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International Art Auction

by Waddington's

Platinum House

260 lots with images

December 11, 2012

Live Auction

275 King Street E

2nd Floor

Toronto, ON, M5A 1K2 Canada

Phone: +1 416 504 5100

Fax: +1 416 504 0033

Email: info@waddingtons.ca

260 Lots
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Charles Caleb Ward (1831-1896), American/Canadian INDIAN COOKING FOOD FOR DOGS OVER A CAMPFIRE; Watercolour; signed and dated 1889 lower right.10

Lot 1: Charles Caleb Ward (1831-1896), American/Canadian INDIAN COOKING FOOD FOR DOGS OVER A CAMPFIRE; Watercolour; signed and dated 1889 lower right.10" x 13.5" - 25.4 x 34.3 cm.Provenance: Douglas Humphrey, Westmount, Quebec;By descent to J.D. Humphrey,

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Description: Charles Caleb Ward (1831-1896), American/Canadian INDIAN COOKING FOOD FOR DOGS OVER A CAMPFIRE; Watercolour; signed and dated 1889 lower right.10" x 13.5" - 25.4 x 34.3 cm.Provenance: Douglas Humphrey, Westmount, Quebec;By descent to J.D. Humphrey, Hampton, N.B.;Private Collection, OntarioLiterature: Together with a reprinted edition of The Art Quarterly, Autumn, 1951 recording the "List of Known Paintings by Charles C. Ward-Landscapes" with this work and its provenance while with Douglas Humphrey, Westmount, Quebec, item 11, p. 248The artist is also recorded in J. Russell Harper's, Early Painters and Engravers in Canada, pgs. 321-322Note: The Indian depicted was named Sabalis. He operated in, or around, St. George in Charlotte County in New Brunswick. Born in Saint John, N.B., the artist travelled to London circa 1846 and returned to North America, settling in New York in 1850-51 where he had a studio from 1868-72. From 1882, he resided in Saint John until his death in 1896 in Rothesay, N.B.

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James Everett Stuart (1852-1941), American ORIGINAL SKETCH-HORSESHOE FROM GOAT ISLAND, NIAGARA FALLS, NIAGARA-N.Y; Oil on canvas; signed and dated July 22, 1906 and numbered 1227 lower left, signed, titled, dated July 22-1906 and numbered No. 1227

Lot 2: James Everett Stuart (1852-1941), American ORIGINAL SKETCH-HORSESHOE FROM GOAT ISLAND, NIAGARA FALLS, NIAGARA-N.Y; Oil on canvas; signed and dated July 22, 1906 and numbered 1227 lower left, signed, titled, dated July 22-1906 and numbered No. 1227

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Description: James Everett Stuart (1852-1941), American ORIGINAL SKETCH-HORSESHOE FROM GOAT ISLAND, NIAGARA FALLS, NIAGARA-N.Y; Oil on canvas; signed and dated July 22, 1906 and numbered 1227 lower left, signed, titled, dated July 22-1906 and numbered No. 1227 verso18" x 30" - 45.7 x 76.2 cm.Provenance: John H. Garzoli Fine American Paintings, San Francisco, CaliforniaLiterature: Peter Falk, Who Was Who in American Art, p. 3210Note: The artist was the grandson of portrait painter Gilbert Stuart and is reported to have painted more than 5,000 paintings in his lifetime.

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James Abbott McNeill Whistler (1834-1903), American LA MERE GERARD (FROM 12 ETCHINGS FROM NATURE), 1858 [KENNEDY 11]; Etching and drypoint on chine colle laid paper; signed in the plate lower left from the fourth (final) state. Printed by Delatre,

Lot 3: James Abbott McNeill Whistler (1834-1903), American LA MERE GERARD (FROM 12 ETCHINGS FROM NATURE), 1858 [KENNEDY 11]; Etching and drypoint on chine colle laid paper; signed in the plate lower left from the fourth (final) state. Printed by Delatre,

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Description: James Abbott McNeill Whistler (1834-1903), America nLA MERE GERARD (FROM 12 ETCHINGS FROM NATURE), 1858 [KENNEDY 11]; Etching and drypoint on chine colle laid paper; signed in the plate lower left from the fourth (final) state. Printed by Delatre, Paris.Plate 4.75" x 3.3" - 12.1 x 8.5 cm.

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Circle of Ammi Phillips (1787-1865), American PORTRAIT OF A YOUNG GIRL SEATED IN A RED CHAIR, MARY ASH...?; Oil on canvas; signed with indecipherable adjoined script initials and dated 1828 verso, remains of a 20th Century inscribed label:

Lot 4: Circle of Ammi Phillips (1787-1865), American PORTRAIT OF A YOUNG GIRL SEATED IN A RED CHAIR, MARY ASH...?; Oil on canvas; signed with indecipherable adjoined script initials and dated 1828 verso, remains of a 20th Century inscribed label: "Mary ...

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Description: Circle of Ammi Phillips (1787-1865), American PORTRAIT OF A YOUNG GIRL SEATED IN A RED CHAIR, MARY ASH...?; Oil on canvas; signed with indecipherable adjoined script initials and dated 1828 verso, remains of a 20th Century inscribed label: "Mary ... Ash ... ?", the possible sitter, to the frame verso24" x 19.75" - 61 x 50.2 cm.Provenance: Philip Van Wyck, Wilton, Connecticut; By descent to the Estate of Katrina Wilson

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William Aiken Walker (1838-1921), American RURAL CABIN SCENE; Oil on board laid down on board; signed lower left6

Lot 5: William Aiken Walker (1838-1921), American RURAL CABIN SCENE; Oil on board laid down on board; signed lower left6" x 12.25" - 15.2 x 31.1 cm.Provenance: Family Collection, Montreal;By descent to the present Private Collection, Toronto

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Description: William Aiken Walker (1838-1921), American RURAL CABIN SCENE; Oil on board laid down on board; signed lower left6" x 12.25" - 15.2 x 31.1 cm.Provenance: Family Collection, Montreal;By descent to the present Private Collection, Toronto

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Waclaw Szymanovski (1859-1930) in collaboration with Valentine (Valentino) Molina (1879-1954), American/Canadian;Polish/American HEATED DISCUSSION IN THE VILLAGE TAVERN; Oil on canvas; signed by Szymanovski lower left, signed by Molina and dated 1897

Lot 6: Waclaw Szymanovski (1859-1930) in collaboration with Valentine (Valentino) Molina (1879-1954), American/Canadian;Polish/American HEATED DISCUSSION IN THE VILLAGE TAVERN; Oil on canvas; signed by Szymanovski lower left, signed by Molina and dated 1897

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Description: Waclaw Szymanovski (1859-1930) in collaboration with Valentine (Valentino) Molina (1879-1954), American/Canadian; Polish/AmericanHEATED DISCUSSION IN THE VILLAGE TAVERN; Oil on canvas; signed by Szymanovski lower left, signed by Molina and dated 1897 lower right28" x 44" - 71.1 x 111.8 cm.

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John Henry Dolph (1835-1903), American PUPPIES PLAYING IN A BARN; Oil on canvas; signed lower left18.25

Lot 7: John Henry Dolph (1835-1903), American PUPPIES PLAYING IN A BARN; Oil on canvas; signed lower left18.25" x 24" - 46.4 x 61 cm.Provenance: Cooling Galleries Limited, Toronto

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Description: John Henry Dolph (1835-1903), American PUPPIES PLAYING IN A BARN; Oil on canvas; signed lower left18.25" x 24" - 46.4 x 61 cm.Provenance: Cooling Galleries Limited, Toronto

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George Elmer Browne (1871-1946), American EVENING STUDY, BRUGES; Oil on canvas; signed lower right, part of the title to the remains of the exhibition label verso18

Lot 8: George Elmer Browne (1871-1946), American EVENING STUDY, BRUGES; Oil on canvas; signed lower right, part of the title to the remains of the exhibition label verso18" x 22" - 45.7 x 55.9 cm.Exhibited: Milwaukee Art Society, Loan Exhibition, n.d.,

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Description: George Elmer Browne (1871-1946), American EVENING STUDY, BRUGES; Oil on canvas; signed lower right, part of the title to the remains of the exhibition label verso18" x 22" - 45.7 x 55.9 cm.Exhibited: Milwaukee Art Society, Loan Exhibition, n.d., partial label verso

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Hermann Hartwich (1853-1926), German/American RESTING IN A SUNLIT GARDEN; Oil on canvas; signed lower left27.5

Lot 9: Hermann Hartwich (1853-1926), German/American RESTING IN A SUNLIT GARDEN; Oil on canvas; signed lower left27.5" x 30" - 69.9 x 76.2 cm.

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Description: Hermann Hartwich (1853-1926), German/American RESTING IN A SUNLIT GARDEN; Oil on canvas; signed lower left27.5" x 30" - 69.9 x 76.2 cm.

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George W. Chambers (1857-1897), American MISTRESS CORNELIA (THE ARTIST'S FIRST WIFE); Oil on canvas; signed and dated 1885 at Kirkwood (Missouri) lower right, signed and titled to artist's label from

Lot 10: George W. Chambers (1857-1897), American MISTRESS CORNELIA (THE ARTIST'S FIRST WIFE); Oil on canvas; signed and dated 1885 at Kirkwood (Missouri) lower right, signed and titled to artist's label from "St. L. School of Fine Arts, St. Louis, Missouri"

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Description: George W. Chambers (1857-1897), American MISTRESS CORNELIA (THE ARTIST'S FIRST WIFE); Oil on canvas; signed and dated 1885 at Kirkwood (Missouri) lower right, signed and titled to artist's label from "St. L. School of Fine Arts, St. Louis, Missouri" accompanying this lot39.5" x 23.5" - 100.3 x 59.7 cm.Provenance: Collection of the artist and his wife, Cornelia, Malpeque, Prince Edward Island;Dr. James Keir, Malpeque, Prince Edward Island;By descent to their granddaughter, Mary Margaret Elizabeth Auld, Malpeque, PEI;By descent to the present owner's mother's brother, Malpeque, PEI;By descent to the present owner's parents (Cornelia is thought to be a grandmother or great grandmother of the present owner's mother) who recovered the two paintings from the house of Dr. Keir where they had been held in the family residence in Malpeque, PEI since their execution;By descent to the present, Private Collection, OrilliaThis painting and the next lot (lot 11) were acquired by the parents of the present Private Collection when the Malpeque residence was sold;By descent to the present, Private Collection, OrilliaLiterature: The Spectator, St. Louis, Vol. 6, Oct. 3, 1885, p.72, there is mention of a painting by Chambers with the title of "Mistress Cornelia";H. Barbara Weinberg, The American Pupils of Jean-Leon Gerome, p.104, Chambers listed;The following literature references to Chambers was provided by The Missouri History Museum, St. Louis, MO:"Missouri Historical Society Bulletin", Vol. XXIV a nd Vol. XXVII (by M. Patricia Holmes);"Gateway Heritage", Vol. 8, Number 1, Summer 1987, "Chambers Watercolour Presented to Art Collections"; "Pen and Sunlight Sketches of Saint Louis" Phoenix Publishing Company, Chicago, p.127;"St. Louis Up to Date", 1895, p.228;Walter B. Stevens Scrapbook 46, p. 65Note: The painter and teacher George W. Chambers was born in St. Louis, Missouri, in 1857. Little is known of his life until 1880 when he entered the Paris studio of Jean Léon Gérôme, the French classicist. He remained in Paris until 1884, studying with Gérôme and also with Julien Dupré, whose Barbizon style influenced his early work. At this time, he was made a professor in the St. Louis Art School and later organized the Art School in Nashville, Tenn., where he was appointed Director in the 1890's. He painted American subjects upon his return to the US, particularly landscapes "full of warm color, light and beauty".In an unidentified clipping (Walter B. Stevens Scrapbook 46, p. 165) Chambers is regarded as an "artist and stained glass designer"... "perhaps as talented a man as the St. Louis school ever turned out". In light of rapid growth of wealth and culture, and an ever increasing demand for the artistic and beautiful furniture, decorations and surroundings, Chambers became well known for his work in stained glass, in particular for his windows, a relatively new artistic craft in St. Louis, that he designed for the St. Louis Union Station while with the firm, Messrs. W.W. Davis & Geo. W. Chambers, located at 1626 Lucas Place (he became a partner of in 1891). His best work as a designer, was the stained glass windows designed for the St. Louis Union Station, a contract headed by The Terminal Railroad Association, and have been referred to as "the most outstanding interior feature of the Grand Hall" and "the most important example of art glass being the pictorial window" at the center of the north wall over the staircase landing of the terminal depicting three classical female maidens representing the cities. His watercolour sketch in preparation for a mosaic mural to be installed in the station and his sketches for his stained glass panels were used in Art and Music, an 1880's cultural magazine published in St. Louis. The watercolour sketch for the mosaic to be installed in the station was gifted to the Missouri Historical Society by a relative of the artist. "Mistress Cornelia" was painted the year after Chambers returned to Missouri from Paris. She is believed to be Chambers' first wife and either a grandmother or great grandmother of the consignor's mother. Cornelia died prior to 1893 when he married Bilo Keir, the woman depicted in the following lot (lot 11).In the October 1885 issue of The Spectator, the writer describes the artist's studio in Kirkwood and the work Chambers executed during the summer of 1885: "Mr. Geo W. Chambers has completed an admirable studio at Kirkwood... He has completed a most satisfactory picture, which will doubtless be exhibited at the Pettes galleries. It is called 'Mistress Cornelia' and illustrates the following lines from Chaucer: For in her living, maidens mighten rede, as in a book, Every goode word and dede which longeth to a maiden vertuous, She was so prudent and so bounteous'.The type is not of Chaucer's time or our own, but every age wherein dwells maiden sweetness and goodness and truth. The landscape is true and good, and thoroughly of our own country. The distance is most charming and clear, but not too distinct to interfere with the interest in 'Mistress Cornelia. It seems to me to be one of the best of Mr. Chamber's productions". (W.R.H.) The present owner remembers his mother and her sister often talking about "Aunt Anne" and Bilo (the subject of the next by the artist, lot 11) in PEI. The two women remember how Aunt Anne and Bilo never got along and their was always tension between them.The Keir House is a large, two storey, Georgian house, established circa 1810 with neo-classical design elements situated on the edge of Malpeque Bay, Prince Edward Island. The house is valued for its age, its association with the Presbyterian minister, Rev. Dr. John Keir (1780-1858) and his family, and the prominent role that the family played in community education for Malpeque and surrounding areas. The house also has a connection to Lucy Maud Montgomery, who was a friend of John Keir's daughter Anne. For more about the Keir house see http://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=18765

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George W. Chambers (1857-1897), American GIRL WITH FLOWER: BILO KEIR, THE ARTIST'S WIFE; Oil on canvas; signed lower right, dated indistinctly 1893 at Kirkwood, MI lower left44

Lot 11: George W. Chambers (1857-1897), American GIRL WITH FLOWER: BILO KEIR, THE ARTIST'S WIFE; Oil on canvas; signed lower right, dated indistinctly 1893 at Kirkwood, MI lower left44" x 28" - 111.8 x 71.1 cm.Est. $10,000/15,000Provenance: Collection of the

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Description: George W. Chambers (1857-1897), American GIRL WITH FLOWER: BILO KEIR, THE ARTIST'S WIFE; Oil on canvas; signed lower right, dated indistinctly 1893 at Kirkwood, MI lower left44" x 28" - 111.8 x 71.1 cm.Est. $10,000/15,000Provenance: Collection of the sitter, Bilo Keir;Dr. James Keir, Malpeque, Prince Edward Island, said to have been the husband of Bilo Keir, formerly married to the artist, George W. Chambers;By descent to their granddaughter, Mary Margaret Elizabeth Auld, Malpeque, PEI;By descent to the present owner's mother's brother, Malpeque, PEI;By descent to the present owner's parents who recovered the two paintings from the house where they had been held in Malpeque, PEI;By descent to the present, Private Collection, OrilliaNote: Bilo Keir, from Louisiana, was born in 1873. George Chambers married Bilo, his second wife, in 1893, the year this work was painted. Bilo was 20 years old at the time. Chambers died in 1895, two years later. Bilo later married Dr. James Keir, a medical doctor who practiced from the family home in Malpeque from 1904-1944. The doctor was the present owner's mother's grandfather. Bilo Keir was a maternal relative of the present owner, and it is believed she was a great aunt of their mother. In her elderly years, Bilo lived at the family's large country house established by Dr. John Keir, then Dr. James Keir, in Malpeque, Prince Edward Island where this portrait and Chambers portrait, "Mistress Cornelia" (the previous lot, lot 10), hung for many years. The present owner remembers his mother and her sister often talking about "Aunt Anne" and Bilo in PEI. The two women remember how Aunt Anne and Bilo never got along and their was always tension between them.For a discussion of the historic Keir House where this work and lot 10 hung since their execution see: http://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=18765

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Guy Carleton Wiggins (1883-1962), American UP COUNTRY; Oil on canvasboard; signed lower right, titled and inscribed with artist's presentation verso16

Lot 12: Guy Carleton Wiggins (1883-1962), American UP COUNTRY; Oil on canvasboard; signed lower right, titled and inscribed with artist's presentation verso16" x 19.75" - 40.6 x 50.2 cm.Est. $3,000/4,000Provenance: Presented to "Bess and Margaret" from the

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Description: Guy Carleton Wiggins (1883-1962), American UP COUNTRY; Oil on canvasboard; signed lower right, titled and inscribed with artist's presentation verso16" x 19.75" - 40.6 x 50.2 cm.Est. $3,000/4,000Provenance: Presented to "Bess and Margaret" from the artist verso

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Guy Carleton Wiggins (1883-1962), American GOLDEN AUTUMN, LYME, CONN., 1938; Oil on canvas; signed lower right, titled and dated 1938 verso24

Lot 13: Guy Carleton Wiggins (1883-1962), American GOLDEN AUTUMN, LYME, CONN., 1938; Oil on canvas; signed lower right, titled and dated 1938 verso24" x 30" - 61 x 76.2 cm.

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Description: Guy Carleton Wiggins (1883-1962), American GOLDEN AUTUMN, LYME, CONN., 1938; Oil on canvas; signed lower right, titled and dated 1938 verso24" x 30" - 61 x 76.2 cm.

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Edwin Munott Dawes (1872-1945), American DESERT LANDSCAPE; Oil on canvas; signed and dated 1923 lower left30

Lot 14: Edwin Munott Dawes (1872-1945), American DESERT LANDSCAPE; Oil on canvas; signed and dated 1923 lower left30" x 39" - 76.2 x 99.1 cm.

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Description: Edwin Munott Dawes (1872-1945), American DESERT LANDSCAPE; Oil on canvas; signed and dated 1923 lower left30" x 39" - 76.2 x 99.1 cm.

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Paul Grimm (1891-1974), American NEATH SAN GORGONIO; Oil on canvas; signed lower left, titled and dated

Lot 15: Paul Grimm (1891-1974), American NEATH SAN GORGONIO; Oil on canvas; signed lower left, titled and dated "Feb 1970" verso24" x 30" - 61 x 76.2 cm.

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Description: Paul Grimm (1891-1974), American NEATH SAN GORGONIO; Oil on canvas; signed lower left, titled and dated "Feb 1970" verso24" x 30" - 61 x 76.2 cm.

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Charles H. Ebert (1873-1959), American OLD LYME HARBOUR; Oil on canvasboard; signed lower left, titled in pencil verso11

Lot 16: Charles H. Ebert (1873-1959), American OLD LYME HARBOUR; Oil on canvasboard; signed lower left, titled in pencil verso11" x 13.75" - 27.9 x 34.9 cm.

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Description: Charles H. Ebert (1873-1959), American OLD LYME HARBOUR; Oil on canvasboard; signed lower left, titled in pencil verso11" x 13.75" - 27.9 x 34.9 cm.

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Jack Lorimer Gray (1927-1981), American/Canadian LONE FISHERMAN RETURNING HOME; Oil on canvas; signed lower left22

Lot 17: Jack Lorimer Gray (1927-1981), American/Canadian LONE FISHERMAN RETURNING HOME; Oil on canvas; signed lower left22" x 30" - 55.9 x 76.2 cm.

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Description: Jack Lorimer Grey (1927-1981), American/Canadian LONE FISHERMAN RETURNING HOME; Oil on canvas; signed lower left22" x 30" - 55.9 x 76.2 cm.

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Henry Martin Gasser (1909-1981), American LOBSTER FISHERMAN; Watercolour; signed lower rightSheet 18.5

Lot 18: Henry Martin Gasser (1909-1981), American LOBSTER FISHERMAN; Watercolour; signed lower rightSheet 18.5" x 27.5" - 47 x 69.9 cm.

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Description: Henry Martin Gasser (1909-1981), American LOBSTER FISHERMAN; Watercolour; signed lower rightSheet 18.5" x 27.5" - 47 x 69.9 cm.

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Philip Evergood (1901-1973), American PRISON CAMP; Colour crayon drawing on Ingres USA watermarked paper; signed lower leftImage 16.25

Lot 19: Philip Evergood (1901-1973), American PRISON CAMP; Colour crayon drawing on Ingres USA watermarked paper; signed lower leftImage 16.25" x 22" - 41.3 x 55.9 cm.

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Description: Philip Evergood (1901-1973), American PRISON CAMP; Colour crayon drawing on Ingres USA watermarked paper; signed lower leftImage 16.25" x 22" - 41.3 x 55.9 cm.

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Andre Gisson (1921-2003), American GIRL ON A VERANDA; Oil on canvas; signed lower left, titled to the original gallery receipt12

Lot 20: Andre Gisson (1921-2003), American GIRL ON A VERANDA; Oil on canvas; signed lower left, titled to the original gallery receipt12" x 16" - 30.5 x 40.6 cm.Provenance: The Fine Art Galleries, The T. Eaton Company Ltd., Canada;Dr. T. Hutchinson, Toronto,

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Description: Andre Gisson (1921-2003), American GIRL ON A VERANDA; Oil on canvas; signed lower left, titled to the original gallery receipt12" x 16" - 30.5 x 40.6 cm.Provenance: The Fine Art Galleries, The T. Eaton Company Ltd., Canada;Dr. T. Hutchinson, Toronto, purchased on April 6, 1973

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Andre Gisson (1921-2003), American GIRLS IN A SUNLIT CLEARING; Oil on canvas; signed lower left24

Lot 21: Andre Gisson (1921-2003), American GIRLS IN A SUNLIT CLEARING; Oil on canvas; signed lower left24" x 30" - 61 x 76.2 cm.

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Description: Andre Gisson (1921-2003), American GIRLS IN A SUNLIT CLEARING; Oil on canvas; signed lower left24" x 30" - 61 x 76.2 cm.

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Andre Kertesz (1894-1985), Hungarian/American MELANCHOLIC TULIP, PARIS; Gelatin silver print; signed and dated 1939 in pencil verso, titled to gallery label to the backing9.6

Lot 22: Andre Kertesz (1894-1985), Hungarian/American MELANCHOLIC TULIP, PARIS; Gelatin silver print; signed and dated 1939 in pencil verso, titled to gallery label to the backing9.6" x 7" - 24.4 x 17.9 cm.Provenance: Jane Corkin Gallery, Toronto;Collection

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Description: Andre Kertesz (1894-1985), Hungarian/American MELANCHOLIC TULIP, PARIS; Gelatin silver print; signed and dated 1939 in pencil verso, titled to gallery label to the backing9.6" x 7" - 24.4 x 17.9 cm.Provenance: Jane Corkin Gallery, Toronto;Collection of Vanessa Harwood, former Principal Ballerina for the National Ballet of Canada until 1987, purchased from the above circa 1978Literature: Illustrated in "Andre Kertesz. 60 Years of Photography", p. 78

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Cindy Sherman (1954- ), American UNTITLED; Colour C-print on Kodak paper; signed, dated 1985 and numbered 88/125 in pen and ink verso. Unframed.14

Lot 23: Cindy Sherman (1954- ), American UNTITLED; Colour C-print on Kodak paper; signed, dated 1985 and numbered 88/125 in pen and ink verso. Unframed.14" x 14" - 35.6 x 35.6 cm.

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Description: Cindy Sherman (1954- ), American UNTITLED; Colour C-print on Kodak paper; signed, dated 1985 and numbered 88/125 in pen and ink verso. Unframed.14" x 14" - 35.6 x 35.6 cm.

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Jules Olitski (1922-2007), American ORIGIN QUEST; Waterbase acrylic on canvas; signed, titled and dated '86 verso, further dated

Lot 24: Jules Olitski (1922-2007), American ORIGIN QUEST; Waterbase acrylic on canvas; signed, titled and dated '86 verso, further dated "86-00-1" verso54.75" x 33" - 139.1 x 83.8 cm.

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Description: Jules Olitski (1922-2007), American ORIGIN QUEST; Waterbase acrylic on canvas; signed, titled and dated '86 verso, further dated "86-00-1" verso54.75" x 33" - 139.1 x 83.8 cm.

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George J. McNeil (1908-1995), American WHY #2, 1982; Oil and mixed-media on canvas; signed and dated '82 lower right, signed, titled, dated '82 and inscribed

Lot 25: George J. McNeil (1908-1995), American WHY #2, 1982; Oil and mixed-media on canvas; signed and dated '82 lower right, signed, titled, dated '82 and inscribed "C.82.5" verso48" x 44" - 121.9 x 111.8 cm.Provenance: Inscribed from the artist with

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Description: George J. McNeil (1908-1995), American WHY #2, 1982; Oil and mixed-media on canvas; signed and dated '82 lower right, signed, titled, dated '82 and inscribed "C.82.5" verso48" x 44" - 121.9 x 111.8 cm.Provenance: Inscribed from the artist with presentation gifting this to his son, James, dated 3/1/82;Gagosian Gallery, New York;Private Collection, Canada

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Man Ray (1890-1971),American THE ROPE DANCER ACCOMPANIES HERSELF WITH HER SHADOWS, 1972 [ANSELMINO 26]; Colour lithograph; signed and numbered EA in pencil to margin, aside from the edition of 99. Published by Editore Michel Toselli. Unframed.19.5

Lot 26: Man Ray (1890-1971),American THE ROPE DANCER ACCOMPANIES HERSELF WITH HER SHADOWS, 1972 [ANSELMINO 26]; Colour lithograph; signed and numbered EA in pencil to margin, aside from the edition of 99. Published by Editore Michel Toselli. Unframed.19.5" x

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Description: Man Ray (1890-1971), American THE ROPE DANCER ACCOMPANIES HERSELF WITH HER SHADOWS, 1972 [ANSELMINO 26]; Colour lithograph; signed and numbered EA in pencil to margin, aside from the edition of 99. Published by Editore Michel Toselli. Unframed.19.5" x 27.5" - 49.5 x 69.9 cm.Note: The proceeds of this lot to benefit the Sick Kids Foundation, Toronto

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Robert Indiana (1928- ), American CHOSEN LOVE; Skein dyed, hand-carved and hand tufted black and white archival New Zealand wool on canvas with natural latex backing; signed in the weave lower right, signed by Indiana and numbered 252/300 in black

Lot 27: Robert Indiana (1928- ), American CHOSEN LOVE; Skein dyed, hand-carved and hand tufted black and white archival New Zealand wool on canvas with natural latex backing; signed in the weave lower right, signed by Indiana and numbered 252/300 in black

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Description: Robert Indiana (1928- ), American CHOSEN LOVE; Skein dyed, hand-carved and hand tufted black and white archival New Zealand wool on canvas with natural latex backing; signed in the weave lower right, signed by Indiana and numbered 252/300 in black marker to the "Master Contemporary Original Artist Rug" publisher's label verso. Produced with artist and the rug maker, John Gilbert.72" x 72" - 182.9 x 182.9 cm.

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Robert Indiana (1928- ), American TWELVE POEMS WITH EMBOSSMENTS (FROM THE BOOK OF LOVE), 1996; Twelve lithographed poems each sheet with colour embossed

Lot 28: Robert Indiana (1928- ), American TWELVE POEMS WITH EMBOSSMENTS (FROM THE BOOK OF LOVE), 1996; Twelve lithographed poems each sheet with colour embossed "love" image; 10 signed, 2 dated 96 and variously numbered: L/L (1); XXII/L (1); XXVII/L (1);

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Description: Robert Indiana (1928- ), American TWELVE POEMS WITH EMBOSSMENTS (FROM THE BOOK OF LOVE), 1996; Twelve lithographed poems each sheet with colour embossed "love" image; 10 signed, 2 dated 96 and variously numbered: L/L (1); XXII/L (1); XXVII/L (1); XLVIII/L (5); 20/200 (1); 82/200 (1); and 42/200 (2) in pencil. Together with the original folio case. One matted and framed; 11 matted and unframed.Sight 23.75" x 19.5" - 60.3 x 49.5 cm.Provenance: Posters International Fine Art, Toronto

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Andy Warhol (1928-1987), American AFTER THE PARTY, 1979 [F&S; 183.II]; Colour screenprint; signed in black crayon and numbered 979/1000 in pencil to margin. Published by Grosset and Dunlap Inc., New York.21.5

Lot 29: Andy Warhol (1928-1987), American AFTER THE PARTY, 1979 [F&S; 183.II]; Colour screenprint; signed in black crayon and numbered 979/1000 in pencil to margin. Published by Grosset and Dunlap Inc., New York.21.5" x 30.5" - 54.6 x 77.5 cm.Provenance:

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Description: Andy Warhol (1928-1987), American AFTER THE PARTY, 1979 [F&S 183.II]; Colour screenprint; signed in black crayon and numbered 979/1000 in pencil to margin. Published by Grosset and Dunlap Inc., New York.21.5" x 30.5" - 54.6 x 77.5 cm.Provenance: Intercontinental Fine Art Ltd., Montreal

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After Andy Warhol (1928-1987), American MARILYN GREY-BLACK ON PORCELAIN TILE (ROSENTHAL EDITION), 2010; Silkscreen on glazed porcelain; signed in the plate lower left, numbered 35, from the limited edition of 49, manufactured by Rosenthal, Germany,

Lot 30: After Andy Warhol (1928-1987), American MARILYN GREY-BLACK ON PORCELAIN TILE (ROSENTHAL EDITION), 2010; Silkscreen on glazed porcelain; signed in the plate lower left, numbered 35, from the limited edition of 49, manufactured by Rosenthal, Germany,

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Description: After Andy Warhol (1928-1987), American MARILYN GREY-BLACK ON PORCELAIN TILE (ROSENTHAL EDITION), 2010; Silkscreen on glazed porcelain; signed in the plate lower left, numbered 35, from the limited edition of 49, manufactured by Rosenthal, Germany, under a license from The Andy Warhol Foundation for the Visual Arts, Inc., New York, framed with the original presentation box. Accompanied by a certificate of authenticity from Rosenthal.19.7" x 19.7" - 50 x 50 cm.; 23" x 23" x 3.5" - 58.4 x 58.4 x 8.9 cm.

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After Andy Warhol (1928-1987), American SOUP CANS (SUITE OF 10); Ten colour silkscreens; each with stamps

Lot 31: After Andy Warhol (1928-1987), American SOUP CANS (SUITE OF 10); Ten colour silkscreens; each with stamps "published by Sunday B Morning" and "fill in your own signature" in blue ink verso. Unframed.35" x 23" - 88.9 x 58.4 cm.

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Description: After Andy Warhol (1928-1987), American SOUP CANS (SUITE OF 10); Ten colour silkscreens; each with stamps "published by Sunday B Morning" and "fill in your own signature" in blue ink verso. Unframed.35" x 23" - 88.9 x 58.4 cm.

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After Andy Warhol (1928-1987), American FLOWERS (PORTFOLIO OF 10); Ten colour silkscreens; each with stamps:

Lot 32: After Andy Warhol (1928-1987), American FLOWERS (PORTFOLIO OF 10); Ten colour silkscreens; each with stamps: "published by Sunday B Morning" and "fill in your own signature" in blue ink verso. Unframed.36" x 36" - 91.4 x 91.4 cm.

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Description: After Andy Warhol (1928-1987), American FLOWERS (PORTFOLIO OF 10); Ten colour silkscreens; each with stamps: "published by Sunday B Morning" and "fill in your own signature" in blue ink verso. Unframed.36" x 36" - 91.4 x 91.4 cm.

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Albert Namatjira (1902-1959), Aboriginal VALLEY GUMS; Watercolour; signed lower right, titled and dated '59 versoSheet 10.25

Lot 33: Albert Namatjira (1902-1959), Aboriginal VALLEY GUMS; Watercolour; signed lower right, titled and dated '59 versoSheet 10.25" x 14" - 26 x 35.6 cm.

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Description: Albert Namatjira (1902-1959), Aboriginal VALLEY GUMS; Watercolour; signed lower right, titled and dated '59 versoSheet 10.25" x 14" - 26 x 35.6 cm.

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Colin Parker (1941- ), Australian DROUGHT AT OXLEY, N.S.W.; Oil on panel; signed lower left, signed, titled and dated '81 verso32

Lot 34: Colin Parker (1941- ), Australian DROUGHT AT OXLEY, N.S.W.; Oil on panel; signed lower left, signed, titled and dated '81 verso32" x 44" - 81.3 x 111.8 cm.Provenance: Parker Galleries, Sydney, N.S.W.

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Description: Colin Parker (1941- ), Australian DROUGHT AT OXLEY, N.S.W.; Oil on panel; signed lower left, signed, titled and dated '81 verso32" x 44" - 81.3 x 111.8 cm.Provenance: Parker Galleries, Sydney, N.S.W.

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Egon Schiele (1890-1918), Austrian SELBSTBILDNIS, 1917 [KALLIR 4F]; Bronze; stamped signature and numbered 141/300 with copyright 1980 in the cast. Posthumous edition.Height approximately height 11.5

Lot 35: Egon Schiele (1890-1918), Austrian SELBSTBILDNIS, 1917 [KALLIR 4F]; Bronze; stamped signature and numbered 141/300 with copyright 1980 in the cast. Posthumous edition.Height approximately height 11.5" - 29.2 cm.

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Description: Egon Schiele (1890-1918), Austrian SELBSTBILDNIS, 1917 [KALLIR 4F]; Bronze; stamped signature and numbered 141/300 with copyright 1980 in the cast. Posthumous edition.Height approximately height 11.5" - 29.2 cm.

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Vincenz Kreuzer (1809-1888), Austrian SCHLOSHOF VON HOHENFREIBERG IN BEIERN; Oil on canvas; signed lower left, titled verso30.5

Lot 37: Vincenz Kreuzer (1809-1888), Austrian SCHLOSHOF VON HOHENFREIBERG IN BEIERN; Oil on canvas; signed lower left, titled verso30.5" x 24" - 77.5 x 61 cm.

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Description: Vincenz Kreuzer (1809-1888), Austrian SCHLOSHOF VON HOHENFREIBERG IN BEIERN; Oil on canvas; signed lower left, titled verso30.5" x 24" - 77.5 x 61 cm.

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Alois Heinrich Priechenfried (1867-1953), German/Austrian DOLCISSIMO; DURCH DIE BLUME; Pair of oils on panel; the former signed upper left, the latter signed lower left, each titled versoEach 10

Lot 38: Alois Heinrich Priechenfried (1867-1953), German/Austrian DOLCISSIMO; DURCH DIE BLUME; Pair of oils on panel; the former signed upper left, the latter signed lower left, each titled versoEach 10" x 8" - 25.4 x 20.3 cm.

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Description: Alois Heinrich Priechenfried (1867-1953), German/Austrian DOLCISSIMO; DURCH DIE BLUME; Pair of oils on panel; the former signed upper left, the latter signed lower left, each titled versoEach 10" x 8" - 25.4 x 20.3 cm.

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Alfred Ritter von Malheim Friedlander (1860-1927), Austrian CAVALIERS RESTING AND MINGLING WITH VILLAGERS; Oil on braced panel; signed lower right14

Lot 39: Alfred Ritter von Malheim Friedlander (1860-1927), Austrian CAVALIERS RESTING AND MINGLING WITH VILLAGERS; Oil on braced panel; signed lower right14" x 23" - 35.6 x 58.4 cm.

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Description: Alfred Ritter von Malheim Friedlander (1860-1927), Austrian CAVALIERS RESTING AND MINGLING WITH VILLAGERS; Oil on braced panel; signed lower right14" x 23" - 35.6 x 58.4 cm.

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Jakob Koganowsky (1874-1926), Austrian INTERIOR WITH VIEW THROUGH A WINDOW; Oil on canvas; signed lower right35.5

Lot 40: Jakob Koganowsky (1874-1926), Austrian INTERIOR WITH VIEW THROUGH A WINDOW; Oil on canvas; signed lower right35.5" x 39.5" - 90.2 x 100.3 cm.

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Description: Jakob Koganowsky (1874-1926), Austrian INTERIOR WITH VIEW THROUGH A WINDOW; Oil on canvas; signed lower right35.5" x 39.5" - 90.2 x 100.3 cm.

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Josephus Laurentius Dyckmans (1811-1888), Belgian THE BUSY HOUSEWIFE; Oil on thick prepared board; signed and dated 1846 mid left14.5

Lot 41: Josephus Laurentius Dyckmans (1811-1888), Belgian THE BUSY HOUSEWIFE; Oil on thick prepared board; signed and dated 1846 mid left14.5" x 12" - 36.8 x 30.5 cm.Provenance: With Haynes Art Gallery, Toronto in 1948

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Description: Josephus Laurentius Dyckmans (1811-1888), Belgian THE BUSY HOUSEWIFE; Oil on thick prepared board; signed and dated 1846 mid left14.5" x 12" - 36.8 x 30.5 cm.Provenance: With Haynes Art Gallery, Toronto in 1948

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Cornelis van Leemputten (1841-1902), Belgian A MAIDEN RESTING WITH HER DOG, SHEEP AND CHICKENS; Oil on panel; signed and dated 1874 lower left15.75

Lot 42: Cornelis van Leemputten (1841-1902), Belgian A MAIDEN RESTING WITH HER DOG, SHEEP AND CHICKENS; Oil on panel; signed and dated 1874 lower left15.75" x 25.5" - 40 x 64.8 cm.

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Description: Cornelis van Leemputten (1841-1902), Belgian A MAIDEN RESTING WITH HER DOG, SHEEP AND CHICKENS; Oil on panel; signed and dated 1874 lower left15.75" x 25.5" - 40 x 64.8 cm.

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Marguerite Aers (1918-1995), Belgian MOTHER AND CHILD IN A SPRING GARDEN; Oil on canvas; signed lower right31.5

Lot 43: Marguerite Aers (1918-1995), Belgian MOTHER AND CHILD IN A SPRING GARDEN; Oil on canvas; signed lower right31.5" x 25" - 80 x 63.5 cm.

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Description: Marguerite Aers (1918-1995), Belgian MOTHER AND CHILD IN A SPRING GARDEN; Oil on canvas; signed lower right31.5" x 25" - 80 x 63.5 cm.

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Paul Jean Clays (1819-1900), Belgian BOATS IN A HARBOUR; Oil on canvas; signed lower right24.75

Lot 44: Paul Jean Clays (1819-1900), Belgian BOATS IN A HARBOUR; Oil on canvas; signed lower right24.75" x 19" - 62.9 x 48.3 cm.

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Description: Paul Jean Clays (1819-1900), Belgian BOATS IN A HARBOUR; Oil on canvas; signed lower right24.75" x 19" - 62.9 x 48.3 cm.

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After Rene Margritte (1898-1967), Belgian PIERRERIES (FROM LES ENFANTS TROUVES), 1968; Colour lithograph; signed

Lot 45: After Rene Margritte (1898-1967), Belgian PIERRERIES (FROM LES ENFANTS TROUVES), 1968; Colour lithograph; signed "Magritte" in the plate lower right, signed by Fernand Mourlot in pencil lower right margin. Unnumbered from the edition of 350, numbered

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Description: After Rene Margritte (1898-1967), Belgian PIERRERIES (FROM LES ENFANTS TROUVES), 1968; Colour lithograph; signed "Magritte" in the plate lower right, signed by Fernand Mourlot in pencil lower right margin. Unnumbered from the edition of 350, numbered 67/350 on the folio justification page. Published by Ed. A.C. Mazo et Cie, Paris.Image 12" x 17.75" - 30.5 x 45.1 cm.

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After Rene Margritte (1898-1967), Belgian LA TRAVERSE DIFFICILE (FROM LES ENFANTS TROUVES), 1968; Colour lithograph; signed

Lot 46: After Rene Margritte (1898-1967), Belgian LA TRAVERSE DIFFICILE (FROM LES ENFANTS TROUVES), 1968; Colour lithograph; signed "Magritte" in the plate lower left, signed by Fernand Mourlot in pencil lower right margin. Numbered IV in the plate verso.

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Description: After Rene Margritte (1898-1967), Belgian LA TRAVERSE DIFFICILE (FROM LES ENFANTS TROUVES), 1968; Colour lithograph; signed "Magritte" in the plate lower left, signed by Fernand Mourlot in pencil lower right margin. Numbered IV in the plate verso. Unnumbered from the edition of 350, numbered 67/350 on the folio justification page. Published by Ed. A.C. Mazo et Cie, Paris.Image 12" x 17.7" - 30.5 x 45 cm.

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Thomas Davidson (Exh. 1880-1908), British AFTER MARSTON MOOR, 1644; Oil on canvas; signed lower right, signed and titled to labels verso21.25

Lot 47: Thomas Davidson (Exh. 1880-1908), British AFTER MARSTON MOOR, 1644; Oil on canvas; signed lower right, signed and titled to labels verso21.25" x 17" - 54 x 43.2 cm.Provenance: Britnell's Art Gallery, Toronto

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Description: Thomas Davidson (Exh. 1880-1908), British AFTER MARSTON MOOR, 1644; Oil on canvas; signed lower right, signed and titled to labels verso21.25" x 17" - 54 x 43.2 cm.Provenance: Britnell's Art Gallery, Toronto

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Circle of Sir Peter Lely (1618-1680), British PORTRAIT OF A LADY IN A RED CAPE; Oil on canvas, sculpted oval29

Lot 48: Circle of Sir Peter Lely (1618-1680), British PORTRAIT OF A LADY IN A RED CAPE; Oil on canvas, sculpted oval29" x 23.5" - 73.7 x 59.7 cm.

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Description: Circle of Sir Peter Lely (1618-1680), British PORTRAIT OF A LADY IN A RED CAPE; Oil on canvas, sculpted oval29" x 23.5" - 73.7 x 59.7 cm.

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Circle of Sir Godfrey Kneller (1646-1723), British PORTRAIT OF A MAN IN ARMOUR; Oil on canvas, feigned oval cartouche29.75

Lot 49: Circle of Sir Godfrey Kneller (1646-1723), British PORTRAIT OF A MAN IN ARMOUR; Oil on canvas, feigned oval cartouche29.75" x 24.5" - 75.6 x 62.2 cm.

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Description: Circle of Sir Godfrey Kneller (1646-1723), British PORTRAIT OF A MAN IN ARMOUR; Oil on canvas, feigned oval cartouche29.75" x 24.5" - 75.6 x 62.2 cm.

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Circle of Thomas Lawrence (1769-1830),British COLONEL ROBERT SMITH WEBB (1794 WITLEY, SURREY-1862 HAMBLEDON, SURREY) DEPICTED HOLDING A MARMALUKE HILTED OFFICER'S SWORD; Oil on canvas; titled on an old paper label affixed to the verso36

Lot 50: Circle of Thomas Lawrence (1769-1830),British COLONEL ROBERT SMITH WEBB (1794 WITLEY, SURREY-1862 HAMBLEDON, SURREY) DEPICTED HOLDING A MARMALUKE HILTED OFFICER'S SWORD; Oil on canvas; titled on an old paper label affixed to the verso36" x 28" - 91.4

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Description: Circle of Thomas Lawrence (1769-1830), British COLONEL ROBERT SMITH WEBB (1794 WITLEY, SURREY-1862 HAMBLEDON, SURREY) DEPICTED HOLDING A MARMALUKE HILTED OFFICER'S SWORD; Oil on canvas; titled on an old paper label affixed to the verso36" x 28" - 91.4 x 71.1 cm.Provenance: Private Collection, Toronto purchased from an art gallery in London, EnglandNote: The sitter is recorded in David Webb's, Webb & Walsh Family Ancestory. He married Hariet Augusta Currie (b. 1811, Surrey) in 1848.

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David Cox (1783-1859), British FIGURES IN A WOODED LANDSCAPE; Oil on canvas; signed and dated 1841 lower left8

Lot 51: David Cox (1783-1859), British FIGURES IN A WOODED LANDSCAPE; Oil on canvas; signed and dated 1841 lower left8" x 10" - 20.3 x 25.4 cm.

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Description: David Cox (1783-1859), British FIGURES IN A WOODED LANDSCAPE; Oil on canvas; signed and dated 1841 lower left8" x 10" - 20.3 x 25.4 cm.

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