of 3 Prints, Inc. Marquet, Cassatt, and Toulouse-Lautrec

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Description: Two Drypoints and One Lithograph; Albert Marquet, Drypoint, ‘Les Meandres de la Seine’, 1929Drypoint printed in black on cream wove paperFrance, 1929Albert Marquet (1875-1947) – French Fauvist painterSigned in pencil lower right ‘marquet’Numbered in pencil lower left ‘33/80’From Bords de la SeineFull margins, mattedImage dimensions: 8 3/8 x 11 ¾ in. (21.2 x 29.8 cm.)Sheet dimensions: 11 x 15 in. (27.9 x 38.1 cm.)Overall dimensions: 14 x 17 in. (35.6 x 43.2 cm.)Good conditionMary Cassatt, Drypoint, ‘Margot Wearing a Bonnet’, c. 1902Drypoint on cream laid paperUSA, circa 1902Mary Cassatt (1844-1926) – American painter and printmaker associated with the Impressionists‘Margot Wearing a Bonnet (No. 3)’Breeskin 181Full margins, mattedImage dimensions: 9 ¼ x 6 ½ in. (23.5 x 16.5 cm.)Sheet dimensions: 13 ¼ x 9 ¼ in. (33.7 x 23.5 cm.)Overall dimensions: 17 x 14 in. (43.2 x 35.6 cm.)Good conditionHenri de Toulouse-Lautrec, Lithograph, Procès Arton, 1896LithographFrance, 1896Henri de Toulouse-Lautrec (1864-1901) – French Post-Impressionist painter, printmaker, draftsman and illustrator‘Procès Arton, Déposition Arton’Monogrammed and dated in stone lower leftWith the artist's monogram red ink stamp (Lugt 1338, lower right recto)Published by Kleinmann, ParisDelteil 191; Adhémar 192; Adriani 168Image dimensions: 14 3/8 x 18 ¾ in. (36.5 x 47.5 cm.)Sheet dimensions: 17 ¾ x 23 ¾ in. (45.1 x 60.3 cm.)Overall dimensions: 22 x 26 ¼ in. (55.9 x 66.7 cm.) Albert Marquet (French, 1875-1947) Painter and prominent member of the Fauvist movement, Albert Marquet was born in Bordeaux. He moved to Paris as a teenager to attend the Ecole des Arts Decoratifs, where he met and formed a close friendship with fellow artist Henri Matisse. Marquet’s early paintings were expressive and brightly colored, much like the work of his contemporaries, which included Maurice de Vlaminck, André Derain, and Raoul Dufy. In 1905, he, along with Matisse, Dufy, and several others, exhibited at the Salon d’Automne, where the descriptor fauves (wild beasts) was first coined in reaction to the intense coloration in the paintings on display. As Marquet’s approach to painting evolved, he began experimenting with a more naturalistic style, frequently depicting the landscapes surrounding Paris. He traveled extensively throughout his life, painting the ports and beaches of Normandy, Venice, and North Africa. His works can be found in the collections of major institutions, including the Art Institute of Chicago in Chicago, IL; the Hermitage Museum in St. Petersburg, Russia; and The Museum of Modern Art in New York, NY. Condition Executed in 1929, this drypoint printed in black ono cream wove paper is signed and numbered 33/80. From “Bords de la Seine,” the work has full margins. The image measures 8 3/8 x 11 ¾ inches. Previous hinge tape along top sheet edge verso. In overall good condition with no evidence of tears or repairs. Mary Cassatt (American, 1844-1926) Considered one of the most notable 19th century American painters, Mary Cassatt was born in Allegheny City, Pennsylvania. She is best known for her paintings depicting women in their public and private realms, and for her later association with the Impressionists. Traveling widely at a young age, Cassatt began studying painting at the age of 15 at the Pennsylvania Academy of Fine Arts in Philadelphia. In 1866, she moved to Paris with her mother and family friends, where she applied to study privately with instructors from the exclusive École des Beaux-Arts. Within just two years, one of Cassatt’s paintings was accepted for display in the highly-selective Paris Salon. . In 1877, Edgar Degas invited her to exhibit her paintings with the Impressionists, and they became close friends and colleagues. Cassatt’s works are part of the permanent collections at the Metropolitan Museum of Art in New York, the National Gallery of Art, and the National Museum of Women in the Arts in Washington, D.C. Condition Executed circa 1902, this drypoint on cream laid paper has full margins, measuring 9 ¼ x 6 ½ inches. Two repairs in upper margin, one in extreme upper left corner and other 1 in away from right sheet edge. Otherwise in good condition. Henri de Toulouse-Lautrec (French, 1864-1901) Born as Henri Marie Raymond de Toulouse-Lautrec-Monfa to an aristocratic family from Albi of the Midi-Pyrénées region of France, Henri de Toulouse-Lautrec exhibited artistic talent from a young age. A family friend introduced him to the Parisian painter, Léon Bonnat, with whom Toulouse-Lautrec studied with in the renowned Parisian quarter of Montmartre until 1882. He then went on to study with Fernand Cormon for five years and met influential artists like Vincent Van Gogh. His first exhibition was in Toulouse in 1887, and he went on to exhibit in Paris and Brussels with regular participation in the Salon des Indépendants from 1889 to 1894. Influenced by Impressionism and Japanese woodcuts, Toulouse-Lautrec created works depicting the distinctive scenes and figures of the Parisian night life. He soon gained regular commissions for his posters by renowned nightclubs like the Moulin Rouge and was extremely prolific, producing over 6,400 works in total in a span of less than twenty years. With the largest collection held by the Toulouse-Lautrec Museum, his works have been collected worldwide by institutions like the J. Paul Getty Museum, Hermitage Museum, Kunstmuseum Basel, and Neue Pinakothe. Condition Completely backed with thin supportive paper repairing both upper corners, as well as a smaller area in the middle of the sheet. 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Georges Rouault, Le Cirque, Pair of Aquatints, 1930

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Description: Pair of color aquatints on BFK RivesFrance, 1930Georges Henri Rouault (1871-1958) – French artist associated with the FauvistsEach signed and dated in the plate ‘1930’Chapon & Rouault 204Full margins; mattedPlate dimensions, each: 13 x 9 in. (33 x 29 cm.)Sheet dimensions, each: 17 ½ x 13 1/8 in. (44.5 x 33.3 cm.)Good condition Rendered in the artist’s unmistakable emotive style, this set of aquatints depicts circus performers, each figure thickly outlined in black as they perform for the audience. Ballerinas and clowns are simplified into contoured forms that exemplify Rouault’s background as a glass painter. Georges Henri Rouault (French, 1871-1958) Born in Paris, Georges Rouault apprenticed for five years as a glass painter from the age of fourteen. The dark contouring and vivid colors displayed in his mature work has been strongly believed to originate from his early training. Rouault entered the esteemed École des Beaux-Arts in 1891 where he studied with Gustave Moreau. Also encountering the artists who would become part of the Fauvist movement, he was awarded the Prix Chenavard in 1894 and exhibited in major exhibitions from 1895 and on –notably at the controversial 1905 Salon d’Automne at which the label of Fauvism was coined. Painting in an instinctive and emotive style, Rouault also became interested in Spiritualism, social criticism, and existentialism with personal expression as his ultimate purpose. His first solo exhibition was at the Galerie Druet in 1910, and he gained international renown by 1930 with retrospectives in 1945 and 1948. His works are included in the collections of the Museum of Modern Art, Hermitage Museum, Musée d’Orsay, and Kunstmuseum Basel. Condition Each with pale time staining, otherwise in overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Paul Gaugin, Te Atua, Woodcut, ca. 1899

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Description: Color woodcut on thin Japan paperPaul Gaugin (1848-1903) French Post-Impressionist artistFrance, circa 1899 (printed in 1995)Printed by Lacouriere, ParisNumbered 75/100 from the llimited edition of 100 in deluxe slip coverPublished in commemoration of the 100 year anniversary of Gaugin's return to TahitiCommissioned by the the Association of the Gaugin MuseumPublished by des Amis du Musée Gaugin, TahitiFull marginsHoused in deluxe slip coverImage dimensions: 9 3/4 x 9 in. (24.8 x 22.9 cm)Sheet dimensions: 19 1/2 x 13 in. (49.5 x 33 cm)Good condition Paul Gauguin (French, 1848-1903) Paul Gauguin was born in 1848 in Paris of a Breton father and a Peruvian Creole mother. As a small child, Paul was taken to Peru to live with an eccentric but affectionate great-uncle, Don Pio Tristan until he was six, when his mother took him back to France. Lacking a formal education, he left the French Navy and settled in Paris, occasionally painting. There, he earned a comfortable living in a banking house. After meeting the painter Pissarro in 1883, Gauguin left the stock market and became a professional painter. With the help of Theo Van Gogh, Vincent’s art dealer brother, Gauguin traveled to Arles to stay with Vincent at his request. Eventually Gauguin left Paris for Tahiti, which would up being the inspiration for what was to be many paintings, drawings and prints influenced by Tahitian art. Condition Work is set freely within its mount. Slight crease along lower margin edge and a few light spots of foxing in the upper quadrant. Otherwise there are no tears or folds. Good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Georges Rouault, Le Cirque, Pair of Aquatints, 1930

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Description: Pair of color aquatints on BFK RivesFrance, 1930Georges Henri Rouault (1871-1958) – French artist associated with the FauvistsEach signed and dated in the plate ‘1930’Chapon & Rouault 204Full margins; mattedPlate dimensions, each: 13 x 9 in. (33 x 29 cm.)Sheet dimensions, each: 17 ½ x 13 1/8 in. (44.5 x 33.3 cm.)Good condition Rendered in the artist’s unmistakable emotive style, this set of aquatints depicts circus performers, each figure thickly outlined in black as they perform for the audience. Clowns and horseback riders are simplified into contoured forms that exemplify Rouault’s background as a glass painter. Georges Henri Rouault (French, 1871-1958) Born in Paris, Georges Rouault apprenticed for five years as a glass painter from the age of fourteen. The dark contouring and vivid colors displayed in his mature work has been strongly believed to originate from his early training. Rouault entered the esteemed École des Beaux-Arts in 1891 where he studied with Gustave Moreau. Also encountering the artists who would become part of the Fauvist movement, he was awarded the Prix Chenavard in 1894 and exhibited in major exhibitions from 1895 and on –notably at the controversial 1905 Salon d’Automne at which the label of Fauvism was coined. Painting in an instinctive and emotive style, Rouault also became interested in Spiritualism, social criticism, and existentialism with personal expression as his ultimate purpose. His first solo exhibition was at the Galerie Druet in 1910, and he gained international renown by 1930 with retrospectives in 1945 and 1948. His works are included in the collections of the Museum of Modern Art, Hermitage Museum, Musée d’Orsay, and Kunstmuseum Basel. Condition Each with pale time staining, otherwise in overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Pinchus Krémègne, Paysage, Oil Painting

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Description: Oil on canvas Continental EuropePinchus Krémègne (FRENCH, 1890-1981)Signed 'Kremegne' lower leftDimensions: 19.7 in x 24.2 in; 50 x 61.4 cmA comparable painting is titled Paysage de Céret and dates c. 1950 Pinchus Krémégne (French, 1890-1981) Originally a trained sculptor, Krémégne turned to painting soon after leaving his native Russia for Paris. He was inspired by the works of Van Gogh, Paul Cézanne and the French Impressionists. He spent a lot of time traveling to places such as Corsica, Sweden and all around France, which also influenced his works. Specifically influential was a trip to Israel that reminded Krémégne of his Jewish community and culture growing up. Krémégne was featured in many exhibitions including 1959 exhibitions in London, Paris and Philadelphia. Pinchus Krémégne’s career was booming as a leader of the École de Paris. Krémègne painted several views of his beloved Céret, where in 1960, his old dream of building a house with a spacious studio and settling there permanently came true. In Musée d'art moderne de Céret, there is a hall devoted to Krémègne’s work. Condition: The present lot is in generally good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Hugue Claude Pissarro, La Glycine Dupont-Graal, Oil on Canvas

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Description: Oil on CanvasFrance, early 20th CenturyHugue Claude Pissarro (France, b. 1935)Signed 'H. Claude Pissarro' lower left and signed and titled on the reverseDimensions: 18 1/4 x 15 1/4 in; 46.4 x 38.7 cm.Frame Dimensions: 26 x 22 1/2 in; 66 x 57 cm.This work is accompanied by a photo certificate under the registration number 2772047Very Good Overall Condition Hugue Claude Pissarro (France, b. 1935) Hughes Claude Pissarro hails from the famous Pissarro family of painters. The son of Paul Emile and the grandson of French impressionist master Camille Pissarro, Hughes had the paintbrush in his hand from an early age. At the age of 14 he had exhibited his first painting was on a track to include his admission into the studio art program of the prestigious Ecole du Louvre. His prolific repertory of works draws deliberate inspiration from his father and grandfather yet distinct to his work is the very bright and playful palette of colors and the thick impasto which his applied to give the paint surface an almost three dimensional quality. In the present work the figures are resplendent in a garden filled with a riot of flowers imbued with the artist’s signature color palette. Condition Canvas in not lined. The surface is stable and has good impasto. Under the UV light there is no apparent restoration. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Marcel Vertès, Untitled Still Life, Oil on Canvas

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Description: Oil on CanvasHungary, 20th CenturyMarcel Vertès (Hungary, 1895-1961)Signed 'Vertès' lower rightDimensions: 21 3/4 x 13 1/4 in; 55.2 x 33.7 cm.Frame Dimensions: 30 1/2 x 22 1/4 in; 77.5 x 56.5 cm.Very Good Overall Condition Marcel Vertès (Hungary, 1895-1961) Marcel Vertès was a Hungarian-born French costume designer and illustrator who is best known for his work in the 1952 film ‘Moulin Rouge’, for which he won two Academy Awards (Best Art Direction and Best Costume Design). He also produced the famous original murals for several luxury hotels in New York City, including the murals in the Waldorf Astoria. Condition Canvas is not lined. The surface is stable. Under UV light there is no apparent restoration. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Karl Rozen, Winter Village, Oil on Board

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Description: Oil on BoardRussia, early 20th CenturyKarl Rozen (Latvia, 1864-1934)Signed 'K. Rozen' lower rightDimensions: 18 3/4 x 26 1/2 in; 47.6 x 67.3 cm.Frame Dimensions: 25 3/4 x 33 1/4 in; 65.4 x 84.5 cm.Very Good Overall Condition Karl Rozen (Latvia, 1864-1934) Karl Ioganovich Rozen was born in Latvia in 1864, and studied at the Imperial Academy in St. Petersburg under Shishkin and Klever. Rozen was best known as a master of landscape painting. He has taken part in numerous exhibitions of Russian artists. His works are kept in the State History Museum of Latvia, the State Art Museum of Latvia and others. Condition Surface is stable and there are no splits or cracks to the panel. Under the UV light there is a small retouch in the center sky and otherwise the painting is in fine condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Edouard Bisson, La Cigale, Oil on Canvas, 1890

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Description: Oil on CanvasFrance, 1890Edouard Bisson (France, 1856-1939)Signed and dated 'Bisson 1890' lower rightDimensions: 39.5 x 30 in; 100.3 x 76.2 cm.Frame Dimensions: 47 x 36 1/4 in; 119.38 x 92.1 cm. Very Good Overall Condition Edouard Bisson (France, 1856-1939) Born in Paris in 1856, Bisson studied under master Jean Leon Gerome. He enjoyed a successful career exhibiting regularly at the Salon in Paris winning Honorable Mentions in 1881 and 1889 and a Third Class Medal in 1897. In 1908 he was made a Knight of the Legion of Honor. Bisson found his stride in his fanciful depictions of beauties many who represented allegories or sentimental subjects. In “Le Cigale” which translates “The Cicada” or “ Grasshopper”, this beauty sensitively rendered with free flowing hair engaging the viewer directly. She feels the chill of winter and is shivering as the snow pelts her while she holds her mandolin. The painting was exhibited in theSalon in 1890, the same year it was painted. Bisson painted this model in different versions that can be interpreted as allegories of the seasons: “Spring’s First Flowers” and “the Return of Spring” both from 1892. Condition The canvas is not lined. The surface is stable. There are some streaky discolored areas on the surface likely due from discolored varnish. There is minimal craquelure and a horizontal remenant of a previous stretcher mark in the center of the canvas. Under the UV light, there is an area of old retouching to the model's left arm and a few scattered retouches on her mandolin. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Attributed to Vilhelms Purvitis, Early Spring Landscape, Oil

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Description: Oil on canvasContinental EuropeVilhelms Purvitis (LATVIAN, 1872-1945)Signed in Cyrillic lower leftDimensions: 40 in x 56.3 in; 102 cm x 143 cmOverall Very Good Condition Vilhelms Purvitis (LATVIAN, 1872-1945) One of the most important Latvian artists of the late 19th and early 20th century, Purvitis frequently painted national landscapes and quickly became known for his snow scenes. Purvitis studied under Arkhip Kuinji at the Imperial Academy of Arts from 1890-1897, graduating with a gold medal. Purvitis achieved international recognition at the Global Exhibition in Paris in 1900, the 8th Munich Secession in 1901, and the 14th International Art Exhibition in Lyon. Purvitis taught at Riga School of Art and the Latvian Academy of Arts. He also held the position of Director of Riga City Art Museum for many years. Purv?tis developed his own style as close to Impressionism and Northern Art Nouveau. Purvits created several versions of successful and demanded paintings, some of the variations of Late Snow include – 1891 at the Museum of Art, Riga, Latvia, and 1898, Russian Museum, St. Petersburg. Condition: Repaired L shaped tear in center left. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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David Farquharesson, Summer, Oil on Canvas, 1905

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Description: Auction announcements 02nd December 2016 Lot 25: The correct starting price of this lot is $ 5,000.br> Oil on CanvasScotland, 1905David Farquharesson (Scotland, 1839-1907)Signed and dated 'David Farquharesson 1905' lower left Dimensions: 36 x 48 in; 91.4 x 121.9 cm.Frame Dimensions: 41 1/2 x 53 1/4 in; 105.41 x 135.3 cm.Provenance: Aurthur Tooth & Sons, LondonVery Good Overall Condition Condition Canvas is not lined, however there is a loose linen covering attached to the reverse. There are two small puncture holes in the sky at the center of the canvas and a few paint losses in the general area. Under the UV light there is a wash to the sky in addition the figures, horses and area in the extreme lower left corner have all been retouched. The painting is covered with an old and discolored varnish which makes it difficult to read further into the painting. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Vernon Jay Morse, The Dairy Farm, Oil on Canvas, 1934

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Description: Oil on CanvasUSA, 1934Vernon Jay Morse (American, 1898-1965)Signed and dated 'Vernon Jay Morse 1934'Dimensions: 29 1/2 x 35 1/2 in; 74.9 x 90.2 cm.Frame Dimensions: 34 1/4 x 40 1/4 in; 87.0 x 102.2 cm.Very Good Overall Condition Vernon Jay Morse (American, 1898-1965) Vernon Jay Morse was an enthusiastic member of the California impressionist movement, which took hold in the 1890s when the light and wild landscapes of the Golden State attracted painters. Morse, a member of the Laguna Beach Art Association, painted bold and lively compositions that featured interior farm landscapes, the rugged mountain ranges and coastal landscapes of the state. Trained as an illustrator and printmaker, Morse studied Fine Art at the California School of Fine Arts in San Francisco. He traveled throughout the state but spent much of his time in Pasadena later moving to Sierra Madre, California. Condition Canvas has been lined. Surface is stable, the darker pigments reveal more pronounced crackelure as well as the sky in the upper right corner. There are a few scattered areas of paint loss in the area just below the mountain range and in the rocks near the signature. Under the UV light, the tree trunk has been strengthened and there is an old discolored varnish covering the painting. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Lucien Adrion, Panorama des Vosges, Oil on Canvas, 1939

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Description: Oil on CanvasFrance, 1939Lucien Adrion (French, 1889-1953)Signed and dated "Adrion 39" lower right and inscribed "Winzenheim Ht. Pi…" lower left and titled on the reverse "Wintzenheim Ht. Rhin pres Colmar; Panorama des Vosges"Dimensions: 25 1/2 x 32 in; 64.8 x 81.3 cm.Frame Dimensions: 32 x 39 in; 81.3 x 99.1 cm.Very Good Overall Condition Lucien Adrion (French, 1889-1953) Lucien Adrion was a French painter, draftsman, and printmaker best-known for his depictions of the French countryside and beaches, as well as Parisian life. Throughout his career, Adrion was invited to exhibit his work at Salons in Paris, where he was praised for his ability to capture rural and urban life. After the Second World War, he returned to France and eventually moved to Paris, where he had his first major exhibition at the Salon des Indépendants in 1926. Condition In very good overall condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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James A. Fetherolf, Late Summer, Oil on Canvas

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Description: Oil on CanvasUSA, 20th CenturyJames A. Fetherolf (American, 1925-1994)signed 'Fetherolf' lower rightDimensions: 22 x 28 in; 55.9 x 71.1 cm.Frame Dimensions: 30 x 36 in; 76.2 x 91.4 cm.Very Good Overall Condition Condition The canvas is not lined. The surface is stable and under the UV light there are no apparent retouches. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Attributed to Levitan Isaak, Autumn Landscape, Oil Painting

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Description: Oil on canvas Russia, 20th CenturyLevitan Isaak (Lithuania, 1860-1900)Signed in cyrillic 'I. Levitan' lower right Dimensions: 16 x 23 in; 40.6 x 58.4 cm.Framed Dimensions: 22 x 29 in; 55.9 x 73.7 cm.Very Good Condition Levitan Isaak (Lithuania, 1860-1900) Isaac Levitan remains a key figure in the school of Russian landscape painting and his sensitivity to the natural world and his lyrical interpretations earned him the unique title of the painter of the “landscape of mood.” He rarely painted urban landscapes, focusing more on the countryside outside Moscow. Largley devoid of human presence, as the present work attests, Levitan focused on the atmospheric effects of light and his color palette could reflect the mood of melancholic reverie. Condition Canvas is not lined . The surface is stable with good imposto. Under the UV light there is no apparent restoration. There is an old and discolored varnish that makes it difficult to read further into the painting. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Alfred Maurer, Landscape at Dusk, Oil on Canvas

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Description: Oil on CanvasUSA, 20th CenturyAlfred Maurer (American, 1868-1932)Signed 'Maurer' lower rightDimensions: 14 x 18 1/4 in; 35.6 x 46.4 cm.Frame Dimensions: 24 x 28 1/4 in; 61.0 x 71.8 cm.Very Good Overall Condition Alfred Maurer (American, 1868-1932) Alfred Henry Maurer is remembered as a highly respected American modernist painter whose work has garnered great critical respect and commercial success following his death in 1932. The son of a print-maker, during his lifetime Maurer exhibited his work in avant-garde circles both in the United States and internationally. Maurer's works are housed today in many prominent collections world-wide, including Carnegie Museum of Art, the Chicago Art Institute, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Brooklyn Museum, and in the National Museum of American Art of the Smithsonian Institution. Condition The canvas is line and the surface shows fine stable cracklure. Under the UV light there are scattered retouches throughout the sky, the paint surface is covered with an old and discolored varnish. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Russian School, signed “M. Kogan”, Market in Winter, 20th c.

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Description: Oil on canvas20th CenturyMoissey Kogan (1879-1943) - Russian-Jewish sculptor, medalist and graphic artistSigned “M. Kogan” lower left Signed “M. Kogan” and titled “Market in Winter” in Cyrillic on reverseDimensions: 33 ½ x 38 1/4 in. (85.1 x 97.1 cm)Excellent condition Moissey Kogan (Russian, 1879-1942) Moissey Kogan is well recorded for his sculptures and drawings of female nudes. He was first a self-taught artist and then took classes in the Hungarian artist colony Nagybánya with Simon Hollósy. Starting from 1903, he lived in Munich and was a pupil at the Lehr- und Versuchsanstalt für Angewandte und Freie Kunst. He also took classes with Wilhelm von Rümann at the Academy of Fine Arts in Munich. From 1908, he exhibited at the Paris Salon d'Automne. In 1909, he joined the Neue Künstlervereinigung Munich. He taught temporarily at the Folkwang Museum in Hagen, and at the Kunstgewerbeschule Weimar. In the 1920s, he exhibited along with the artist group of the Berlin Secession. At the time of World War II, his art was considered degenerate. Kogan was a member of the Deutsche Künstlerbund, the Deutsche Werkbund, and the Sonderbund Düsseldorf. His works are in the collections of many major museums, including the Folkwang Museum in Essen, the Stedelijk Museum in Amsterdam, the Museum Ludwig in Cologne, and the Städtische Galerie im Lenbachhaus in Munich Condition No apparent retouches under UV light. Canvas is unlined and surface is stable. Excellent condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Konstantin Kryzhitsky, Winter Forest, Oil on Canvas, 1908

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Description: Oil on CanvasRussia, 1908Konstantin Kryzhitsky (Ukraine, 1858-1911)Signed 'K. Kryzhitsky 1908' lower rightDimensions: 27 1/2 x 39 1/2 in; 69.9 x 100.3 cm. Frame Dimensions: 34 x 46 in; 86.4 x 116.8 cm.Overall Good Condition Konstantin Kryzhitsky (Ukraine, 1858-1911) Konstantin Kryzhitsky was raised in Kiev in a family of merchants. In 1877, he entered the Imperial Academy of the Arts receiving a “First Class Artist” award. Subsequently he was offered a teaching position at an arts institute in Gatchina, which he held until 1906. In 1880, he was inducted into the Society of Russian Watercolorists and in 1889 on of his paintings entitled “Forest Vista” was acquired by the Royal Collection during the reign of Tsar Alexander III which earned him the title of Academician. Kryzhitsky’s landscapes, especially the snow scenes rank as very desirable among collectors. The balance of light and the contrast in the compositions revealing his mastery of crafting a composition with a limited palette of colors. Condition Canvas is not lined with good imposto and with numerous areas of minor paint flaking concentrated in the upper left quadrant in the snowy trees, in the upper extreme left sky, and in the snow near the carriage tracks. Under the UV light there is no apparent restoration. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Russian School, signed “M. Kogan”, Country Market, 20th c.

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Description: Oil on canvas20th CenturyMoissey Kogan (1879-1943) - Russian-Jewish sculptor, medalist and graphic artistSigned “M. Kogan” lower right and Signed “M. Kogan” and titled “Country Market” in Cyrillic on reverseDimensions: 29 3/4 x 36 in. (75.6 x 91.4 cm)Excellent condition Moissey Kogan (Russian, 1879-1942) Moissey Kogan is well recorded for his sculptures and drawings of female nudes. He was first a self-taught artist and then took classes in the Hungarian artist colony Nagybánya with Simon Hollósy. Starting from 1903, he lived in Munich and was a pupil at the Lehr- und Versuchsanstalt für Angewandte und Freie Kunst. He also took classes with Wilhelm von Rümann at the Academy of Fine Arts in Munich. From 1908, he exhibited at the Paris Salon d'Automne. In 1909, he joined the Neue Künstlervereinigung Munich. He taught temporarily at the Folkwang Museum in Hagen, and at the Kunstgewerbeschule Weimar. In the 1920s, he exhibited along with the artist group of the Berlin Secession. At the time of World War II, his art was considered degenerate. Kogan was a member of the Deutsche Künstlerbund, the Deutsche Werkbund, and the Sonderbund Düsseldorf. His works are in the collections of many major museums, including the Folkwang Museum in Essen, the Stedelijk Museum in Amsterdam, the Museum Ludwig in Cologne, and the Städtische Galerie im Lenbachhaus in Munich Condition Canvas is unlined with stable surface and good impasto. UV light shows no apparent retouches. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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David Burliuk, Summer Cottages, Oil on Canvas, 1922

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Description: Oil on CanvasRussia, 1922David Burliuk (Russia,1882-1967)Signed and dated in cyrillic 'Burliuk 1922'Dimensions: 13 x 18 in; 33 x 45.7 cm.Frame Dimensions: 16 1/4 x 21 1/2 in; 41.3 x 54.6 cm.Very Good Overall Condition David Burliuk (Russian, 1882-1967) Born in 1882, David Davidovich Burliuk attended art schools in Russia, Munich and Paris before returning to Russia to the Moscow School of Painting, Sculpture and Architecture. It was there he endorsed the 1912 Futurist Manifesto, demanding art for Russia that was independent of Europe and drew on Russian tradition. Burliuk took part in the “Blauer Reiter” movement, showing works in Munich at the first German Autumn Salon and in a group show at the Van Diemen Gallery in Berlin. He then moved to the United States, becoming an American citizen in 1930. He continued to work on his painting and writings on art, developing a stylistic pluralism before turning to realistic landscapes and portraits in his late work. Burliuk died on Long Island, New York, in 1967. Condition Canvas is not lined. The surface is stable and has good impasto. There is a small pinprick sized hole along the extreme upper margin edge. Under the UV light no apparent restoration. The painting is in fine condition and would benefit from a light clean. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Franz Roubaud, Pair of Mounted Riders, Oil on Panel

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Description: Oil on panelContinental EuropeFranz Roubaud (Ukrainian, 1856-1928)Each work signed in lower rightDimensions (Left Panel): 4.7 in x 3.3 in; 12 cm x 8.5 cmDimensions (Right Panel): 4.9 in x 3.5 in; 12.5 cm x 9 cmEach work is in good condition Condition: Overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Jervis McEtee, Hemlocks: Kauterskill Clove, Oil, 1892

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Description: Oil on Artist's CardUSA, 1892Jervis McEtee (American, 1821-1890)Stamped 'McEntee Sale 1892" and titled "Hemlock Kauterskill Clove" on the reverse in pencilDimensions: 23 3/4 x 17 1/4 in.Provenance: McEntee studio sale, Fifth Avenue Art Galleries, New York, 29-30 March 1892, lot 114 as "Hemlocks, Catskill"Very Good Overall Condition Jervis McEtee (American, 1821-1890) Jervis McEntee was loyally hinged to the Hudson School of painters and his numerous landscape of the areas in and around the Catskills and along the Hudson River leave a visual legacy of the natural beauty of the area in the 19th century. Although he was by most accounts one of the lesser-known artists of the Hudson School, he gained valuable experience as an apprentice to Frederick Church during his formative years, and he traveled with many of the Hudson School masters like Sandford Gifford, John Weir and Eastman Johnson. He left a trove of diaries now conserved at the Smithsonian that offer a rich chronicle of what life was like in Gilded Age America. The present work was one of the numerous oils probably painted en plein air or based on sketches. While many Hudson School painters were proned to romantic embellishment McEntee was focused on representing the purity of the view in front of his easel and selected subjects like forest ravines with felled trees in a more transitional time in the season. Condition Pinprick holes are visible along all four margin edges. All four edges of the card are worn down and show slight loss. There is severe paint flaking as well as scattered losses along the lower margin edge which reveal the red ground that the board was prepared with. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Lorenzo E. Ghiglieri, Oil on masonite, Western Riders, 1997-8

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Description: Oil on masonite1997-1998Lorenzo E. Ghiglieri (American, b. 1931)Signed and dated lower right 'Lorenzo E. Ghiglieri' Dimensions: 36 x 72 in. (91.4 x 182.9 cm.)Dimensions, framed: 49 x 85 in. (124.5 x 215.9 cm.)Good condition An iconic scene of the American west, this painting depicts cowboys riding through canyons followed by covered wagons. Lorenzo E. Ghiglieri traveled throughout the western United Sates, and, emerging from his journey, wanted to preserve, protect, and prolong the heritage and imagery of the American West. This oil on Masonite measures 36 x 72 inches and is signed and dated in the lower right corner. This work was painted from 1997 to 1998. Appears in basic good condition; no condition issues apparent. Lorenzo E. Ghiglieri (American, b. 1931) Born in America in 1931 to European immigrants, Lorenzo Ghiglieri studied the Old Masters, deriving influence from Rembrandt, Velasquez and Corot. After serving in the Korean War, he was commissioned as a combat illustrator for the United States government to paint a marine scene that became a gift to Great Britain to honor Queen Elizabeth II’s coronation. His work is held in collections world-wide and his sculptures and paintings have been presented to Pope John Paul II at The Vatican, President Ronald Reagan at the White House, Mikhail Gorbachev of the Kremlin and King Juan Carlos of the Royal Palace in Madrid. In 1994, Lorenzo sculpted the “Official American Bald Eagle”, now on display at the White House and part of their permanent collection. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Hans Paap, Old Spanish Gaucho in Argentina, Oil, 1918

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Description: Oil on canvasTaos, New Mexico, 1928Hans Paap (1894-1966) German painter working in the western U.S.Signed “1918 Hans Paap Taos” lower leftDimensions: 34 x 27 in. (86.4 x 68.6 cm)Good condition Hans Paap (German, 1894-1966) Condition Canvas is unlined. Small half inch tear in the upper right sky and an approx. Two inch vertical tear in center sky above mountains. Slightly raised horizontal craquelure in upper half of composition. UV lights shows small retouch on the right shoulder of the figure and area of strengthening in lower right margin edge. Good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Lorenzo E. Ghiglieri, Oil on canvas, Western Sky, 1996

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Description: Oil on canvas1996Lorenzo E. Ghiglieri (American, b. 1931)Signed and dated lower left 'Lorenzo Ghiglieri'Dimensions: 42 x 48 in. (106.7 x 121.9 cm.)Dimensions, framed: 54 x 60 in. (137.2 x 154.4 cm.)Good condition In this landscape painting by Lorenzo E. Ghiglieri, he renders the movement of the American west with exquisite detail. Perhaps most intriguing is how the artist painted the sky; in broad, swirling strokes that show the ever-changing weather that created the canyons below. "Western Sky" is oil on canvas and was painted in 1996. It is signed and dated by the artist in the lower left corner. This painting measures 42 x 48 inches. Appears in basic good condition; no condition issues apparent. Lorenzo E. Ghiglieri (American, b. 1931) Born in America in 1931 to European immigrants, Lorenzo Ghiglieri studied the Old Masters, deriving influence from Rembrandt, Velasquez and Corot. After serving in the Korean War, he was commissioned as a combat illustrator for the United States government to paint a marine scene that became a gift to Great Britain to honor Queen Elizabeth II’s coronation. His work is held in collections world-wide and his sculptures and paintings have been presented to Pope John Paul II at The Vatican, President Ronald Reagan at the White House, Mikhail Gorbachev of the Kremlin and King Juan Carlos of the Royal Palace in Madrid. In 1994, Lorenzo sculpted the “Official American Bald Eagle”, now on display at the White House and part of their permanent collection. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Georges Rouault, Le Cirque, Pair of Aquatints, 1930

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Description: Pair of color aquatints on BFK RivesFrance, 1930Georges Henri Rouault (1871-1958) – French artist associated with the FauvistsEach signed and dated in the plate ‘1930’Chapon & Rouault 204Full margins; mattedPlate dimensions, each: 13 x 9 in. (33 x 29 cm.)Sheet dimensions, each: 17 ½ x 13 1/8 in. (44.5 x 33.3 cm.)Good condition Rendered in the artist’s unmistakable emotive style, this set of aquatints depicts two circus performers, each figure thickly outlined in black as they perform for the audience. The figures are simplified into contoured forms that exemplify Rouault’s background as a glass painter. Georges Henri Rouault (French, 1871-1958) Born in Paris, Georges Rouault apprenticed for five years as a glass painter from the age of fourteen. The dark contouring and vivid colors displayed in his mature work has been strongly believed to originate from his early training. Rouault entered the esteemed École des Beaux-Arts in 1891 where he studied with Gustave Moreau. Also encountering the artists who would become part of the Fauvist movement, he was awarded the Prix Chenavard in 1894 and exhibited in major exhibitions from 1895 and on –notably at the controversial 1905 Salon d’Automne at which the label of Fauvism was coined. Painting in an instinctive and emotive style, Rouault also became interested in Spiritualism, social criticism, and existentialism with personal expression as his ultimate purpose. His first solo exhibition was at the Galerie Druet in 1910, and he gained international renown by 1930 with retrospectives in 1945 and 1948. His works are included in the collections of the Museum of Modern Art, Hermitage Museum, Musée d’Orsay, and Kunstmuseum Basel. Condition Each with pale time staining, otherwise in overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Natalia Sergeevna Goncharova, Sketch Wallpaper, Gouache

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Description: Gouache on paperContinental EuropeNatalia Sergeevna Goncharova (Russian, 1881-1962)Dimensions: 8.6 in x 6.7 in; 22 cm x 17.2 cmGood Condition Provenance: Old Leningrad family’ collection, Two Certificates – of The State Tretyakov Gallery, GNIIR Note: The present lot is accompanied by a certificate from the Federal Reasearch Institutefor Conservation-Restoration, M.M. Kraslin, Moscow, dated January 1, 2001 Condition: Overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Georges Rouault, Le Cirque, Pair of Aquatints, 1930

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Description: Pair of color aquatints on BFK RivesFrance, 1930Georges Henri Rouault (1871-1958) – French artist associated with the FauvistsEach signed and dated in the plate ‘1930’Chapon & Rouault 204Full margins; mattedPlate dimensions, each: 13 x 9 in. (33 x 29 cm.)Sheet dimensions, each: 17 ½ x 13 1/8 in. (44.5 x 33.3 cm.)Good condition Rendered in the artist’s unmistakable emotive style, this set of aquatints depicts circus performers, each figure thickly outlined in black as they perform for the audience. These clowns are simplified into contoured forms that exemplify Rouault’s background as a glass painter. Georges Henri Rouault (French, 1871-1958) Born in Paris, Georges Rouault apprenticed for five years as a glass painter from the age of fourteen. The dark contouring and vivid colors displayed in his mature work has been strongly believed to originate from his early training. Rouault entered the esteemed École des Beaux-Arts in 1891 where he studied with Gustave Moreau. Also encountering the artists who would become part of the Fauvist movement, he was awarded the Prix Chenavard in 1894 and exhibited in major exhibitions from 1895 and on –notably at the controversial 1905 Salon d’Automne at which the label of Fauvism was coined. Painting in an instinctive and emotive style, Rouault also became interested in Spiritualism, social criticism, and existentialism with personal expression as his ultimate purpose. His first solo exhibition was at the Galerie Druet in 1910, and he gained international renown by 1930 with retrospectives in 1945 and 1948. His works are included in the collections of the Museum of Modern Art, Hermitage Museum, Musée d’Orsay, and Kunstmuseum Basel. Condition Each with pale time staining, otherwise in overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Frank Benson, Etching, Riverman, USA, 1920

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Description: Auction announcements 01st December 2016 Lot 43: This lot is an etching, not an aquatint. br> Etching and aquatint on cream wove paperUSA, 1920Frank Benson (1862-1951) – American painter, leading figure of the Boston School of Painting‘Riverman’Signed in pencil lower left ‘Frank W Benson’From an edition of 150Paff 195Another work from this edition is part of the permanent collection of the Museum of Fine Arts, BostonFull margins, mattedPlate dimensions: 6 x 4 in. (15.2 x 10.2 cm.) Sheet dimensions: 12 ½ x 9 ¾ in. (31.8 x 24.8 cm.)Overall dimensions: 14 x 11 in. (35.6 x 27.9 cm.)Good condition In what can be interpreted as a nod to the first modern American novel, Mark Twain’sThe Adventures of Huckleberry Finn,Riverman depicts a man hard at work, pushing a canoe along the river. With his back bathed in light, the man’s face falls into shadow, turning him into an archetypal figure. Although the river and its navigator are both anonymous, the image serves as a depiction of the American South. Executed in 1920, this etching and aquatint is signed, from an edition of one hundred and fifty. With full margins, the work is matted, with the plate measuring 6 x 4 inches. Another work from this edition is part of the permanent collection of the Museum of Fine Arts, Boston. Extremely pale toning surrounding the image, otherwise in good condition with no evidence of tears or repairs. Frank Benson (American, 1862-1951) For a period of time, Frank Weston Benson was known as “America’s Most Medalled Painter,” for his academic accomplishments and widely received acclaim. Though his works included landscapes and portraiture, Benson believed his true subject was light, once saying, “I follow the light, where it comes from, where it goes.” His style was noted for its bright colors and broken brushwork. Benson came to exhibit with “the Ten”, a group of American Impressionists that included Childe Hassam, William Merrit Chase, and J. Alden Weir; he also became a leading figure in what became known as the Boston School of Painting. As a child, Benson dreamed of being an ornithological illustrator, and as an avid hunter and fisherman, frequently included sporting animals in his works. In addition to oil paintings, Benson also made etchings, watercolors, and murals. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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David Burliuk, Head of Lady in Surrealist Landscape, 20th C.

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Description: Pencil, red crayon, watercolor, and gouache on paperDavid Burliuk (1882-1967) Russian painterSigned "Burliuk." lower leftDimensions: 11 x 8 1/2 in. (27.9 x 21.6 cm)Excellent condition David Burliuk (Russian, 1882-1967) Born in 1882, David Davidovich Burliuk attended art schools in Russia, Munich and Paris before returning to Russia to the Moscow School of Painting, Sculpture and Architecture. It was there he endorsed the 1912 Futurist Manifesto, demanding art for Russia that was independent of Europe and drew on Russian tradition. Burliuk took part in the “Blauer Reiter” movement, showing works in Munich at the first German Autumn Salon and in a group show at the Van Diemen Gallery in Berlin. He then moved to the United States, becoming an American citizen in 1930. He continued to work on his painting and writings on art, developing a stylistic pluralism before turning to realistic landscapes and portraits in his late work. Burliuk died on Long Island, New York, in 1967. Condition Colors are vibrant and fresh. Work is taped to its mat on all four margin edges. Slight paper losses at extreme upper left corner visible only on reverse. Object is in excellent condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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Konstantin Ivanovich Rudakov, In the Living Room (2 works)

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Description: Ink and pen on paperRussia, c. 1900Konstantin Ivanovich Rudakov (RUSSIAN, 1891-1949)Dimensions: 4.9 in x 6.6 in; 12.5 cm x 17 cmGood Condition Provenance: Acquired directly in the family, proof of family Condition: Overall good condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.

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