fine art • may 20, 2015

D A L L A S A U C T I O N G A L L E R Y

FINE ART AUCTIONW E D N E S D AY • M AY 2 0 , 2 0 1 5

Featuring Works From The Collection of Sam Wyly, Dallas, TX

For Telephone and Absentee Bidding Arrangements Contact Us at:PHONE: 214-653-3900 FAX: 214-653-3912 TOLL FREE: 866.653.3900 EMAIL: [email protected]

Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262FRONT COVER - Norman Rockwell, Lot 43; INSIDE FRONT COVER - Frank Tenney Johnson, Lot 38; INSIDE BACK COVER - Robert Indiana, Lot 95; BACK COVER - John Chamberlain, Lot 117.

C O N T E N T SEuropean Art 4

The Sam Wyly Collection 18

American, California and Western Art 54

Modern and Contemporary Art 72

Guide for Prospective Buyers 120

Terms and Conditions 122

E U R O P E A N A R TL O T S 1 - 1 4

1 • B A R T O L O M E O P I N E L L I(Italian, 1781-1835)Untitled (Musical Gathering)Oil on canvas.

Canvas: 40"H x 53.625"W; Frame: 45.75"H x 59.625"W.

Provenance: From the Collection of the Adolphus Hotel and the Stoneleigh Hotel, Dallas, Texas.

$5,000 - 7,000

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2 • AT T R I B U T E D T O S I R G O D F R E Y K N E L L E R(British, 1646-1723)Portrait of a LadyOil on canvas. Inscribed on label verso “Portrait of a Lady / Sir Godfrey Kneller.”

Canvas: 50"H x 40"W; Frame: 58.5"H x 48.5"W.

Provenance: From the Collection of the AdolphusHotel and the Stoneleigh Hotel, Dallas, Texas.

$2,000 - 3,000

3 • AT T R I B U T E D T O J E A N F R A N Ç O I S C A R T E A U X(French, 1751-1813)Untitled (Portrait of a Gentleman)Oil on canvas, 1776. Inscribed lower left “Carteaux pinx 1776.”


Provenance: From the Collection of the Adolphus Hotel andthe Stoneleigh Hotel, Dallas, Texas.

Note: After a work by Louise Élisabeth Vigée Le Brun.

$1,500 - 2,500

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4 • A F T E R C A N A L E T T OUntitled (Palace Scene)Circa - 18th - 19th C.Oil on canvas depicting a gathering under a higharchway looking out onto a marbled plaza.


Provenance: From the Collection of the AdolphusHotel and the Stoneleigh Hotel, Dallas, Texas.

$5,000 - 7,000

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5 • J A M E S B U R R E L LA View near DedhamOil on canvas. Signed lower right “Jas Burrell.”


Provenance: W. H. Patterson Fine Arts Ltd., London 1999.

$3,000 - 5,000

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6 • W. E U G È N E V E R B O E C K H O V E N(Belgian, 1799-1881)Untitled (Sheep and Chickens in a Stable)Oil on canvas, 1869. Signed and dated lower left “Eugene Verboeckhoven 1869.”

Canvas: 29.25"H x 44.25"W; Frame: 35.75"H x 51"W.

Provenance: W. P. Wilstach Collection, Philadelphia, Pennsylvania; Fairmount Park, Philadelphia, Pennsylvania; Samuel T. Freeman & Co., October 29, 1954, Lot 61; Private collection, Texas.

$8,000 - 12,000

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7 • C É S A R D E C O C K(Flemish, 1823-1904)The Brook CanalOil on canvas, 1870. Signed and dated lower left “Cesar de Cock 1870.” Canvas stamped twice on verso “Wilstach Gallery.”

Canvas: 20"H x 27.25"W; Frame 26.25"H x 33.75"W.

Provenance: W. P. Wilstach Collection, Philadelphia, Pennsylvania; Fairmount Park, Philadelphia, Pennsylvania; Samuel T. Freeman & Co., October 29, 1954, Lot 11; Private collection, Texas.

César de Cock, a painter noted for his landscapes and woods, studied withDaubigny and made friends with Corot, Rousseau, and Tryon. He painted atBarbizon and surrounding regions in France and Belgium.

$3,000 - 5,000

8 • C H A R L E S H U N T I I(British, 1829-1900) The Original Minstrels (Abbey Orphanage)Oil on canvas, 1873. Signed lower right “C. Hunt 1873.”

Canvas: 24.25"H x 36.25"W; Frame: 30.5"H x 42.5"W.

Provenance: W.J. Morrill, Ltd. London; The Victorian Gallery, Dallas; Private Collection, Dallas.

Exhibited: Royal Academy, London, 1862-1873. The British Institution, London, 1899.

Charles Hunt II is best known for his genre scenes, which often depicted humorous scenes of children in cottage settings. This work perfectly captures his style with its portrayal of a group of children with painted faces performing a musical.

$18,000 - 24,000

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9 • J O Z E F I S R A E L S(Dutch, 1824-1911)Untitled (Woman by the sea)Oil on board. Signed lower left “Josef Israels.”

Board: 10.5"H x 10.625"W; Frame: 15.625"H x 15.75"W.

$4,000 - 6,000

1 0 • C O N T I N E N T A L S C H O O L Untitled

Oil on canvas depicting a pastoral scene of peasants tending to cattle and sheep along a river. Circa - 20th C.Canvas: 53"H x 78.5"W; Frame: 58.5"H x 85.25"W.

Provenance: From the Collection of the Stoneleigh Hotel,Dallas, Texas.

$2,000 - 4,000

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1 1 • H E N R Y J O H N Y E E N D K I N G(British, 1855-1924)Tending the Garden Oil on canvas,1900. Signed lower left“Yeend King.”


$7,000 - 10,000

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1 2 • F R I E D R I C H A U G U S T V O N K A U L B A C H(German, 1850-1920)Untitled (Girl in Armchair) Mixed media on paper. Signed lower right “Kaulbach.”

Sight: 52.5"H x 35.5"W; Frame: 57.5"H x 40.5"W.

$2,000 - 4,000

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1 3 • J E A N - F R A N C K B A U D O I N(French, 1870-1961)Petit Pont, ParisOil on canvas. Signed lower left “JF. Baudoin.”


Provenance: Christie’s London, March 8, 2006, Lot 1030.

$7,000 - 10,000

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1 4 • E G O N S C H I E L E(Austrian, 1890-1918)SelbstbildnisBronze, 1917/1980. Stamped, numbered, and dated on right “Egon Schiele 259/300 1980 ©.”

11"H x 7"W x 10"D.

Note: This is a later edition cast in 1980 for the Collector’s Club, Vienna, Austria.

$2,000 - 3,000

T H E S A M W Y L Y C O L L E C T I O NL O T S 1 5 - 5 4

From his humble beginnings in Northeast Louisiana to his multiple successes as

author, entrepreneur, and philanthropist, Dallas businessman Sam Wyly has

assembled a wonderfully diverse and historically significant art collection that

speaks to both his love of storytelling and inexhaustible curiosity. Bookmarked by

stunning examples throughout, such as Frank Tenney Johnson’s The Pioneers and

Norman Rockwell’s Barbershop Quartet, the selected thirty-nine works from Mr. Wyly’s

collection initially resonated with him on a personal level. Rather than amassing a

group of similar styles, artists or subject matter, the self-made Wyly let his intuition

guide and shape his collection. Magnificent examples of illustration are nestled

alongside Western masterworks while political portraits share space with American

Naturalist prints. Much like Mr. Wyly’s unerring quest for finding a new challenge in

the business world, his appetite for something new, yet familiar, led him to seek

works with historical or individual importance, and often led him into unexamined

territory exploring a new artist, genre or era. The works offered ultimately reflect a

strong, singular story told one piece at a time, bolstered by the integrity of the entire

collection at large, offering a range of subjects, viewpoints, and styles for those

wanting to continue the story of the Wyly collection by starting one of their own.

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PHOTO: KAREN SANDERS

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1 5 • A N T O N I E T T A B R A N D E I S(Austrian, 1848-1926)Untitled (Venetian Scene with Boats)Oil on board. Signed lower right “A Brandeis.”


Provenance: Cooling Galleries, London, England; From the Collection of Sam Wyly, Dallas, Texas.

$6,000 - 8,000

1 6 • A N T O N I E T T A B R A N D E I S(Austrian, 1848-1926)Untitled (Doge's Palace)Oil on board. Signed lower right “A Brandeis.”

Board: 6.5"H x 9.375; Frame: 10.5"H x 13.25"W.

Provenance: Cooling Galleries, London, England;From the Collection of Sam Wyly, Dallas, Texas.

$7,000 - 10,000

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1 7 • M A N N E R O F C A N A L E T T OVenetian SceneOil on canvas.


Provenance: From the Collection of Sam Wyly, Dallas, Texas.

Note: Giovanni Antonio Canaletto (Italian, 1697-1768) was a renowned painter of landscapes and Venetianscenes. This piece painted in the manner of Canaletto depicts a scene of the Grand Canal with views of SantaMaria della Salute and the bell tower of St. Mark’s Square. Circa - 20th C.

$8,000 - 12,000

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1 8 • P H I L I P P E R O U S S E A U(French, 1816-1887)The Fox and the RavenOil on board. Signed lower rightand inscribed on verso “Ph. R.”


Provenance: John Mitchell FinePaintings, London; From the Collection of Sam Wyly, Dallas,Texas.

$2,000 - 3,000

1 9 • P I E R R E E D O U A R D F R E R E(French, 1819-1886)Mother with ChildOil on canvas, 1883. Signed lower left “Edouard Frere-83.”



$4,000 - 6,000

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2 0 • A N T O N V A N W O U W(South African, 1862-1945)Leemans, the PostmanBronze with brown patina, 1901. Dated,signed, and inscribed on right rear of base“1901 / A van Wouw / Pretoria.” Later edition.

17.5"H with base.


$20,000 - 30,000

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2 1 • A L B E R T G U I L L A U M E(French, 1873-1942) Le Chef d’Oeuvre, (The Masterpiece)Oil on board. Signed lower left “A Guillaume.”

Board: 32"H x 25.5"W; Frame: 41.625"H x 36"W.

Provenance: Anonymous; Hotel Drouotsale, Paris, May 24, 1944; Christie’s NewYork: February 11, 1997, The ParisSalon, lot 44; From the Collection ofSam Wyly, Dallas, Texas.

Literature: G. Shurr, Les Petits Maîtres de la Peinture 1820-1920, 1976, III. E. Bénézit, Dictionnaire critique et documentaire des Peintres, Sculpteurs,Dessinateurs et Graveurs, Paris, 1976, V, p. 291.

Exhibited: Paris, Société National desBeaux Arts, Salon of 1905, no. 613.

Albert Guillaume is best known for hissatirical subject matter and cartoonlike depictions. As an accomplishedcaricaturist, Guillaume rose to fameduring the Belle Époque with his comical commentary on the foibles of French society. This piece “Le Chefd’Oeuvre,” translated “The Master-piece,” captures his distinctive cartoon-like style while humorouslydepicting the dichotomy betweenartists and the bourgeoisie.

$10,000 - 15,000

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2 2 • A L O N S O - P E R E Z(Spanish, 1881-1914)La Louée de ServantesOil on canvas. Signed lower left “Alonso-Perez.”


Provenance: From the Collectionof Sam Wyly, Dallas, Texas.

$4,000 - 6,000

2 3 • E U G E N E R E M Y M A E S(Belgian, 1849-1931)Sheep and Chickens in a BarnOil on canvas. Signed lower right“E.R. Maes.”


Provenance: Heritage Auctions:May 25, 2007, Lot 25073; Fromthe Collection of Sam Wyly, Dallas, Texas.

$3,000 - 5,000

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2 4 • PA U L R E M Y(Lived/Active-Asia, 1897-1981)Le Bal du 14 JuilletOil on canvas, 1928. Signed lower right “P. Remy 28.”

Canvas: 63.5"H x 76.75"W; Frame: 72"H x 86"W.


$8,000 - 12,000

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2 5 • A F T E R J O H N J A M E S A U D U B O N(American, 1785-1851)Ruby-throated Humming BirdEngraving with etching, aquatint, and hand-coloring on wove paper by RobertHavell, 1828. Marked upper left ”No. 10“ and upper right “Plate XLVII.” From The Birds of America, Trochilus Colubris.

Plate: 26"H x 20.75"W; Sheet: 38"H x 25.5"W;Frame: 42"H x 36"W.


$7,000 - 10,000

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2 6 • A F T E R J O H N J A M E S A U D U B O N(American, 1785-1851)American White PelicanEngraving with etching, hand coloring, and aquatint on wovepaper by Robert Havell, 1836. Marked upper left “No. 63” andupper right “PLATE: CCCXI.”

Image: 35.375"H x 23.375"W; Sheet: 37.5"H x 25.5"W; Frame: 50.125"H x 37.375"W.


As one of the largest birds living in North America, the AmericanWhite Pelican commands the full “Double Elephant Folio” pageof Audubon’s Havell first edition of The Birds of America. Standingat attention in a bold profile at approximately life-size, the striking lines and intricate detail of his beak, plumage andwebbed feet are a stark contrast to the darkened clouds hangingover his watery habitat. The vertical composition struggles toconfine this wondrous specimen with a 9-foot wingspan andone can easily grasp why this plate is one of the most coveted of the master American naturalist and painter’s illustrations.

After an initial unsuccessful fundraising stint, Audubon left theUnited States for the United Kingdom in 1826, looking for finan-cial support in the form of willing subscribers. Additionally, theavian artist was seeking the technical means of engravers andcolorists to reproduce his original drawings while overseas. Afterstarting the new project in Edinburgh, William H. Lizars had toabandon it after only ten plates were completed as members ofhis studio went on strike.

Therefore in 1827, Audubon entrusted the father-son studio ofRobert Havell Sr. & Jr., with the latter seeing it through to itscompletion in 1838. While copperplate etching was the primaryprinting technique utilized in these groundbreaking ornitho-logical plates, engraving and aquatint were also used with allaspects of color being added later by hand using watercolor.These large prints were issued in groups of five at a time andwere unbound when subscribers received them. Only laterwould Audubon issue the supplementary text under separatecover, published in collaboration with Scottish naturalist WilliamMacGillivray.

$50,000 - 70,000

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2 7 • A F T E R J O H N J A M E S A U D U B O N(American, 1785-1851)Bos Americanus-American Bison or Buffalo Lithograph with handcoloring on wove paper by J.T. Bowen, 1845.Marked upper left “No. 12” and upper right “Plate LVI.”

Site: 19"H x 25.25"W; Frame: 32.5"H x 38.25"W.


$8,000 - 12,000

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2 8 • A M E R I C A N S C H O O LThe Old WhalerOil on canvas. Circa - 19th C. Stamped on verso “Lechertier, Barbe & Co. / 60 Regent Street, W.”



$2,000 - 3,000

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2 9 • W I L L I A M A I K E N W A L K E R(American, 1838-1921)Pr. Cotton PickersOil on board. Signed lower left on each piece “WA Walker.”



$6,000 - 8,000

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3 0 • R E M B R A N D T P E A L E(American, 1778-1860) George WashingtonOil on canvas laid on panel. Circa - 1856. Signed lower left “Rembrandt Peale.” Inscribed on verso “Original Portrait of Washington 1795.”


Provenance: The artist, prior to 1860; Charles J. Coggill, New York, NY; Mrs. S. Edward Nash (Isabel Coggill), New York, NY; By descent tothe Nash family; The Hendershott Collection, 1996; Hammer Galleries, (purchased in 2001) Private collection; Heritage Auctions, May11, 2013, Lot 64100; From the Collection of Sam Wyly, Dallas, Texas.

Rembrandt Peale was a highly regarded portrait artist who is best known for his paintings of George Washington. The son of therenowned artist, Charles Willson Peale, and a contemporary of Gilbert Stuart, Peale rivaled the talents of these men and gained a reputation as the foremost 19th century painter of Washington with works such as this 1856 “porthole” portrait of the “Patriae Pater” in full military dress.

At the age of seventeen, through a sitting arranged by his father, Peale had the distinct privilege to meet George Washington andcapture his first rendering of the illustrious president. This opportunity made him one of the very few artists fortunate enough topaint the historic figure from life. It was during this very meeting in 1795 that his father painted his famous, last portrait of Washington,which is currently on display in the National Portrait Gallery. Interestingly enough, it was after this same portrait that the youngerPeale styled this 1856 painting of the first President of the United States.

Driven by his patriotism and admiration of Washington, Peale made it his personal mission to continuously recreate this portrait, whilesuccessively striving to perfect the details and stylistic beauty of the celebrated “Father of our Country.” Here, Peale portrays the stoicgeneral with a flush of color in his cheeks and lively blue eyes, dressed regally in navy and gold complete with epaulettes and tied silkneckerchief. Despite his calm and noble disposition, Peale’s 1856 depiction shows a crumbling oval porthole, seemingly indicative ofan imminent Civil War.

$125,000 - 175,000

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3 1 • M O R T K U N S T L E R(American/New York, b. 1931)The Scouts of Fredericksburg: Maj. Von Borcke with Gens. Lee and Jackson, Dec. 12, 1862

Mixed media on paper, 1995. Signed and dated lower left “M Kunstler 95 ©.”

Site: 18"H x 25"W; Frame: 24.5"H x 31.75"W.

Provenance: Hammer Galleries, New York; From the Collection of Sam Wyly, Dallas, Texas.

Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler,Nashville: Rutledge Hill Press, 1995, illustrated in color p. 93, and p. 172. Collector Cards, The Blueand the Gray – The Civil War Art of Mort Künstler, Comic Images, Saddle Brook, New Jersey, 1996,card 53. Mort Künstler, The Civil War Art of Mort Künstler, Seymour, CT: Greenwich WorkshopPress, 2004, illustrated in color p. 84. Mort Künstler, James M. McPherson and James I. RobertsonJr., The Civil War Paintings of Mort Künstler, Volume 2: Fredericksburg to Gettysburg, Nashville: Cumberland House Publishing, Inc., 2007, illustrated in full color p. 51. James I. Robertson, Jr., For Us The Living: The Civil War in Paintings and Eyewitness Accounts – The Art of Mort Künstler,New York: Sterling Publishing Co., 2010, 2012, illustrated in color p. 88.

Exhibited: New York, Hammer Galleries, Mort Künstler - Jackson & Lee: Legends in Gray, October17-November 4, 1995. Roslyn, New York, Nassau County Museum of Art, The Civil War Paintingsof Mort Künstler, January 11-March 1, 1998. New York, Hammer Galleries, The Civil War Paintingsof Mort Künstler, March 31-April 25, 1998.

$5,000 - 7,000

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3 2 • M O R T K U N S T L E R(American/New York, b. 1931)Night Crossing: Lee and Jackson, September 19, 1862

Mixed media on paper, 1995. Signed and dated lower right “M Kunstler 95 ©.”

Site: 18.5"H x 25"W; Frame: 27"H x 33.5"W.

Provenance: Hammer Galleries, New York; From the Collection of Sam Wyly, Dallas, Texas.

Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler,Nashville: Rutledge Hill Press, 1995, illustrated in color pp. 88-89, and p. 171. Künstler, Mort, Mort Künstler’s Civil War: The South, Nashville: Rutledge Hill Press, 1997, illustrated in color, p. 70.Calendar, Lang Graphics, Delafield, Wisconsin, M Künstler Legends in Gray Calendar 2000, illustratedin color, September. Mort Künstler, James M. McPherson and James I. Robertson Jr., The CivilWar Paintings of Mort Künstler, Volume 1: Fort Sumter to Antietam. Nashville: Cumberland HousePublishing, Inc., 2006, p. 233, and pp. 234-235 (detail). James I. Robertson, Jr., For Us The Living:The Civil War in Paintings and Eyewitness Accounts – The Art of Mort Künstler, New York: SterlingPublishing Co., 2010, 2012, illustrated in color p. 76.

Exhibitions: New York, Hammer Galleries, Mort Künstler – Jackson & Lee: Legends in Gray, October 17-November 4, 1995. New York, Hammer Galleries, The Civil War Paintings of MortKünstler, March 31-April 25, 1998. Roslyn, New York, Nassau County Museum of Art, The CivilWar Paintings of Mort Künstler, January 11-March 1, 1998.

$5,000 - 7,000

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3 3 • M O R T K U N S T L E R(American/New York, b. 1931)His Supreme Moment: Lee at Chancellorsville, May 3, 1863

Mixed media on paper, 1995. Signed and dated lower right “M Kunstler 95 ©.”

Site: 18.875"H x 24.75"W; Frame: 25.625"H x 31.375"W.

Provenance: Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas.

Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler,Nashville: Rutledge Hill Press, 1995, illustrated in color pp. 108-109, and p. 173. Collector Cards,The Blue and the Gray – Civil War Art by Mort Künstler, Comic Images, Saddle Brook, New Jersey,1997, card 66. Magazine Illustration, America’s Civil War, Cowles Publishing, Spokane, Washington,1999, double page spread, illustrated in color, pp. 42-43. Calendar, Lang Graphics, Delafield, Wis-consin, M Künstler Legends in Gray Calendar 2000, illustrated in color May. Mort Künstler, James M.McPherson and James I. Robertson Jr., The Civil War Paintings of Mort Künstler, Volume 2: Freder-icksburg to Gettysburg. Nashville: Cumberland House Publishing, Inc., 2007, illustrated in color p.195. James I. Robertson, Jr., For Us The Living: The Civil War in Paintings and Eyewitness Accounts –The Art of Mort Künstler, New York: Sterling Publishing Co., 2010, 2012, illustrated in color p. 122.

Exhibitions: New York, Hammer Galleries, Mort Künstler – Jackson & Lee: Legends in Gray, October 17-November 4, 1995.

$5,000 - 7,000

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3 4 • M O R T K U N S T L E R(American/New York, b. 1931)…War is So Terrible: Longstreet and Lee, December 13, 1862

Oil on canvas, 1995. Signed and dated lower right “M Kunstler 95 ©.”


Provenance: Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas.

Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler, Nashville: Rutledge Hill Press, 1995, illustrated in color p. 32and p. 170. Limited Edition Print, American Print Gallery, Gettysburg, Pennsylvania, 1996. Illustration, Fiasco at Fredericksburg, by Vorin E. Whan, Jr., Norwalk,CT: Easton Press, 1996, frontispiece. Collector Cards, The Civil War – The Art of Mort Künstler, Comic Images, Saddle Brook, New Jersey, 1996, card 88. MortKünstler, Mort Künstler’s Civil War: The South, Nashville: Rutledge Hill Press, 1997, illustrated in color pp. 80-87. Calendar, Lang Graphics, Delafield, Wisconsin,M Künstler Legends in Gray Calendar 1998, illustrated in color December. James I. Robertson, Jr., The Confederate Spirit: Valor, Sacrifice, and Honor. The Paint-ings of Mort Künstler. Nashville: Rutledge Hill Press, 2000, illustrated in color pp. 34-35. James I. Robertson, Jr., Gods and Generals: The Paintings of Mort Künstler. Shelton, CT: Greenwich Workshop Press, 2002, illustrated in color pp. 104-105, p. 141. Illustration, Gods and Generals: The Illustrated Story of theEpic Civil War Film, by Ronald F. Maxwell, New York: Newmarket Press, 2003, illustrated in color. Mort Künstler, The Civil War Art of Mort Künstler, Seymour,CT: Greenwich Workshop Press, 2004, illustrated in color p. 87. First Day Issue Envelope, MBI, Inc., Norwalk, Connecticut, 2004, illustrated in color. MortKünstler, Inc. -2- Updated: May 2015 Mort Künstler, James M. McPherson and James I. Robertson, Jr., The Civil War Paintings of Mort Künstler, Volume 2: Fredericksburg to Gettysburg. Nashville: Cumberland House Publishing, Inc., 2007, p. 65, and pp. 66-67. James I. Robertson, Jr., For Us The Living: The CivilWar in Paintings and Eyewitness Accounts – The Art of Mort Künstler, New York: Sterling Publishing Co., 2010, 2012, illustrated in color p. 92. Documentary,The Life of Sgt. Richard Kirkland, Middle Tennessee State University, 2014.

Exhibitions: New York, Hammer Galleries, Mort Künstler – Jackson & Lee: Legends in Gray, October 17-November 4, 1995.

$15,000 - 20,000

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3 5 • P O R F I R I O S A L I N A S(American, 1910-1973) Blue Bonnet TimeOil on canvas. Signed lower left “Porfirio Salinas.”


Provenance: Heritage Auctions: December 1, 2007, Lot 36218; From the Collection of Sam Wyly, Dallas, Texas.

Porfirio Salinas was best known for his depictions of the Texas countryside.

$12,000 - 18,000

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3 6 • J O E J O N E S(American, 1909-1963)Raking HayOil on canvas. Signed lower left “Joe Jones.”


Provenance: Gift to private collector from the artist circa 1950. Sotheby’s New York: May 24,2006, Lot 00126; From the Collection of Sam Wyly, Dallas, Texas.

Under the threat of a darkening sky full of clouds,a Midwestern farmer throws hay to his side, gentlyarching above the house and windmill situated ina stand of trees. The sinewy yield of golden cropwonderfully mirrors and contrasts against the billowy sky, cut by a calm blue through the middle.

As a self-taught artist and former house painter, St. Louis native Joe Jones frequently used the imagery of the working man as subject matterand motivation for his Depression Era works. Dur-ing these productive decades of the 30s and 40s,Jones’ inventive compositions and stark imageryoften examined social issues, race relations, in addition to the plight of the common man.

Jones produced several murals for the WPA duringthis time, alienated some supporters by joiningthe Communist Party and was also included insome major exhibitions in both New York andPhiladelphia. The strength and beauty of “RakingHay” lies within Jones’ technique and composi-tion, full of linear motion and a restrained sense oforder in both man and nature.

$40,000 - 60,000

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3 7 • G E R A L D H A R V E Y(American/Texas, b. 1933)Doc’s RigOil on canvas, 1968. Signed lower right “G. Harvey Austin 1968.” Titled on stretcher reverse “Doc’s Rig.”



Gerald Harvey is known for his western genre and street scene paintings.

$12,000 - 18,000

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3 8 • F R A N K T E N N E Y J O H N S O N(American, 1874-1939)The PioneersOil on canvas laid on board, 1907. Signed lower left “Frank Tenney Johnson 1907.”

Canvas on board: 35.875"H x 23.75'W; Frame: 42.5"H x 30.75"W.

Provenance: Altermann Galleries & Auctioneers: October 23, 2004, Lot 70; From the Collection of Sam Wyly, Dallas, Texas.

While western artist Frank Tenney Johnson is chiefly knownfor his “moonlight technique” used in the majority of hispaintings, this stunning canvas is largely shaped by thelight of the campfire in the foreground. Johnson’s goldenhues ably demonstrate his mastery of color to illuminateand determine the figures and forms present in the com-position. As a deft counterplay, the horse and wagon behind the two pioneers are carved out in subtle moon-lit tones while the diagonal and vertical lines of the twomen and their guns ricochet the viewer’s gaze from thefire to their faces, back to the sunset and again to thepuddle mirrored at front.

During the time that this work was painted, Johnson wasliving in New York City after his time at the Art StudentsLeague and was also garnering acclaim for his illustrationsin several popular magazines. The artist would often taketrips out west for research and preliminary sketches andthen return back to his studio in New York to fully realizethe artwork.

$125,000 - 175,000

3 9 • R O L L A T A Y L O R(American, 1872-1970) House and WindmillOil on canvas. Signed lower right “Rolla Taylor.”



Rolla Taylor was a Texas artist known for town-landscape paintings, and was a personal friend to artist Julian Onderdonk.

$3,000 - 5,000

4 0 • F R E D D A R G E(American, 1900-1973) Rotary Drilling RigOil on canvas. Signed lower right “F. Darge.”


Provenance: Heritage Auctions: May 19,2007, Lot 36406; From the Collection of Sam Wyly, Dallas, Texas.

Fred Darge was a Texas artist known for western genre paintings. Circa 1930s.

$2,000 - 3,000

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4 1 • F R E D D A R G E(American, 1900-1979)Old Pedro the Goat HerderOil on linen. Signed lower right “F. Darge” and titled on stretcher verso “Old Pedro the Goat Herder.”

Linen: 36"H x 30"W; Frame: 41.375"H x 35.25"W.

Provenance: Heritage Auctions, Texas Art Auction, May, 19, 2007, Lot 36404; From the Collection of Sam Wyly, Dallas, Texas.

As one of the largest and most visually rich of Darge’spaintings, “Old Pedro the Goat Herder” juxtaposes thecentral titular figure against the West Texas landscapewith just a hint of cloudy sky above. The Texas artistlends credence to the gentle shepherd by dressing himin understated western attire and outfitting him onlywith a walking stick and simple satchel. He stands withhis docile herd scattered about him at his feet, looking in all directions. The differing compositional rhythms of the sky, hills, landscape, herd and foreground don’talter the cool demeanor of Old Pedro and his fixed, calmgaze beyond the frame. As it stands, there may be manypossible metaphors up for interpretation within thisstriking composition, but beyond all, a serene nature isconveyed in both man and animal and the landscape inwhich they share.

$20,000 - 30,000

46

4 2 • N O R M A N R O C K W E L L(American, 1894-1978)Portrait of Richard M. NixonOil on canvas, 1960. Signed lower right “Norman / Rockwell.”

Canvas: 20"H x 16"W; Frame: 27"H x 22.875"W.

Provenance: Bernard Danenberg Galleries, New York (label verso); From the Collection of Sam Wyly, Dallas, Texas.

Exhibited: “Norman Rockwell: A Sixty Year Retrospective,”Corcoran Gallery of Art, Washington D.C., May 26 - July 23,1972. McNay Art Institute, San Antonio, Texas, July 30 - August 31, 1972. M. H. De Young Museum, San Francisco,September 9 - November 5, 1972. (labels verso).

Literature: The Saturday Evening Post, November 5, 1960.(cover); Buechner, illus. 490, 571; Retrospective, p. 1332;Moffatt, C501, p. 229.

Published just three days before the 1960 Presidential election, this portrait commissioned by The Saturday Evening Post followed Rockwell’s companion painting of JFK issued a little more than a month before. Even as the sitting Vice-President under Eisenhower, Nixon lost his inaugural run for the highest office by only the slimmest ofmargins. With a deft touch, Rockwell renders the humanity of Nixon as interpreted through the features of the futurePresident’s set brown eyes and somewhat forced butfriendly smile. Seen now at a historical remove, it’s almost as if the subject was well aware of his complicated role inthe future of American politics.

$30,000 - 50,000

47

4 3 • N O R M A N R O C K W E L L(American, 1894-1978)Barbershop QuartetCharcoal and colored pencil on paper, 1936.Signed lower right “Norman Rockwell.” Inscribedlower center “N’oubliez jamais ‘Le Bon Dieu’” and lower right “Norman Rockwell / Mead Schaeffer / Fairfax Ayres.”

Paper: 34.75"H x 25.75"W; Frame: 40.75"H x 31.75"W.

Provenance: Study for the cover illustration of“The Saturday Evening Post,” September 26,1936; Collection of Jack Solomon, Jr. (owner of Arts International, Ltd. and Circle Gallery, Ltd., Chicago); Acquired by Private Collectorfrom above, 1974; Sotheby’s New York, May 5,2006, Lot 99; From the Collection of Sam Wyly,Dallas, Texas.

Literature: Thomas Buechner, Norman Rockwell: A Sixty Year Retrospective, New York, 1972, pg. 64.Laurie Norton Moffatt, Norman Rockwell: A Defin-itive Catalogue, Stockbridge, 1986, pgs. 134-135,C357a. (illustrated).

One completely expects the men pictured inthis work to eventually burst into full-blownfour-part harmony with their expertly-renderedcountenances under constant threat of song.The trio grouped at left have their heads almosttouching in places, mouths all incongruouslyagape and eyes pointed in three different direc-tions while the man under the barber’s smock at right unapologetically bears his gaze straightdown at the viewer. This wonderfully drawn studyfor one of Rockwell’s most beloved SaturdayEvening Post covers is compositionally balancedsomewhere between the detailed heads andshoes of the men and simple folds and the understated lines of their clothing. Each is artfullyarmed with an implement of the trade, splayedhands as musical gesture or the latest issue of“Police Gazette.” The well-designed composi-tional tension from the master draftsman is palpable and instantly transports to the expec-tations of the subject at hand. As evidenced byAmerican’s most celebrated illustrator in thismagnificent work and again, reminded by theartist’s inscription at bottom, “Never forget theGood God.”

$100,000 - 150,000

48

4 4 • R O D S A LT E R(American, b. 1962)Misty RiverAcrylic on board. Signed lower right “Rod Salter ©.”

Board: 18"H x 24"W; Frame: 25.5"H x 31.5"W.


$800 - 1,200

4 5 • N O L O T

49

4 6 • A N D Y W A R H O L(American, 1928-1987)Apple (from Ads)Color screenprint on Lenox Museum Board, 1985. TP 28/30, aside from an editionof 190. Numbered and signed in pencil lower right “TP 28/30 Andy Warhol.”

Sheet: 38"H x 38"W; Frame: 50.5"H x 50.5"W.


Literature: Feldman/Schellman, IIB.359.

Note: Each trial proof print is unique.

$25,000 - 35,000

50

4 7 • C H E N Y I M I N G(Chinese, b. 1951)NostalgiaOil on canvas, 1997. Signed lower right “Y. M. Chen.”


Provenance: From the Collection of Sam Wyly,Dallas, Texas.

Literature: Chen Yi Ming, Hammer Galleries exhibition catalogue, Hammer Publishing, 1997 (cover illustration, also illustrated p. 11).

Note: A signed copy of the Chen Yi Ming Hammer Galleries exhibition catalogue from1997 is included with this lot.

Chen Yi Ming is best known for his ethereal realism and illustrations of beautifully costumedwomen, often depicted playing instruments orset against the natural landscapes of China.

$25,000 - 35,000

51

4 8 • M A R C K L I O N S K Y(Russian, b. 1927)KhrushchevOil on canvas, 2000. Signed lower left “Marc Klionsky 2000.”



$2,000 - 4,000

4 9 • S T E F A A N E Y C K M A N S(Belgian, b. 1964)Fire ChiefOil on board, 2002. Signed lower left “SAHJ Eyckmans 2002.” Inscribed on label verso “Fire Chief Stefaan AHJ Eyckmans AD 2002.”

Board: 31.5"H x 23.625"W; Frame: 39"H x 31"W.

Provenance: Elliot Yeary Gallery, Aspen, Colorado; From the Collection of Sam Wyly, Dallas, Texas.

$1,000 - 1,500

52

5 1 • G E R A R D O P I T A(Spanish, b. 1950)LeonGraphite and gouache on masonite, 1996. Signed lower right “Gerardo Pita - 1996.”

Site: 23.5"H x 19.25"W; Frame: 26.5"H x 30.75"W.


$1,000 - 1,500

5 0 • G E R A R D O P I T A(Spanish, b. 1950)CatPastel and wash on paper, 1996. Signed lower right “Gerardo Pita - 1996.”

Site: 23.5"H x 30"W; Frame: 34.25"H x 40.75"W.


$1,000 - 1,500

53

5 2 • L O R A N S P E C K(American, b. 1943)Tomatoes on VineOil on board. Signed lower right “L Speck.”


Provenance: Morris and Whiteside Galleries, Hilton Head, South Carolina; From the Collection of Sam Wyly, Dallas, Texas.

$2,000 - 3,000

5 3 • L O R A N S P E C K(American, b. 1943)Red and Green PeppersOil on board. Signed lower left “L Speck.”


Provenance: Morris and Whiteside Galleries, Hilton Head, South Carolina; From the Collection of Sam Wyly, Dallas, Texas.

$2,000 - 3,000

5 4 • E Z R A T U C K E R(American, b. 1955)FoxAcrylic on board. Signed lower right “© Tucker.”Signed on paper backing “Tucker.”

Board: 30"H x 20"H; Frame: 36.75"H x 26.75"W.

Provenance: Elliot Yeary Gallery, Aspen, Colorado;From the Collection of Sam Wyly, Dallas, Texas.

$2,000 - 3,000

A M E R I C A N , C A L I F O R N I AA N D W E S T E R N A R T

L O T S 5 5 - 7 5

56

5 5 • G E O R G E H . G A Y(American, 1858-1931)Untitled (Tree in Field)Oil on canvas, 1885. Signed lower left “Geo. H. Gay 1885.”


$5,000 - 7,000

57

5 6 • W I L L I A M L O U I S S O N N T A G(American, 1822-1900) River ViewOil on canvas, 1862. Signed lower right “W.L. Sonntag 1862" and inscribed on label verso “William Munroe received June 1909.”


Provenance: Acquired directly from artist by William Munroe (American, 1806-1877); Donated to Concord Free Public Library (founded by William Munroe) 1909; Sotheby’s New York: May 24, 1990, Lot 18; Guarisco Gallery, Washington, DC; From the Collection of Mr. Ken Davis, Fort Worth, Texas.

As was one of the central figures of the Hudson River School, Sonntag was best known for his romanticized landscapes andgrandeur vistas. Highly influenced by the work of Thomas Cole, he sought to depict the idyllic scenes of the Northeast with itsserene mountain ranges and quiet rivers. This piece, titled “River View,” touches on all the defining characteristics of Sonntag’sstyle with its tranquil scene of a fisherman at sunset, hardly noticeable nestled amongst the vast mountains and quiet river,alive with the reflection of fall colors.

$25,000 - 35,000

58

5 7 • C H A R L E S E D W I N G R E E N(American, 1844-1915)Untitled (Beached Boat)Oil on board. Signed lower right “C. E. L. Green.”


$2,000 - 3,000

59

5 8 • E . L . B L U M E N S C H E I N(American, 1874-1960)Love of LifeOil on canvas, 1905. Initialed bottom right “BL.”

Canvas: 31.75"H x 20.325"W; Framed: 37"H x 25.75"W.

Literature: Jack London, Illustration from “Love of Life,” first publishedby McClure’s Magazine, Vol. 26, Dec., 1905, pp. 144-158 (illustrated,p. 150, one of four color plates – this being number three – basedon original oils by Blumenschein). Caption below said illustrationreads: “His mirth was hoarse and ghastly, like a raven’s croak, andthe sick wolf joined him. Howling lugubriously.”

Note: Original published pamphlet comprised of pp. 144-158 + 4color plates by E.L. Blumenschein illustrations, disbound and removed from original volume included with this lot.

$12,000 - 18,000

60

5 9 • J O S E P H H E N R Y S H A R P(American, 1859-1953)Untitled (Spring Flowers)Oil on board. Signed lower right “JH Sharp.”


$12,000 - 18,000

61

6 0 • L I L L I A N G E N T H(American, 1876-1953)Nude in WoodsOil on canvas. Signed lower left“L. Genth.”

Canvas: 51.25"H x 39.25"W;Frame: 58.25"H x 50.5"W.

$3,000 - 5,000

62

6 1 • H U G H I E L E E - S M I T H(American, 1915-1999) Untitled (Warehouse)Oil on canvas. Signed lower left “Lee-Smith.”

Canvas: 30.25"H x 42"W; Frame: 35.375"W x 47"W.

Provenance: Private Collection, Dallas, Texas.

Hughie Lee-Smith was an African American artist who rose to fame in the1960s with his desolate landscapes and surreal urban scenes.

$25,000 - 35,000

63

6 2 • H E I N I E H A R T W I G(American, b. 1937)Yosemite VistaOil on board. Signed lower left “Heinie Hartwig.” Titled on verso “Yosemite Vista.”

Board: 24"H x 20"W; Frame: 31"H x 27"W.

$1,500 - 2,000

6 3 • R O S E S C H N E I D E R(American, 1895-1976)El CapitanOil on board. Signed lower right “Rose Schneider.” Signed and titled on verso “El Capitan / by Rose Schneider.”


Provenance: The Redfern Gallery, Laguna Beach, CA (label verso); Private collection, Dallas.

$1,000 - 2,000

64

6 4 • M A U R I C E B R A U N(American, 1877-1941)Along the DocksOil on canvas. Signed lower left “Maurice Braun.”


Provenance: Vallejo Gallery, Newport Beach, CA; Private collection, Dallas.

$10,000 - 15,000

65

6 5 • E D G A R PA Y N E(American, 1883-1947)Ligurian BoatsOil on canvas, 1923. Signed and dated lower right “Edgar Payne / 1923.” Signed and titled on verso “Edgar Payne / Ligurian Boats.”

Canvas: 20"H x 24"W; Frame: 28.5" x 32.5"W.

Provenance: Vallejo Gallery, Newport Beach, CA (label verso); Private collection, Dallas.

$15,000 - 20,000

66

6 6 • M I C H A E L S T A C K(American, b. 1947)Sun and Rain in Gardner CanyonOil on canvas, 2003. Signed lower left “Michael Stack.” Titled and dated on verso “Sun and Rain in Gardner Canyon © 2003.”

Canvas: 18"H x 20"W; Frame: 24"H x 26"W.

Provenance: Altermann Galleries, Santa Fe, New Mexico.

$2,000 - 3,000

6 7 • M I C H A E L S T A C K(American, b. 1947)Autumn on the Rio GrandeOil on canvas, 2003. Signed lower left Michael Stack.” Titled and dated on verso “Autumn on the Rio Grande © 2003.”


Provenance: Altermann Galleries, Santa Fe, New Mexico.

$2,000 - 3,000

67

6 8 • A L E X A N D E R P O P O F F(Russian, 1959-2011)Moonlight EveningOil on canvas, 2006. Signed lowerright “A Попов.” Signed, titled,and dated in Russian on verso.

Canvas: 19.625"H x 27.5"W;Frame: 26"H x 34"W.

$1,500 - 2,000

6 9 • S U S A N T E R P N I N G ( H U N T I N G T O N )(American, b. 1953)Sending Out a ScoutOil on board, 1978. Signed and dated lower left “© / Susan Terpning Huntington / 1978.” Titled, copyrighted, and signed on verso.

Board: 16"H x 20"W; Frame: 23"H x 27"W.

$4,000 - 6,000

68

7 0 • M A R T I N G R E L L E(American/Texas, b. 1954)Gifts for the Little PeopleOil on linen. Signed and dated lower right “Martin Grelle © 2011" and initialed “CA” for Cowboy Artists of America. Inscribed onstretcher “Martin Grelle 2011.”


Provenance: National Cowboy & Western Heritage Prix de West, June 11, 2011, Lot 127.

Martin Grelle is a noted painter of western genre scenes and cowboys. He is a member of the Cowboy Artists of American and the2002 and 2005 recipient of the Prix de West Award from the National Cowboy and Western Heritage Center in Oklahoma City. Thispiece alludes to the old Woodland Indian legend of nature spirits, which were often described as child-like beings, or “Little People.”Their reputation differed from tribe to tribe as some interpreted them as genial spirits while others feared their powers. According to folklore, gifts were offered up to the Little People in order to bring the tribes good fortune.

$100,000 - 150,000

70

7 2 • T I M S H I N A B A R G E R(American b. 1966)Full CurlBronze sculpture of a ram’s bust on a green marble plinth atop a wood base, 2002. Signed, dated, and editioned “Shinabarger 02 2/36 ©.”

16.5"H x 10.5"W x 11"D.

Note: This is a sold out piece in artist’s inventory.

$700 - 900

7 1 • T I M S H I N A B A R G E R(American b. 1966)Gentleman of the SageBronze sculpture of a buck atop agreen marble support and woodbase. Signed and editioned “©Shinabarger 29/40.”

18.75"H x 10"W 12"D.

Note: This is a sold out piece inartist’s inventory.

$700 - 900

7 3 • T I M S H I N A B A R G E R(American b. 1966)Seeking Passion and GloryBronze sculpture of a striding ram, 2000. Signed and editioned “9/35 Shinabarger ©.”

24.5"H x 24.5"W x 11"D.

Note: This is a sold out piece in artist’s inventory.

$4,000 - 6,000

7 4 • T I M S H I N A B A R G E R(American, b. 1966)Black Timber BuglerBronze sculpture of a callingbuck, 1998. Signed, titled, dated,and editioned “Black Timber Bu-gler / 98 © Shinabarger 10/30.”

27"H x 27"W x 14"D.

Note: This is a sold out piece inartist’s inventory.

$5,000 - 7,000

71

7 5 • D E N N I S P. A N D E R S O N(American, b. 1940)TitanBronze sculpture of a water buffalo atop conforminggreen marble support and wood base, 1991. Signed,editioned, and dated “1/19 © Anderson ’91.”

16.5"H x 28"W x 21"D.

$6,000 - 8,000

M O D E R N A N D C O N T E M P O R A R Y A R T

L O T S 7 1 - 1 3 2

74

7 6 • PA B L O P I C A S S O(Spanish, 1881-1973)Agamemnon and Briseis (from Séries 347)Etching on wove paper, 1968. Signed in pencillower right “Picasso" and numbered in pencillower left “13/50.”

Plate: 11"H x 15"W; Sheet: 17.875"H x 21"W.

Literature: Bloch, 1534.

Note: Published by Galerie Louise Leiris, Paris.

$4,000 - 6,000

7 7 • PA B L O P I C A S S O(Spanish, 1881-1973)Char Romain Monté par un Athlète Féminin, avec Amour et Vieillards (from Séries 347)Etching on wove paper, 1968. Signed lower right“Picasso" and editioned lower left “14/50.”

Plate: 11"H x 15"W; Sheet: 17.75"H x 21"W.

Literature: Bloch, 1535. Baer, 1550 B.b.1.


$4,000 - 6,000

75

7 8 • PA B L O P I C A S S O(Spanish, 1881-1973)Femmes prenant le Soleil à la Piscine (from Séries 347)Etching on wove paper, 1968. Signed in pencil lower right“Picasso” and numbered in pencil lower left “46/50.”

Plate: 11"H x 15.25"W; Sheet: 17.75"H x 23.375"W.

Literature: Bloch, 1770.


$3,000 - 5,000

76

7 9 • PA B L O P I C A S S O(Spanish, 1881-1973)Sculpteur et trois danseuses sculptées (plate 81 from The Vollard Suite)Etching on laid paper with “Vollard” watermark, 1934. Signed in pencil lower right “Picasso.” From the total edition of 310.

Plate: 8.75"H x 12.125"W; Frame: 27.375"H x 31"W.

Literature: Bloch, 217. Geiser, 421 Bd.

Note: Published by A. Vollard, Paris.

$7,000 - 10,000

77

8 0 • ( 4 ) A F T E R PA B L O P I C A S S O(Spanish 1881-1973)Four works from The Barcelona SuiteColor offset lithographs, 1966.

(1) Harlequin signed lower right “Picasso”and editioned lower left “17/60.”

Plate: 22.75"H x 17.5"W

(2) Maternité signed lower right “Picasso”and editioned lower left “21/60.”

Plate: 18.125"H x 16.25"W

(3) L’Attente signed lower right “Picasso”and editioned lower left “31/60.”

Plate: 22.625"H x 18"W

(4) La Danseuse Naine signed lower right“Picasso” and editioned lower left “50/60.”

Plate: 22.625"H x 12.625"W

All sheets with full margins: 29.75"H x 21.75"W.

Literature: Czwiklitzer, 230; 231; 233; 234(respectively)

Note: Published by Museo Picasso, Barcelona.

$10,000 - 15,000

78

8 1 • J O A N M I R Ó(Spanish, 1893-1983)Osaka ExhibitionColor lithograph, 1970. Stamped lower right “M” and editioned lower left “235/500” with Sala Gaspar water mark lower right.

Sheet: 29.875"H x 22.25"W.

Literature: Mourlot, 680.

Note: Published by Sala Gaspar, Barcelona.

$400 - 600

8 2 • J O A N M I R Ó(Spanish, 1893-1983)Tapis de TarragonaColor lithograph, 1970. Stamped lower right “M” with Sala Gaspar watermark upper left.

Sheet: 29.75"H x 22.875"W.



$400 - 600

8 3 • J O A N M I R Ó(Spanish, 1893-1983)Maravillas con Variaciones Acrosticas en El Jardin (plate 9)Color lithograph, 1975. Plate signed lowerright “Miró” from an edition of 1,500.

Sheet: 19.75"H x 28.25"W.


Note: Published by Poligrafa, Barcelona.

$600 - 800

79

8 4 • J O A N M I R Ó(Spanish, 1893-1983)Sala PelairesColor lithograph, 1970. Initialed and datedlower right “M 5/V/73" and inscribed lowerleft “H.C.” with Sala Gaspar watermark inupper left corner.

Sheet: 29.75"H x 21.875"W.



$1,000 - 2,000

8 5 • J O A N M I R Ó(Spanish, 1893-1983)Homenatge a Joan PratsColor lithograph, 1972. Signed lower right “Miró” and inscribed lower left “H.C.”

Sheet: 29.625"H x 22.875"W.


$1,000 - 2,000

80

8 6 • J O A N M I R Ó(Spanish, 1893-1983)Le DandyColor etching and aquatint with carborundum on Mandeure ragpaper, 1969. Signed in pencil lowerright “Miró” and editioned in pencillower left “HC” (aside from an edition of 75).

Plate: 16.25"H x 17"W; Sheet: 29.25"H x 23.25"W.

Literature: Dupin, 492.

Note: Published by Maeght éditeur, Paris.

$7,000 - 10,000

81

8 7 • A L E X A N D E R C A L D E R(American, 1898-1976)Cercles Noir, Bleu, RougeColor lithograph on Arches paper, 1973.Signed in pencil lower right “Calder” and numbered lower left “65/75.”

Sheet: 25.75"H x 19.875"W.

Literature: Maeght 1989, pg.47.

$700 - 900

8 8 • A L E X A N D E R C A L D E R(American, 1898-1976)Zebra Jaune et Zebra NoirColor lithograph, 1976. Signed lower right“Calder” and editioned lower left “20/75.”

Sheet: 30.5"H x 22.75"W; Frame: 32.25"H x 24.25"W.

$1,000 - 1,500

82

8 9 • A L E X A N D E R C A L D E R(American/New York, 1898-1976)Great Yellow SunGouache and ink on paper, 1973. Signed and dated lower right “73 / Calder.”

Paper: 29.375"H x 43.125"W; Frame: 41.5"H x 55.25"W.

Provenance: Perls Galleries, New York; Private Collection, Geneva (acquired in 1974); Spanierman Gallery, New York (label verso); Private Collection, New York (purchased from the abovein 2006).

Note: This work is registered at the Calder Foundation, New York under application no. A06806. Additionally, the original receipt of sale from Spanierman Gallery is included with this lot.

With his use of bold lines, vibrant shapes and primary colors, Calder carves out a space between abstraction and design like no other American artist. Credited with creating the modernmobile, the sculptural stabile and reinventing toys and jewelry in an art context, the prolific Calder wonderfully distills his sense of composition and form as presented here in this magnif-icent large-scale work on paper from 1973. The thick contours of the mountain forms are dwarfed by the wide reach of sunrays and a sky filled by horizontal black-and-white bands.Placed in the foreground at left is the only volumetric shape in the composition, a lightly colored grounded sphere whose lines playfully echo both the pyramids and the sky above.

$70,000 - 90,000

83

9 0 • C L A E S O L D E N B U R G(American, b. 1929)Strawberry Skull Bike SeatAquatint in colors on wove paper collé, 1975.Signed lower right “Oldenburg” and editionedlower left “32/35.” Embossed copyright lowercenter and embossed printing stamp lowerright “Crown Point Press / John Slivon.”

Plate: 8"H x 8"W; Paper: 24.375"H x 18.5"W; Frame: 26.25"H x 20.25"W.

Provenance: Castelli Graphics, New York, NewYork (label verso).

Literature: Axsom & Platzker, 128.

$500 - 700

9 1 • R I C H A R D A R T S C H W A G E R (American, 1923-2013)(2) Etchings on paper, 1977.(1) Interior I signed, dated, and

numbered lower left of plate “Artschwager ‘77 29/45.”

Plate: 8.875"H x 9.75"W; Sheet: 23.25"H x 21"W; Frame: 25.5"H x 23.125"W.

(2) Interior III signed, dated, and numbered lower left of plate “Artschwager '77 29/35.”

Plate: 11.875"H x 9.875"W; Sheet: 24"H x 18.5"W; Frame: 26.25"H x 20.625"W.

Provenance: Castelli Graphics, NewYork, New York.

$600 - 800

84

9 2 • R O B E R T I N D I A N A(American/New York, b. 1928)Liebe LoveWool tapestry, 2005. Printed signature, title, edition, and date on label verso “R. Indiana / Liebe Love / 288/999 / 2005.”

Tapestry: 24.25"H x 24.25"W; Frame: 25.625"H x 25.625"W.

Note: Published by Galerie-F°, Kranenburg, Germany.

$800 - 1,200

9 3 • R O B E R T I N D I A N A(American/New York, b. 1928)Classic LoveWool tapestry, 2007. Printed signature, title, edition, and date on label verso “R. Indiana / Classic Love /821/10,000 / 2007.”

Tapestry: 30.875"H x 30.875"W; Frame: 32.375"H x 32.375"W.

Note: Published by Galerie-F°, Kranenburg, Germany.

$1,000 - 1,500

85

9 4 • R O B E R T I N D I A N A(American/New York, b. 1928)The Hartley Elegies: Berlin Series, Karl von Freyburg IIColor screenprint on Saunders Watercolorpaper, 1990. Titled, numbered, signed, anddated in pencil at bottom “KvF II / AP 4/12 /R Indiana 90” (aside from an edition of 50).

Sheet: 77"H x 53"W; Acrylic display box: 83"H x 59"W.

Literature: Sheehan, 146.

Note: Published by Park Granada Editions,Tarzana, California.

$3,000 - 5,000

86

9 5 • R O B E R T I N D I A N A(American/New York, b. 1928)From the Set of Red Eye of Love (Beef)Oil on canvas mounted on panel, 1998. Signed with artist's stamp and number on verso “INDIANA VINALHAVEN 8.”

Canvas: 72"H x 72"W.

Provenance: Gift of the artist; Christie’s New York: September 23, 2003, Lot 136; Private Collection, New York, NY.

Literature: To be included in the forthcoming catalogue raisonné being prepared by Simon Salama-Caro.

This work was part of a series of eight paintings by Indiana created for a revival of Arnold Weinstein’s play “Red Eye of Love.” The artistwas commissioned by John Wulp, the producer of the play and a friend of Indiana’s. The plot of the play follows the story of a youngidealist who dreams of creating an eight-story department store completely devoted to meat. The paintings in the series include:MEAT (2), BEEF, CHOP, LAMB, PORK, RIBS and VEAL. Eventually, the eight paintings were donated to the Watermans Community Centerto benefit their capital campaign.

$100,000 - 150,000

88

9 6 • A N D Y W A R H O L(American, 1928-1987)SkullScreenprint on Strathmore Bristol paper, 1976. Signed and numbered lower left “Andy Warhol / 12/50.”

Sheet: 30"H x 40"W; Frame: 33.875"H x 43"W.

Literature: Feldman/Schellmann, 11.157.

$20,000 - 30,000

89

9 8 • A N D Y W A R H O L(American, 1928-1987)SkullScreenprint on Strathmore Bristol paper, 1976.Signed lower right “Andy Warhol” and numberedlower left “12/50.”



$20,000 - 30,000

9 7 • A N D Y W A R H O L(American, 1928-1987)SkullScreenprint on Strathmore Bristol paper, 1976.Signed and numbered lower center “12/50 Andy Warhol.”



$20,000 - 30,000

90

9 9 • L O U I S E L A W L E R(American, b. 1947)Red, Yellow and BlackCibachrome print mounted to plexiglass on museum box, 2008. Signed, dated and numbered on verso “Louise A Lawler / 2008 / 1/5.”

12"H x 29.5"W.

Provenance: Metro Pictures, New York (label verso); Paul Kasmin Gallery (label verso); Private collection (acquired from the above); Sotheby’s New York: November 10, 2001, Lot 00526.; Private collection, New York.

Note: This work is Lawler’s re-photographing of a portion of Andy Warhol’s 1986 “Detail of the Last Supper (Christ 112 Times)” with red chains from another artist’s work hanging in the foreground.

$12,000 - 18,000

91

1 0 0 • L O U I S E L A W L E R(American, b. 1947)Something About Time and Space But I'm Not Sure What It Is (More) Orange PekooCibachrome mounted on aluminum museum box, 1998. Signed, dated and numbered on verso “Louise A. Lawler / 1998 / 1/5.”

Photo: 18.75"H x 23.5"W.

Provenance: Metro Pictures, New York (label verso); Phillips: New York, May 13, 2011, Lot 00242; Private collection, New York.

Note: This work is a photographic detail of a room-sized Andy Warhol installation of helium-filled Mylar balloons entitled “Silver Clouds.” It was first installed at the Leo Castelli Gallery in 1966 and has been restaged several times since.

$15,000 - 20,000

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1 0 1 • D E N N I S H O P P E R(American, 1936-2010)Untitled (Barn Shadow)Gelatin silver print, 1953. Dated, numbered, and signed on bottom verso“1953 / 5/15 / Dennis Hopper.”

Print: 19.875"H x 19.875"W; Frame: 27.625"H x 27.125"W.”

Provenance: Ace Gallery, Los Angeles (label verso); Phillips New York: June 24,2010, lot 00132; Private collection, New York.

$4,000 - 6,000

1 0 2 • D E N N I S H O P P E R(American, 1936-2010)Daily News (Harlem)Gelatin silver print, 1962. Dated, numbered, and signed on the verso bottom “1962 / 11/15 / Dennis Hopper.”

Photo: 16"H x 24"W; Frame: 23.5"H x 31.125"W.

Provenance: Ace Gallery, Los Angeles (label verso); Phillips, June 24, 2010, lot 134; Private collection, New York.

Literature: Tony Shafrazi, ed. Dennis HopperPhotographs 1961 - 1967, Cologne, 2009 (another example illustrated).

$4,000 - 6,000

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1 0 3 • H I R O S H I S U G I M O T O(Japanese, b. 1948)Winnetka Drive-InParamount gelatin silver print, 1993. Ed. 16/25. Titled and editioned with blindstamp in margin. Mounted, signed, and titled in pencil on mount.

Photo: 16.675"H x 21.5"W.

Provenance: Sonnabend Gallery, New York (label verso); Private Collection, Dallas (acquired from the above).

$15,000 - 20,000

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1 0 4 • H A R R Y B E R T O I A(American, 1915-1978). LandscapeBrazed metal. Circa 1950.

5"H x 8"W x 7.5"D.

Provenance: William R. Valentiner, New York;Gift from the above to the second owner;Christie’s New York: March 7, 2012, Lot00151; Private collection, New York.

Exhibited: Raleigh, North Carolina Museumof Art “Masterpieces of Art: In Memory ofWilliam R. Valentiner,” April-May 1959, no.208 (illustrated; sticker on reverse of base);The White House, Washington D.C. “TheWhite House Festival of the Arts,” June1965, no. 2.

$8,000 - 12,000

1 0 5 • H A R R Y B E R T O I A(American, 1915-1978)Early BushWelded patinated bronze and copper on astone base, 1960.

9.875"H x 9.75"W x 9.75"D.

Provenance: Acquired directly from the artist;Phillips New York: December 15, 2010, Lot00057; Private collection, New York.

Literature: Nancy N. Schiffer and Val O. BertoiaThe World of Bertoia, Atglen, PA, 2003, pp. 106-15 for examples of the welded plants series.

$18,000 - 24,000

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1 0 6 • H A R R Y B E R T O I A(American, 1915-1978)Fountain MaquetteLayered twisted bronze, 1967.

12.125"H x 17"W x 12"D.

Provenance: Acquired directly from the artist, 1981; Leon Prince; Thence by descent; Sotheby’s New York: December 18, 2008, Lot 00192; Private collection, New York.

Literature: Nancy N. Schiffer and Val O. Bertoia The World of Bertoia, Atglen, PA, 2003, pp. 97-105 (for maquettesand photographs of the fully realized sculpture); “In Nature’s Embrace: The World of Harry Bertoia” (exhibitioncatalog), Philadelphia, 2006, p. 15 (for the realized fountain at the Philadelphia Civic Center).

$20,000 - 30,000

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1 0 7 • H A R R Y B E R T O I A(American, 1915-1978). Sound Sculpture, Circa - 1974Beryllium, copper and brass.

68"H with a 15.75" square base.

Provenance: Staempfli Gallery, Philadelphia, PA, 1974; Sotheby’s New York: December 18, 2008, Lot 00193; Private collection, New York.

Literature: Nancy N. Schiffer and Val O. Bertoia “The World of Bertoia", Atglen, PA, 2003, p. 215 (for a similar example).

Note: Twenty-one rods are set diagonally across the base, each topped with an eight-inch long element.

$70,000 - 90,000

With this wonderful grouping of four sculptures by Harry Bertoia, one can easily grasp the formal and technical proficiencies that informed the diverse paths of the celebrated artist, sculptor and designer. Created over a span of two decades of Bertoia’s varied and prolific career, these works range from an early planar landscape with sprouting vegetal forms in brazed metals to a human-scale “Sonambient” sound sculpture whose rods are set diagonally across the base. Additionally, an early example of the artist’s bushsculptures set on a stone cube base and a 1967 maquette for a fountain for the Philadelphia Civic Center (not realized) round out the lots offered here. As they straddle the line between art and design, their tactile sensibilities inform and excite the eye while always referring back to their creation by the artist’s hand.

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1 0 8 • A N T O N I T A P I E S(Spanish, 1923-2012)Ohne TitelColor lithograph, 1971. Signed lower right “Tapies” and numbered lower left “85/150.”

Sheet: 17"H x 24.25"W.

$400 - 600

1 0 9 • A N T O N I T A P I E S(Spanish, 1923-2012)Llambrec MaterialLithograph, 1975. Signed lowerright “Tapies" and numberedlower left “64/75" with watermarkupper right “GUARRO.”

Sheet: 30"H x 21.5"W.

$400 - 600

99

1 1 0 • E D U A R D O C H I L L I D A(Spanish, 1924-2002)Barcelona IColor lithograph on Guarro paper, 1971. Signedin pencil lower right “Chillida” and numbered inpencil lower left “12/75.”

Sheet: 28.125"H x 19.625"W.

Literature: Koelen, 71018.


$1,000 - 2,000

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1 1 1 • J E S Ú S R A F A E L S O T O(Venezuelan, 1923-2005)Escritura (from the Sintesis Series)Screenprint on Plexiglas with metal rods, 1978. Signed, titled, and numbered on label verso “Soto / Escritura / 31/110.”

11.75"H x 27.375"W x 5.5"D.

Note: Published by Editions Denise Rene, Paris.

$7,000 - 9,000

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1 1 2 • J E S Ú S R A F A E L S O T O(Venezuelan, 1923-2005)Tes Azules y Negras (from the Sintesis Series)Screenprint on Plexiglass with metal rods, 1979. Signed, titled, and numbered on label verso “Soto / Tes Azules y Negras / 34/110.”

19.625"H x 19.625"W x 5.5"D.

Note: Published by Editions Denise Rene, Paris.

$7,000 - 9,000

102

1 1 3 • H . R . G I G E R(Swiss, 1940-2014)Bambi AlienSilvered bronze, 2009. Initialed and editioned along back leg “HRG 22/500.”

10.25"H x 6.25"W x 3.25"D.

$1,000 - 1,500

103

1 1 4 • C A R O L E A . F E U E R M A N(American, b. 1945)Innertube IIOil painted resin, 1984. Incised “CJF © 83” onright rear of tube and signed “Carole JeanFeuerman © 1984 1/8” on left rear of tube.

17"H x 32"W x 13"D.

Provenance: Private Collection, Dallas.

Literature: Carole Feuerman, et al. Carole Feuerman: Sculpture New York: Hudson Hills Press, 1999. pp. 58-61 (illustrated)

$7,000 - 10,000

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1 1 5 • L U I L I U(Chinese, b. 1957)NarcissusBronze and metal, 1999.

Stamped, signed, numbered, and dated “ARTCAST / Lui Liu / 1/8 / '99.”

61"H x 15"W x 15"D.

Note: This was a commissioned sculpture and the remainder of theedition was never realized; therefore,this sculpture is a unique work.

$10,000 - 15,000

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1 1 6 • L U I L I U(Chinese, b. 1957)Flying AngelsBronze and metal, 1999. Signed, numbered,and stamped, “Lui Liu / 1/12 / ARTCAST.”

61"H x 33"W x 16"D.

Note: This was a commissioned sculptureand the remainder of the edition was never realized; therefore, this sculpture is a unique work.

$10,000 - 15,000

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1 1 7 • J O H N C H A M B E R L A I N(American, 1927-2011)Fistfull of FunnPainted and chromed steel, 2000.

14.25"H x 19.5"W x 11.5"D.

Provenance: Purchased directly from the artist in 2000; Sotheby’s, New York, November 12, 2008, Lot 213; Private collection, New York.

Note: Deed of Conveyance signed and issued by the artist comes with this lot.

Beginning in the late 1950s, Chamberlain started working with crushed automobile parts that he welded togetherto form stand-alone sculptures. Due to the readymade qualities of dealing with the prescribed size and form of theraw materials, the majority of the early work – and well into the 1980s – roughly assumes a human scale. Always experimenting throughout his career, Chamberlain utilized foam, aluminum, Plexiglass and film as his medium ofchoice. However, the simplicity of both material and form is also refined by means of method-making over the spanof his career. With his later tabletop-sized works like “Fistfull of Funn,” Chamberlain echoes the found qualities of hisearly automotive sculptures with a simplified system of linear steel elements marked in an alternating palette ofshiny chrome and controlled colors, resulting in a dynamic, yet closed knot of contained energy.

$200,000 - 300,000

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1 1 8 • T E R E N C E L A N O U E(American, b. 1941)Prosperous VoyageEtching, aquatint, mezzotint, lithograph and collage, 1991. Signed and dated in pencil lower right “Terence La Noue 1991” and numbered in pencil lower left “24/25.”

Sheet: 39.75"H x 79.125"H; Frame: 43"H x 84.5"W.

$5,000 - 7,000

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1 1 9 • D A N N A M I N G H A(Native American, b. 1950)Kachina Symbolism IIBronze with green and brown patina,1994. Incised with the artist’s signatureand edition number on the base “DanNamingha 5/12.”

20"H x 13.75"W x 4.35"D.

Note: Thanks to Nicole of the Niman Fine Art for her assistance in researchingthis work. It is listed under inventorynumber: B-5 in Mr. Namingha’s records.

$3,000 - 5,000

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1 2 0 • W I L L I A M W O O D(American, b. 1960)(3) White/Grey TriptychOil on board, 1996. Signed and dated twice on verso “William Wood 1996.”

Wood: 24"H x 18"W; Frames: 26.125"H x 20.125"W.

$2,500 - 3,500

1 2 1 • C A M E R O N M A R T I N (American, b. 1970)UntitledAcrylic on canvas, 1999. Titled, dated, and signed on verso “Untitled / 1999 / Cameron Martin / CM073.”

Canvas: 34.25"H x 42"W.

$6,000 - 8,000

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1 2 2 • J O H N Z I N S S E R (American, b. 1961)One Hundred Famous Views of Edo (3)Enamel and oil on paper, 2005.

Sheets: 16.25"H x 12.25"W; Frames: 20"H x 16.125"W.

(1) Furukawa River, Hiroo.Signed, titled, and dated on verso.

Image size: 6.375"H x 6.375"W.

(2) Nihonbashi, Clearing After.Signed, titled, and dated on verso

Image size: 10.875"H x 10.875"W.

(3) Fudo Falls.Signed, titled, and dated on verso.

Image size: 10.875"H x 10.875"W.

$1,500 - 2,500

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1 2 3 • P E T E R D O I G(Scottish, b. 1959)Untitled (from Portfolio)Cibachrome print mounted on board, 2000. Signed, titled, numberedand dated on verso “Peter Doig / 2/12 / 2000.”

Print: 26.5"H x 40"W; Frame: 27.125"H x 40.675"W.

Provenance: Thomas Dane Limited, London (label verso); Sotheby’sNew York, March 9, 2011, Lot 163 (one of two photos in the lot); Private collection, New York.

$1,500 - 2,500

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1 2 4 • J A Y D A V I S(American, b. 1975)Why Don’t You Take Me SeriouslyAcrylic on vinyl, 2005. Titled anddated on canvas overlap verso “WhyDon’t You Take Me Seriously 2005.”

Vinyl: 84"H x 68"W.

Provenance: Mary Boone Gallery, New York (label verso).

$4,000 - 6,000

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1 2 5 • D A N K O P P(American/New York, b. 1974)The Holy MountainAcrylic on canvas over panel. Circa 2000. Signed and titled on verso “Dan Kopp / The Holy Mountain.”


$3,000 - 5,000

1 2 6 • D A N K O P P(American/New York, b. 1974)The Super ComputerAcrylic on canvas. Signed and titled on stretcher verso “Dan Kopp The SuperComputer.”


$3,000 - 5,000

115

1 2 7 • D A M I E N H I R S T(British, b. 1965)Spin Painting on Libertine JacketBeige trench coat, 2005, by Johnson Hartig & Cindy Greene for Libertine with spin painting on reverse. Signed anddated below painting “Damien Hirst 9/9/05.”

Painting: 12.75"H x 12.5"W; Coat: 41.5"L; Sleeves: 26"L.

Note: This jacket was one of two trenches painted byDamien Hirst for the “Spring 2006 Ready-to-Wear” Libertinerunway show (the other being a women's jacket). Modeledby Matt Gontier.

$18,000 - 24,000

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1 2 8 • R O L F B E H M(German, b. 1952)GaveaOil on canvas, 2007. Initialed,titled and dated on verso “R. B. / Gavea / 07.”


$3,000 - 5,000

1 2 9 • J O H N B A L D E S S A R I(American, b. 1931)Raised Eyebrows/Furrowed Foreheads: Two Foreheads (One Green)

Offset lithograph and serigraph, 2009. Numbered, signed and dated at bottom “A.P.10/10 / Baldessari / 09” (aside from an edition of 30).

Image: 25.5"H x 23.625"W; Sheet: 30.675"H x 27.5"W; Frame: 32.5"H x 29.25"W.$3,000 - 5,000

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1 3 0 • C A E T A N O D E A L M E I D A(Brazilian, b. 1964)Quadrado BlancoPollution on canvas, 2007. Titled, initialed and dated on verso “Quadrado Blanco / CA / 2007.”


Provenance: 2 x 2 for Aids and Art Auction, 2009; Private collection, Dallas.

$1,000 - 1,500

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1 3 1 • C A L L U M I N N E S(Scottish, b. 1962)Exposed Painting Dioxiane VioletOil on linen, 2012. Signed and dated on overlap and stretcher.

Canvas: 94.5"H x 91.375"W.

Provenance: Sean Kelly Gallery, New York (label verso); Private collection.

$25,000 - 35,000

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1 3 2 • M E L B O C H N E R(American, b. 1940)Going Out of BusinessMonoprint with engraving with embossment and collage on hand-dyed Twinrocker handmade paper, 2012. Signed and dated lower left: “Bochner, 2012.”

Work: 93.25"H x 71"W; Frame: 98.75"H x 75.75"W.

Provenance: Two Palms, New York, New York; Private collection, Los Angeles,California (purchased from the above atMiami Basel, 2012).

$75,000 - 100,000

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GUIDE FOR PROSPECTIVE BUYERSDallas Auction Gallery is an established international antiques and fine artauction house known for integrity, simplicity and personal service for both thebuyer and seller.

When it comes to auctions, some people find the buying process complicated.Our experienced auction specialists are available to work with you personallyto ensure an experience that is clear and straight forward. We welcome you toattend an auction or two, in person before ever bidding on anything. Ask anauction specialist questions about the process and items. This will allow you tobecome comfortable and knowledgeable within the auction environment.

Today’s technology and global marketplace allow for buyers around the worldto participate in auctions.

Dallas Auction Gallery provides several options for you to preview items priorto the auction. You can view our online catalogues two weeks prior to eachsale. There is a detailed description and photographs of each lot offered in the auction.

In addition to our catalogues, Dallas Auction Gallery offers an open house pre-view for several days prior to each auction. Items are professionally displayedin the gallery and our auction experts are available to consult with clients. Weencourage you to inspect each item of interest carefully as all items are sold“as is.” Antiques by nature, show signs of use and age, which often enhancestheir unique characteristics and creates their value, as in a fine patina. If youare unable to inspect the items of interest in person, please request a condi-tion report and our experts will inspect the item for you and provide a writtenreport of its condition.

Items available at auction are valued at “auction estimates” in a range which isbased on the research of what similar items have sold at auction. They do notnecessary indicate the highest amount an item will sell for. The market andbidding will determine final hammer prices.

BID IN PERSONThe traditional form of bidding is live, in person during the auction offering anexciting and fast paced experience. All buyers must register prior to biddingand receive a bid card which is raised to indicate a bid to the auctioneer. Oncethe auction starts, the lots are offered in sequential order. You will receive aprinted catalogue to follow along. When your desired item is offered, be sure

to make your bid obvious by raising your card and make eye contact with theauctioneer. Auctions are fast paced and you must make decisions and com-municate quickly. If you are the winning bidder, the auctioneer will close theitem by saying “sold,” the final hammer price and announce your bid cardnumber.

TELEPHONE BIDDINGhttp://www.dallasauctiongallery.com/assets/Phone-Bidding-Form.pdfFor buyers unable to attend the auction in person, Dallas Auction Gallery offers phone bidding. You participate live on the phone with one of our trainedprofessionals who manages phone bids around the world during each auction.Our auction professionals are fluent in English and Mandarin. Telephone bidrequests must be placed at least 24 hours prior to the auction. All telephonebidders are encouraged to leave an absentee bid or safety bid in the event acall should fail. Each registered phone bidder is bound by the terms and con-ditions of sale. Telephone Bid Form is available on our Website and by callingan auction specialists 214-653-3900.

ABSENTEE BIDDING http://www.dallasauctiongallery.com/assets/Absentee-Bidding-Form.pdfFor buyers unable to participate in the live bidding process, Dallas AuctionGallery accepts Absentee Bids. We bid on your behalf just as if you were in the auction house, up to your pre-determined maximum bid. Dallas AuctionGallery will not use your maximum bid as a starting bid and always attempt to purchase your desired item at the lowest possible price.

You must provide a specified fixed maximum bid, we do not accept openended “buy” bids. We execute absentee bids as a convenience for our clients,however under no circumstances will we be responsible for inadvertently failing to execute bids or for errors relating to execution of bids includingtechnology related errors.

In the event of identical absentee bids, the earliest received will take priority.Completed and signed bid forms must be received by Dallas Auction Galleryno later than 5pm (EST) on the evening of the auction.

ABSENTEE BIDDING ONLINE AT DAGWhen leaving an absentee bid online on our website, please click on the “viewcatalog” link, and then click “new bidder.” You will be asked to resubmit yourpersonal information. Once registered online, you will be able to quickly log in and bid on any future auctions.

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LIVE ON-LINE BIDDINGDallas Auction Gallery conducts auctions live online through LiveAuctioneers.You can participate in real time via a live audio and video feed. LiveAuctioneersdoes require you to register in advance to bid.

http://www.liveauctioneers.com/browse/seller/dallasauctiongallery. SelectDallas Auction Gallery (you may have to click the link to “View all auctions”).Follow auction registration instructions.

PAYMENT OPTIONSDomestic Clients: We accept bank wire transfers, cash, personal or companycheck with proper ID, cashier's check, travelers check, money order, Visa, Mas-terCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice.

(a) Items purchased in person must be paid for on the day of the auction. Ifyou leave without paying, your credit card will be charged the next day.

(b) For items purchased via phone or absentee bidding, your credit card willbe charged the day after the auction. If other payment arrangements havebeen made and good funds have not been received by the 5th businessday after the auction, your credit card will be charged.

(c) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-653-3900 or email at [email protected] to make payment.

(d) If paying by check, DAG reserves the right to hold all purchases until thecheck has cleared to the satisfaction of DAG and its bank.

International Clients: We accept wire transfers, Visa, MasterCard, or Discover.There is a maximum of $10,000 that may be charged to credit cards, perclient invoice.

(a) For items purchased via phone or absentee bidding, your credit card willbe charged the day after the auction. If other payment arrangements havebeen made and good funds have not been received by the 5th businessday after the auction, your credit card will be charged.

(b) For items purchased online, you will be emailed an invoice the day afterthe auction. It is your responsibility to contact DAG via telephone 866-653-3900 or email at [email protected] to make payment.

CONDITION REPORT REQUESTSDownload a Condition Request Form from our website. (requires Adobe Acrobat Reader)

Submit a Condition Request Form Online.

We encourage you to inspect each item of interest carefully as all items aresold “as is.” Antiques by nature, show signs of use and age, which often enhances their unique characteristics and creates their value, as in a finepatina. If you are unable to inspect the items of interest in person, please request a condition report via email ([email protected]) or telephone (866-653-3900) and our experts will inspect the item for you andprovide a written report of its condition, and additional images if needed.

BID INCREMENTS$0 – 999 $ 50

$1,000 – 2,499 $ 100

$2,500 – 4,999 $ 250

$5,000 – 9,999 $ 500

$10,000 – 24,999 $ 1,000

$25,000 – 49,999 $ 2,500

$50,000 – 99,999 $ 5,000

$100,000 – 249,000 $ 10,000

$250,000 – 499,999 $ 25,000

$500,000 – 999,999 $ 50,000

$1,000,000 $ 100,000

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The following as amended by any posted notices or oral announcements duringthe sale, constitutes the entire terms and conditions on which property listed inthe catalogue shall be offered for sale or sold by Dallas Auction Gallery, Ltd.(“DAG”) and any consignor of such property for whom DAG has acted as agent.By bidding at an auction, whether in person or by agent, absentee bid, telephone,Internet or other means, the purchaser or bidder agrees to be bound by theseTerms and Conditions of Sale.

TERMS AND CONDITIONS OF SALE1. All items are sold “AS IS, WHERE IS” with all faults. There are no warranties

or representations of merchantability, of fitness, nor of any other kind, express or implied. All items are available for your examination prior tobidding. Written and oral descriptions are our opinions and should in noway be construed as a guarantee of any kind as to authenticity, age, condi-tion, materials or any other feature of items being sold. DAG attempts tocatalog every lot correctly and will attempt to point out any defects butwill not be responsible or liable for the correctness of the catalog or otherdescriptions of the lot. We recommend prospective bidders examine allitems in which they have an interest. By placing a bid, either in person, byphone, absentee or via the Internet, you signify that you have examinedthe items as fully as you desire to or that you have chosen not to examinethem. If you require absolute certainty in all areas of authenticity, and theresults of your evaluation leave uncertainty in your mind, we recommendyou have an expert examine the lot for you or do not bid on the item inquestion. If your item(s) are damaged in shipping, you will need to contactthe shipper to file a claim. If your item(s) are being shipped and there is acondition problem upon receipt, you are expected to notify us immediatelyby phone at 866-653-3900. Any condition concerns will be null and voidafter the 10th business day following the end of the auction. Please notethat if you pay late and thus receive your item(s) late, this does not qualifyyou for special privileges. We do not give refunds! All sales are final! DallasAuction Gallery does not warranty watch movements.

2. All property is sold “AS IS, WHERE IS” and neither DAG nor the consignormakes any warranties or representations of any kind or nature with respectto property or its value, and in no event shall be responsible for the correctness of description, genuineness, attribution, provenance, authenticity,authorship, completeness, condition of property or estimate of value. No statement (oral or written) in this catalog, at the sale, or elsewhereshall be deemed such a warranty or representation, or any assumption ofresponsibility. All measurements are approximate.

3. The successful bidder is the highest bidder acknowledged by the auc-tioneer. In the event of any dispute between bidders, or in the event ofdoubt on DAG’s part as to the validity of any bid, the auctioneer will havethe final discretion either to determine the successful bidder or to re-offerand resell the article in dispute. If any dispute arises after the sale, DAG’ssale record is conclusive. DAG records the audio portion of each auction.

4. The purchaser assumes full responsibility for items at the fall of the hammer.

5. As a convenience to customers, absentee bids and phone bids will be executed by DAG personnel in a competitive and confidential manner.Phone bid arrangements must be made 24 hours prior to start of theauction. DAG will not be responsible for failure to execute absentee orphone bids.

6. There will be a buyer’s premium of 25% added to the hammer price ofeach lot for the portion up to and including $100,000; 20% on the portionfrom $100,001 through $1,000,000, and 12% on the portion exceeding$1,000,000 and all will be considered part of the total purchase price. Allpurchases will be subject to an 8.25% Texas sales tax unless

(1) you are an out-of-state resident and your purchases are being shippedout of Texas or

(2) if you are a Texas resident and you possess a valid tax-exempt number.and signature on any tax exempt sale.

7. PAYMENT: DOMESTIC CLIENTS: We accept bank wire transfers, cash, personal or companycheck with proper ID, cashier’s check, travelers check, money order, Visa,MasterCard, or Discover. There is a maximum of $10,000 that may becharged to credit cards, per client invoice. (a) Items purchased in personmust be paid for on the day of the auction. If you leave without paying,your credit card will be charged the next day. (b) For items purchased viaphone or absentee bidding, your credit card will be charged the day afterthe auction. If other payment arrangements have been made and goodfunds have not been received by the 5th business day after the auction,your credit card will be charged. (c) For items purchased online, you willbe emailed an invoice the day after the auction. It is your responsibilityto contact DAG via email at [email protected] or telephone866-653-3900 to make payment. (d) If paying by check, DAG reserves theright to hold all purchases until the check has cleared to the satisfactionof DAG and its bank.

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INTERNATIONAL CLIENTS: We accept wire transfers, Visa, MasterCard, orDiscover. There is a maximum of $10,000 that may be charged to creditcards, per client invoice. (a) For items purchased via phone or absenteebidding, your credit card will be charged the day after the auction. If otherpayment arrangements have been made and good funds have not beenreceived by the 5th business day after the auction, your credit card willbe charged. (b) For items purchased online, you will be emailed an invoicethe day after the auction. It is your responsibility to contact DAG via emailat [email protected] or telephone 866-653-3900 to makepayment.

8. SHIPPING: It is the buyer’s responsibility to arrange for and pay for shipping.On the 30th calendar day following the auction, all lots that have not beenremoved from DAG will be moved to an off-site storage facility and incurstorage fees of $10.00 per lot per day until removed. For a recommendedlist of shippers and a Shipping Authorization Form, please click the“Shipping” link under the “Services” tab of our homepage at www.dallasauctiongallery.com. We must have a signed, completed ShippingAuthorization to release your lots.

9. If we are prevented by fire, theft, or any other reason whatsoever fromdelivering any property to the purchaser, our liability shall be limited tothe sum actually paid, by the purchaser for such property.

10. DAG reserves the right to withdraw any lot at any time before the auctionwithout liability.

11. The auctioneer reserves the right to reject any bid not commensurate withthe value of the property offered.

12. A range of estimates is given on each lot with a low and a high estimate.Estimates should not be relied on as a prediction of the actual selling price.

13. If any applicable conditions herein are not complied with by the purchaser,in addition to other remedies available to it by law, including withoutlimitation the right to hold the purchaser liable for the total purchase price,DAG at its option may either (a) cancel the sale, retaining as liquidateddamages all payments made by the purchaser or (b) resell the propertyat public auction without reserve or minimum selling price, and the pur-chaser will be liable for any deficiency and costs, including handling charges,expenses of both sales, the commission on both sales at regular rates, allother charges due hereunder and incidental damages.

14. In the unlikely event we lose our internet connection, DAG reserves the rightin its sole and absolute discretion to cancel the remainder of the auction.

15. Some lots may be offered with a “reserve” which is the minimum pricebelow which the lot will not be sold. DAG may act to protect the reserveby bidding through the auctioneer. The auctioneer may open the biddingon any lot below the reserve by placing a bid on behalf of the consignor.The auctioneers may continue to bid on behalf of the consignor up to theamount of the reserve, either by placing bids in response to other biddersor by placing consecutive bids. In no event will the reserve exceed the lowestimate.

16. These terms and conditions of sale, as well as the respective rights andobligations of DAG and any purchasers or bidder at any sale of DAG, shallbe governed by and construed and enforced in accordance with the lawsof the State of Texas.

17. The auctioneer is licensed and regulated by the Department of Licensingand Regulation. Licensure with the Department does not imply approvalor endorsement by the State of Texas. If you have an unresolved complaint,it should be directed to: Texas Department of Licensing and Regulation,P.O. Box 12157, Austin, Texas 78711, 512-463-6599.

Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262email at [email protected]

214.653.39002235 MONITOR STREE T

DALLAS T X 75207

DALLASAUC TIONGALLERY.COM

DEPARTMENT OF FINE ART:Brandon Kennedy, Director of Fine Arts & Design

[email protected]

Elizabeth Rhodes, Fine Art [email protected]

PHOTOGRAPHY:Gary Heiner

CATALOGUE DESIGN:WinshipPhillips

www.winshipphillips.com




D A L L A S A U C T I O N G A L L E R YC A L L • C O N S I G N • C O L L E C T

214-653-39002235 Monitor Street | Dallas, Texas 75207 | www.dallasauctiongallery.com

© 2015 Dallas Auction Gallery

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fine art • may 20, 2015

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