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Auction Description for Swann: AMERICAN ART/CONTEMPORARY ART
Auction Description:
AMERICAN ART/CONTEMPORARY ART
Viewing Notes:
Exhibition & Sale Schedule: Sale 2262 - American Art/Contemporary Art - begins at 10:30am in New York on Thurs, Nov 17. All material in Sale 2262 on display at our premises in New York City, 104 East 25th Street, as follows - Sat, Nov 12: 10am to 4pm - Mon, Nov 14: 10am to 6pm - Tues, Nov 15: 10am to 6pm - Wed, Nov 16: 10am to 6pm - No exhibition on day of sale.

AMERICAN ART/CONTEMPORARY ART

by Swann Auction Galleries

Platinum House

303 lots with images

November 17, 2011

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

303 Lots
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LUDWIG BEMELMANS De l'Audace.

Lot 1: LUDWIG BEMELMANS De l'Audace.

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Description: LUDWIG BEMELMANS De l'Audace. Watercolor, gouache, brush and ink and wash with pastel on Marble Arch board. 762x546 mm; 30x21 1/2 inches. Signed in ink, lower right recto.

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LUDWIG BEMELMANS Parsley Hunter's Fall.

Lot 2: LUDWIG BEMELMANS Parsley Hunter's Fall.

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Description: LUDWIG BEMELMANS Parsley Hunter's Fall. Gouache and pencil on Whatman drawing board, circa 1955. 533x673 mm; 21x26 1/2 inches. Signed in gouache, lower right recto. Ex-collection Hammer Galleries, New York, with the label verso; private collection, Pennsylvania. A likely study for the illustrative children's story Parsley (Harper's, 1955): "The hunter leaned against the tree to steady himself, but suddenly, just as he was about to squeeze the trigger, the tree whispered his warning. From betwixt two clouds that were as puffed cheeks there came a burst of wind, and the tree twisted and knocked against the hunter, and one of the roots tripped him, and he fell and fell, followed by stones, until he lay, far below, to hunt no more. The gun was lost in a ravine, but swinging back and forth quietly on one of the crooked arms of the pine hung the sharp binoculars, which the tree had lifted off the hunter's shoulders as he fell."

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LUDWIG BEMELMANS Madeline.

Lot 3: LUDWIG BEMELMANS Madeline.

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Description: LUDWIG BEMELMANS Madeline. Gouache and watercolor on paper, 1939. 305x228 mm; 12x9 inches. Signed in pencil, lower right, recto. Ex-collection private collection, Pennsylvania.

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LUDWIG BEMELMANS Chochards.

Lot 4: LUDWIG BEMELMANS Chochards.

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Description: LUDWIG BEMELMANS Chochards. Gouache and watercolor with pen and ink and pencil on paper. 318x255 mm; 12 1/2x10 inches. Signed in ink, lower right recto. Ex-collection private collection, Pennsylvania

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BEN BENN Nude and Boat.

Lot 5: BEN BENN Nude and Boat.

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Description: BEN BENN Nude and Boat. Oil on canvas, 1954. 520x680 mm; 20 1/2x27 inches. Signed and dated in oil, lower right recto.

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BEN BENN Rough Seas (Abstraction).

Lot 6: BEN BENN Rough Seas (Abstraction).

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Description: BEN BENN Rough Seas (Abstraction). Oil on canvas, 1957. 520x615 mm; 20 1/2x24 1/4 inches. Signed and dated in oil, lower right recto.

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THOMAS HART BENTON Barges on the Missouri.

Lot 7: THOMAS HART BENTON Barges on the Missouri.

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Description: THOMAS HART BENTON Barges on the Missouri. Brush and brown wash and pen and ink with pencil on wove paper, circa 1940. 9 1/8x11 7/8 inches. Signed in pencil, lower right recto. Along with Grant Wood and John Steuart Curry, Thomas Hart Benton (1889-1975) was considered America's foremost Regionalist painter of the 1930s and 1940s. He celebrated the bounty of the earth and heroicized the efforts of ordinary workers and citizens who went about their daily tasks. The rhythmic curving lines that characterize Benton's compositions suggest the vitality of nature and immediacy of his subject. Much of his subjects through World War II focus on middle America, where he took residency, predominantly in his native Missouri, and throughout the Midwest and the South, where he was commissioned to paint numerous murals. The present lot recalls Benton's early service in the Navy during World War I, when he was stationed at Norfolk, Virginia, and directed to make drawings and illustrations of shipyard life.

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EUGENE BERMAN Celestial Bodies.

Lot 8: EUGENE BERMAN Celestial Bodies.

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Description: EUGENE BERMAN Celestial Bodies. Ink, watercolor and gouache on buff wove paper, 1950s. 437x311 mm; 17 1/4x12 1/2 inches. Initialed in ink, center recto.

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EUGENE BERMAN Two watercolor, ink and pastel drawings.

Lot 9: EUGENE BERMAN Two watercolor, ink and pastel drawings.

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Description: EUGENE BERMAN Two watercolor, ink and pastel drawings. Spanish Soldier, 1952. 300x222 mm; 11 3/4x8 3/4 inches. Initialed, titled and dated in ink, lower center, recto * Vivandière, 1952. 300x222 mm; 11 3/4x8 3/4 inches. Initialed and dated in pencil, lower center recto. Each a costume study for La Forza del Destino.

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ROBERT BLISS Provincetown Beach.

Lot 10: ROBERT BLISS Provincetown Beach.

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Description: ROBERT BLISS Provincetown Beach. Oil on artist's board, 1962. 925x1220 mm; 36 1/2x48 inches. Signed and dated in oil, lower right recto, and titled "P. town Beach" in oil, verso.

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OSCAR BLUEMNER Two pencil drawings.

Lot 11: OSCAR BLUEMNER Two pencil drawings.

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Description: OSCAR BLUEMNER Two pencil drawings. Patterson, 1915. 127x171 mm; 5x6 3/4 inches. Titlted and dated in ink, upper left recto * South Nutley, New Jersey, 1922. 127x171 mm; 5x6 3/4 inches. Initialed and titled in pencil, lower margin.

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OSCAR BLUEMNER Two drawings.

Lot 12: OSCAR BLUEMNER Two drawings.

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Description: OSCAR BLUEMNER Two drawings. St. George, black crayon on paper, 1916. 89x137 mm; 3 1/2x5 inches. Initialed, titled and dated in crayon * Moonrise, brush and brown ink and wash, 1918. 111x140 mm; 4 3/8x5 1/2 inches. Titled and dated in ink, recto, and with extensive notes in ink verso.

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OSCAR BLUEMNER Group of 7 crayon and pencil pencil drawings.

Lot 13: OSCAR BLUEMNER Group of 7 crayon and pencil pencil drawings.

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Description: OSCAR BLUEMNER Group of 7 crayon and pencil pencil drawings. Village Scene, 1889 * Figure Studies, 1889 * Village Road, Springville, 1914 * Rosedale Road, Long Island, 1905 * Morris Canal, Jersey City, 1915 * Cedar House, 1917 * Plain Street, 1926. Each initialed, titled and dated in pencil or ink, most with extensive color notes in pencil or ink. Various sizes and condtions.

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OSCAR BLUEMNER Group of 7 crayon and pencil drawings.

Lot 14: OSCAR BLUEMNER Group of 7 crayon and pencil drawings.

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Description: OSCAR BLUEMNER Group of 7 crayon and pencil drawings. Seascape, 1889 * Borkum, 1889 * Jericho, Long Island, 1903 * Vanderbilt Manor, 1903 * Canarsie Park, 1905 * Oaks Pond, 1920 * Merrimack River, 1925. Each initialed, titled and dated in pencil or ink, most with extensive color notes in pencil or ink. Various sizes and condtions.

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CARL BRANDIEN View of Toledo.

Lot 15: CARL BRANDIEN View of Toledo.

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Description: CARL BRANDIEN View of Toledo. Oil on canvas, 1931. 648x826 mm; 25 1/2x32 1/2 inches. Signed, inscribed and dated in oil, lower right recto. The American scene painter Carl Brandien (1886-1965) described himself as a "vagabond artist," whose travels led him to his art. In 1930 he and his wife embarked on a journey across Western Europe and on to Hawaii, often blending the natural beauty of his paintings with local historical architectural elements, such as the late-14th century Saint Martin Bridge, which links Toledo to the West, in the present painting. Brandien re-settled in New York at the onset of World War II and began exhibiting his paintings at shows that were held at the Barbizon Plaza Art Gallery in conjunction with the 1939 World's Fair in New York. He received several commissions including those from the Friar's Club and Russian Club in New York, as well as from President Franklin D. Roosevelt, who commissioned a series of Pacific and Atlantic Fleets, now in the Hyde Park presidential collection.

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BYRON BROWNE Juggler.

Lot 16: BYRON BROWNE Juggler.

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Description: BYRON BROWNE Juggler. Color crayons, scratch work and pen and ink on cream wove paper, 1946. 590x440 mm; 23 3/4x17 3/8 inches. Signed and dated in ink, lower right recto.

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DAVID BURLIUK A Drunkard.

Lot 17: DAVID BURLIUK A Drunkard.

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Description: DAVID BURLIUK A Drunkard. Oil and collage on artist's board, 1911. 141x178 mm; 5 1/2x7 inches. Signed, titled and dated in oil, recto.

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DAVID BURLIUK Surrealist Portrait of Arshile Gorky.

Lot 18: DAVID BURLIUK Surrealist Portrait of Arshile Gorky.

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Description: DAVID BURLIUK Surrealist Portrait of Arshile Gorky. Oil on board, 1940s. 298x228 mm; 11 3/4x9 inches. Signed in oil, lower right recto. In 1941, David Burliuk (1882-1967) left Manhattan's East Village for Hampton Bays, Long Island. He soon became the ringleader of the Hampton Bays Group, which included artists Raphael and Moses Soyer, Milton Avery, and Arshile Gorky.

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DAVID BURLIUK Sarasota Art Museum.

Lot 19: DAVID BURLIUK Sarasota Art Museum.

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Description: DAVID BURLIUK Sarasota Art Museum. Pencil, crayon and pen and ink on wove paper, 1962. 124x143 mm; 4 7/8x5 5/8 inches. Signed, titled and dated in pencil, upper margin.

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DAVID BURLIUK Bathers.

Lot 20: DAVID BURLIUK Bathers.

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Description: DAVID BURLIUK Bathers. Pen and black ink and wash on wove paper. 190x216 mm; 7 1/2x8 1/2 inches. Signed in brown pencil, lower right recto. Ex-collection ACA Heritage Gallery, New York, with label on the frame back.

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DAVID BURLIUK Nude in Landscape.

Lot 21: DAVID BURLIUK Nude in Landscape.

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Description: DAVID BURLIUK Nude in Landscape. Oil on panel. 140x162 mm; 5 1/2x6 3/8 inches. Signed in oil, lower right recto.

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DAVID BURLIUK Seascape with Flowers and Shells.

Lot 22: DAVID BURLIUK Seascape with Flowers and Shells.

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Description: DAVID BURLIUK Seascape with Flowers and Shells. Oil on canvas. 305x210 mm; 12x8 1/4 inches. Signed in oil, lower right recto. Acquired directly from the artist at his studio in Hampton Bays, Long Island, 1962; private collection, New York.

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DAVID BURLIUK Still Life with Roses, Daffodils and Iris.

Lot 23: DAVID BURLIUK Still Life with Roses, Daffodils and Iris.

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Description: DAVID BURLIUK Still Life with Roses, Daffodils and Iris. Oil on canvas. 770x630 mm; 30 1/4x24 3/4 inches. Signed in oil, lower right recto. Ex-collection Vered Gallery, Southampton, Long Island, 1970s; private collection, New York.

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HANS BURKHARDT Abstract Figure.

Lot 24: HANS BURKHARDT Abstract Figure.

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Description: HANS BURKHARDT Abstract Figure. Pastel on cream laid paper, 1973. 666x510 mm; 26 1/4x20 inches. Signed and in pencil, lower right recto.

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PAUL CADMUS Female Nude.

Lot 25: PAUL CADMUS Female Nude.

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Description: PAUL CADMUS Female Nude. White chalk on black laid paper. 284x175 mm; 11 1/8x6 7/8 inches. Signed in white chalk, lower right recto.

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PAUL CADMUS Study for Winter: Second Version.

Lot 26: PAUL CADMUS Study for Winter: Second Version.

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Description: PAUL CADMUS Study for Winter: Second Version. Crayon, acrylic and gesso on Whatman board, 1984. 232x314 mm; 9 1/8x12 1/4 inches. Signed, titled, dated and counter-signed in pencil, recto. A study for the same-titled 1984 painting, depicting Paul Cadmus's (1904-1999) long-time lover, Jon Andersson, in fireside repose, relaxing in the Weston, Connecticut, home they shared.

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JASPER FRANCIS CROPSEY Landscape.

Lot 27: JASPER FRANCIS CROPSEY Landscape.

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Description: JASPER FRANCIS CROPSEY Landscape. Color pastels on tan paper, 1880. 149x204 mm; 5 7/8x8 inches. Signed in pastel, lower right recto.

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FREDERICK C. FRIESEKE Pastoral Landscape.

Lot 28: FREDERICK C. FRIESEKE Pastoral Landscape.

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Description: FREDERICK C. FRIESEKE Pastoral Landscape. Watercolor on paper. 210x310 mm; 8 1/4x12 1/4 inches. Signed in watercolor, lower right recto.

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GREGORY GILLESPIE Seated Figure.

Lot 29: GREGORY GILLESPIE Seated Figure.

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Description: GREGORY GILLESPIE Seated Figure. Oil, tempera and gouache with pencil on paper, mounted on board. 293x225 mm; x11 1/2x8 7/8 inches. Signed in gouache, lower right recto.

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ARSHILE GORKY Figure Study.

Lot 30: ARSHILE GORKY Figure Study.

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Description: ARSHILE GORKY Figure Study. Pencil on tan wove paper, circa 1930. 305x230 mm; 12x9 inches. Inscribed "By Gorky for Hans Burkhardt" in pencil, verso. Ex-collection Hans Burkhardt; gift from Burkhardt to the current owner.

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J. BARRY GREENE Summer Landscape.

Lot 31: J. BARRY GREENE Summer Landscape.

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Description: J. BARRY GREENE Summer Landscape. Oil on masonite. 407x508 mm; 16x20 inches. Signed in oil, lower right recto. Born in New York, Greene (1895-1966) was an artistic success from an early age. He received an art scholarship to the Ethical Culture Society while still a youngster. He also received scholarships to The National Academy, the Art Students League, and the New York School of Fine and Applied Design. During WWI he served in the Intellignce division of the US Armed Forces, after which he was given his first one-man show in New York.

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WILLIAM GROPPER Woman at Table.

Lot 32: WILLIAM GROPPER Woman at Table.

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Description: WILLIAM GROPPER Woman at Table. Watercolor on paper, circa 1960. 370x260 mm; 14 1/2x10 1/4 inches. Signed in ink, lower left recto. Ex-collection Arthur James Galleries, Delray Beach, Florida, with the label on the frame back.

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WILLIAM GROPPER Fish Market (Fish Monger).

Lot 33: WILLIAM GROPPER Fish Market (Fish Monger).

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Description: WILLIAM GROPPER Fish Market (Fish Monger). Brush and black and bluish gray ink and wash on cream wove paper, 1962. 380x260 mm; 15x10 1/4 inches. Signed in ink, lower left recto. Ex-collection ACA Gallery, New York, with the label on the frame back.

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CHAIM GROSS Nude.

Lot 34: CHAIM GROSS Nude.

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Description: CHAIM GROSS Nude. Bronze sculpture with greenish patina, circa 1942. 435 mm; 17 1/4 inches (height, excluding marble base). Incised with the artist's name and "Dog" monogram and numbered 1/6 lower verso. This is similar to Suzy, snakewood, 1942 (see Lombardo, Chaim Gross Sculptor, New York, 1949, number 119).

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CHAIM GROSS Storm at the Beach.

Lot 35: CHAIM GROSS Storm at the Beach.

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Description: CHAIM GROSS Storm at the Beach. Watercolor and pen and ink on paper, mounted on cardstock, 1959. 400x570 mm; 15 3/4x22 1/2 inches. Signed in ink, lower right recto.

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CHAIM GROSS Three drawings.

Lot 36: CHAIM GROSS Three drawings.

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Description: CHAIM GROSS Three drawings. Beach Landscape with Bathers, pen and ink wash and waterclor, 1939. Signed in ink, lower right recto * Sailors in Central Park, pen and ink wash and watercolor on cream wove paper, 1943. Signed, dated and inscribed in ink, lower right recto * Cherubs, pen and ink on cream wove paper, 1943. Various sizes and conditions.

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ROBERT GWATHMEY Picking Cotton.

Lot 37: ROBERT GWATHMEY Picking Cotton.

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Description: ROBERT GWATHMEY Picking Cotton. Watercolor with pen and ink on wove paper, circa 1950. 495x355 mm; 19 1/2x14 inches. Signed in ink, lower right recto. Ex-collection Terry Dintenfass Gallery, New York; Rosenfeld Fine Arts, New York, with the labels on the frame back; and the estate of J. Bruce Llewellyn, New York. Exhibited "Robert Gwathmey Exhibition" at Arthur A. Houghton, Jr. Gallery, The Cooper Union for the Advancement of Science and Art, New York, May 23-June 26, 1985.

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ROBERT GWATHMEY Picking Cotton II.

Lot 38: ROBERT GWATHMEY Picking Cotton II.

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Description: ROBERT GWATHMEY Picking Cotton II. Watercolor and pen and ink with gouache on wove paper, 1950s. 520x355 mm; 20 1/2x14 inches. Signed in pen and ink, upper right recto. Ex-collection the estate of J. Bruce Llewellyn, New York.

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ROBERT GWATHMEY Tin of Lard.

Lot 39: ROBERT GWATHMEY Tin of Lard.

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Description: ROBERT GWATHMEY Tin of Lard. Pencil on wove paper, 1966-69. 495x355 mm; 19x14 1/2 inches. Signed in pencil, upper right recto. Ex-collection Terry Dintenfass Gallery, New York; and the estate of J. Bruce Llewellyn, New York. The current work and the same-titled lithograph (Williams 18) are closely related to the painting Southern Farmer, 1966 (see lot 41).

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ROBERT GWATHMEY Prologue II.

Lot 40: ROBERT GWATHMEY Prologue II.

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Description: ROBERT GWATHMEY Prologue II. Oil on canvas, 1962. 1180x915 mm; 46 1/2x36 1/8 inches. Signed in oil, lower right recto. Ex-collection Terry Dintenfass Gallery, New York, with the label on the frame back; and the estate of J. Bruce Llewellyn, New York. Exhibited Randolph-Macon Woman's College, Ashland, Virginia, "52nd Annual Exhibition," February 24-March, 20, 1963. Published in Kammen, Robert Gwathmey, The Life and Art of a Passionate Observer, Chapel Hill, 1999, page 163, figure 59. Robert Gwathmey (1903-1988) is best known as one of the most celebrated painters of African-American life in the rural South. As an outsider to the African-American communities, his works are that of an observer, picturesque scenes of everyday life without sentimentality, as he managed unbiased to imbue humanity and an unromanticized dignity into his subjects. At a young age Gwathmey personally experienced the challenges faced by poverty: his father, a railroad engineer, died in train accident before Gwathmey's birth, forcing the family into low-paying jobs to make ends meet with the children holding part-time jobs around their schoolwork. At the age of 19 he worked on a shipping freighter that visited ports throughout Europe and the Americas. This job helped foster his interest in art, during which he often sketched other crew members, and when the ship stopped at European ports, he visited museums and galleries where he was exposed to the great artists of the past. When he returned to the United States he enrolled at the Maryland Institute of Design in Baltimore and later at the prestigious Pennsylvania Academy of the Fine Arts in Philadelphia where he studied for four years, including winning several Cresson scholarships, to continue his studies. Abroad and at home, Gwathmey's studies and exposure to art taught him more than just style and subject, which he certainly assimilated from the likes of François Millet's peasant scenes and the macabre imagery of Goya and Picasso; he also learned how to subtly illustrate injustice and societal inequities through his art: "I consider myself a 'social realist.' I'm interested in the human figure and the human condition." His residency in New York from the 1940s on and his travels elsewhere expanded his outlook and provided points of comparison with his early life, especially when he returned to the South, where he was struck by the plight of African Americans. With the onslaught of the Great Depression, Gwathmey, like many intellectuals and artists, was drawn to efforts to reform America's economic and social structure. The artist Rosalie Hook, whom he married in 1935, shared many of his political views and encouraged the direction his art was taking. Throughout the 1940s Gwathmey enjoyed his most prolific output and success, having won several competitions and being included in the Whitney's 1943-44 annual exhibition of contemporary art and in the annual exhibition of American painting and sculpture at the Art Institure of Chicago. During this time he painted his most affecting and powerful pictures, such as From Out of the South (circa 1941), Hoeing (1943), Sharecropper and Blackberry Pickers (circa 1941), which was acquired by the Boston Museum of Fine Arts in 1942 and, even in print with the silkscreen Rural Home Front (1943) (Williams 2), which won first prize in the Artists for Victory exhibition that was part of the National Graphic Arts Competition. Prologue II is a culmination of Gwathmey's personal views, during the 1960s his art remained deeply committed to issues of racial justice, combined with a more concise style. His is able to present a subject he has painted before, but with more complexity, that still recalls visual echoes of his earlier work (Kammen, p. 150). From his former mural projects he learned to reincorporate images from previous ones, calling this approach a "composite montage." Prologue II is just this, a work full of social commentary, utilizing a more mature style, and culminating into Gwathmey's largest figural painting to come to auction to date.

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ROBERT GWATHMEY Southern Farmer.

Lot 41: ROBERT GWATHMEY Southern Farmer.

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Description: ROBERT GWATHMEY Southern Farmer. Oil on canvas, 1966. 1280x975 mm; 50 1/2x38 1/2 inches. Signed in oil, upper right recto. Ex-collection Terry Dintenfass Gallery, New York, with the label on the frame back; and the estate of J. Bruce Llewellyn, New York. Exhibited "Robert Gwathmey Exhibition," Terry Dintenfass Gallery, New York, January 23-February 10, 1968; and "Robert Gwathmey, Southern Themes," Terry Dintenfass Gallery, New York, May 5-June 15, 1990. In 1944 Robert Gwathmey received a Rosenwald Foundation Fellowship which allowed him to live and work on a North Carolina tobacco farm. He recalled his short time there as very formative in the development of his art: "I spent a summer on this tobacco farm in North Carlonia. They had three sharecroppers on this farm. I said I'd give each of the three guys a day a week. Harvesting tobacco is difficult…I picked tobacco because I wanted to know the whole story…I couldn't sit there and make a sort of representational [painting] and calling it priming tobacco, if I hadn't done it myself" Hard Times (New York, 1986, p.374). Gwathmey's experience working on a farm, alongside those who relied upon the tobacco crop's harvest for their livelihood, undoubtedly aided the painting's impetus and empathy.And even though he spent most of his adult years in the North, Gwathmey continued to return to the South, largely through his memories, for inspiration. As so many scholars have pointed out, the South has an incredibly strong sense of place that is nigh impossible to escape. The farmer, laboring under a heavy pail of lard, scuttles across a tobacco field against a crimson-brown sky. His face is almost obscured with exception to his nose and left eye suggesting forgotten personal importance, though their significance to a profitable tobacco industry could not be overstated. His use of three-quarter profiles and tipped hat, or in this case a pail, to obscure a full view of his protagonist's face he employed throughout the 1960s. These portraits may very well be a response in part to Ralph Ellison's Invisible Man of the previous decade. While his work cannot be categorically associated with any one style, Gwathmey certainly showed admiration for many. He adored Picasso's experimentation, as seen in the planar effects that easily separates themselves as shapes in the tobacco leaves, the patchwork in the overall bibs and the harlequin-patterned undershirt; his coloring more subtely takes after that of Georges Rouault who made juxtapositions of contrasting colors, but perhaps his interest in stained glass window was more impacting. "After visiting the cathedral in Chartres I was willing to believe that the stained glass there was the finest visual art expression ever. I still think it can't be beat and the color sensations in relation to the half-light within the catherdral is overwhelming."

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CARL OTTO HOLM Summer Landscape.

Lot 42: CARL OTTO HOLM Summer Landscape.

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Description: CARL OTTO HOLM Summer Landscape. Oil on canvas, 1917. 558x735 mm; 22x29 inches. Signed and dated in oil, lower left recto.

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CARL HOLTY Two paintings.

Lot 43: CARL HOLTY Two paintings.

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Description: CARL HOLTY Two paintings. Abstract composition, oil mounted on board. 305x400 mm; 12x15 3/4 inches * Magna, acrylic on burlap mounted to board. 305x 305 mm; 12x12 inches. Signed in acrylic, upper right recto.

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WILLIAM S. HORTON Piazza Navona, Rome.

Lot 44: WILLIAM S. HORTON Piazza Navona, Rome.

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Description: WILLIAM S. HORTON Piazza Navona, Rome. Color pastels on paper, 1922. 470x558 mm; 18 1/2x22 inches. Signed and dated in pastel, lower right recto. William Horton began his artistic studies during his teenage years to study at the Art Institute of Chicago. He then traveled to Paris to study at the prestigius Ecoledes Beaux-Arts and later returned to the United States, continuing his studies at the Art Students League in New York. In 1895 Horton would return to Paris, where he would remain for the majority of his adult life, also preferring the environs of London. In Europe, he became close colleagues with Monet, Pissarro, Whistler and Derain, and was among the first generation of Americans who educated themselves under the French Impressionists. By 1914 his work was exhibited regularly at the Paris Salon.

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LEE JACKSON Aboard SS Liberté.

Lot 45: LEE JACKSON Aboard SS Liberté.

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Description: LEE JACKSON Aboard SS Liberté. Gouache and watercolor on wove paper, 1953. 274x380 mm; 10 3/4x14 3/4 inches. Signed in ink, lower left recto.

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DONG KINGMAN Harbor Scene.

Lot 46: DONG KINGMAN Harbor Scene.

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Description: DONG KINGMAN Harbor Scene. Watercolor on heavy wove paper. 380x558 mm; 15x22 inches. Signed in watercolor, lower right recto. Born Dong Moy Shu in Oakland, California, Dong Kingman (1911-200) was formally educated in Hong Kong where he was given a traditional Chinese name. Hearing that he aspired to be an artist, an instructor gave him the name "King Man", meaning "scenery" and "composition" in Cantonese. He would come to define that name, combined later with his family name, through his prolific output of watercolor scene paintings. In fact, in the 1950s and 1960s, years after returning to California and New York, where he taught at Columbia University and Hunter College, Kingman designed backgrounds for numerous major motion pictures.

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DONG KINGMAN California Mission.

Lot 47: DONG KINGMAN California Mission.

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Description: DONG KINGMAN California Mission. Watercolor on heavy wove paper. 374x565 mm; 14 3/4x22 1/4 inches. Signed in watercolor, lower right recto.

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JOHN KOCH Seamstress.

Lot 48: JOHN KOCH Seamstress.

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Description: JOHN KOCH Seamstress. Pencil with white chalk heightening on grayish laid Japan paper. 305x260 mm; 12x9 imches. Signed in pencil, lower margin.

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GASTON LACHAISE Female Nude.

Lot 49: GASTON LACHAISE Female Nude.

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Description: GASTON LACHAISE Female Nude. Pencil on paper, circa 1930. 247x170 mm; 9 1/2x6 3/4. Signed in pencil, lower left recto.

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BLANCHE LAZZELL Mosquito Wharf.

Lot 50: BLANCHE LAZZELL Mosquito Wharf.

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Description: BLANCHE LAZZELL Mosquito Wharf. Gouache on card stock, 1934. 215x137 mm; 8 1/2x5 1/2 inches. Signed and dated in ink, lower center recto, and counter signed, titled and inscribed "oil sketch" in ink, verso. Lazzell's Provincetown, Massachussetts, studio was on a wharf very similar to the current work.

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