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283284 Los(e)/Seite
Los 755
* ETHEL WALKER (SCOTTISH b. 1941), COASTLINE, KILBERRY oil on board, signed, titled and dated 1999 label verso image size 44cm x 41cm, overall size 60cm x 57cm Framed and under glass. Label verso: Flying Colours Gallery, London. Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty seven she was a full time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections world-wide, including the Royal Bank of Scotland and Sara Lee Holdings.
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OLEG TSELKOV (RUSSIAN 1934-2021)Portrait of Vladimir Kartsev, 1971oil on canvas board 55 x 39 cm (21 5/8 x 13 5/8 in.)signed, dated and titled on verso PROVENANCE Acquired directly from the artist Macdougall's, London, 2 December 2010, lot 508 Private Collection, New York LITERATURE For similar works, see Roger Pierre Turine, Oleg Tselkov, Moscow, Bonfi 2002 We are grateful to Oleg Tselkov for confirming the authenticity of this work CONDITION Observed in frame, the painting appears in age-appropriate condition. Losses to the right edge. Overall very fine craquelure consistent with age. Inspection under UV shows a layer of varnish and fluorescence visible to the craquelure. framed dimensions: 98 x 74 cm (38 5/8 x 29 1/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 109
ALVIN HOLLINGSWORTH (AMERICAN 1928-2000)Equality, circa 1965oil on canvas76 x 92 cm (29 7/8 x 36 1/4 in.) signed on stretcher, possibly in another handLOT NOTESThe pioneering Afro-American comic-book illustrator, poet, painter and educator Alvin Carl Hollingsworth was born in Harlem in 1928 to Barbadian emigrants. He began his career, aged twelve, as an artist assistant at Holyoke Publishing Company for Catman's Comics. He continued working in comics throughout the 1940s and 50s before transitioning to painting and printmaking. With his background in commercial illustration, Hollingsworth was an experienced draftsman with an eye for bold colors and compositions, who oscillated seamlessly between styles, genres, media, and influences as diverse as Henry Ossawa Tanner and Gustave Dore to contemporaries Salvador Dali, Tom Wesselman and Nicholas de Stael.Equality evidently dates to Hollingsworth’s early painting years, characterized by naturalistic modelling and earthy color palettes with fluorescent accents, as well as an interest in found materials and urban life (or, the social inequalities it perpetuates). It is closely related to the artist’s most notable body of work from the period: a series entitled Cry City, the subject of a solo exhibition at Terry Dintenfass Gallery. Using material salvaged from the streets -- tar paper the artist found on tenement roofs; fishbones, broken cement, stones, teeth and bits of glass -- Hollingsworth presented the city as a psychologically and physically difficult terrain (John H. Hewitt, “The Themes of Alvin C. Hollingsworth,” Black Art – An International Quarterly 2:1 (1977): 5).Compared with the sober, alienated character of many paintings from this time, Equality is rather more emotionally inscrutable. Here, the blackboard -- evidently bearing a lesson on the 14th and 15th Amendments to the Constitution -- has already been partly erased, and class appears to be in recess. Space is collapsed, figures disjointed. Superimposed over the right side of the board is a portrait of a 19th century man in a European military uniform, whose implied gaze looms over the sea of racially ambiguous but pale faces streaming this way and that. The frontality of the man’s portrait is repeated by the two boys at the lower corners of the frame, but they too don’t make direct eye contact with the viewer or the figures around them. (Hollingsworth used a similar composition and narrative device in Group of Children, also circa 1965, sold by Swann Galleries, October 8, 2009, lot 55). Equality however, shares in the dynamism of Jacob Lawrence’s Migration Series, and perhaps also its reticent optimism for the future.Hollingsworth attributes the crystallizing of social issues in works from the 1960s to his involvement with Spiral, a Black artist’s collective founded by Romare Bearden, Norman Lewis, Hale Woodruff and James Yeargans. A dozen or so members initially gathered in Bearden’s and Charles Alson’s shared Greenwich Village studio in July 1963 to discuss the March on Washington for Jobs and Freedom, planned for August 28th. Realizing their galvanizing potential went beyond the scope of the march, the group began planning their first (and only) group exhibition: “Spiral: First Group Showing (works in black and white)”, which ran in May-June 1965 at a rented Christopher St. storefront. (Black and white was chosen both as a universal political appeal and an organizing principle, since Spiral’s members did not share any specific aesthetic sensibility). Though the group was active for some two and a half years, their praxis and unifying outlook were enormously influential on future generations of artists. (This contribution was the subject of a 2011 show, Spiral: Perspectives on an African-American Art Collective, at the Studio Museum in Harlem).Between 1960 and 1970, Hollingsworth expanded his reach to muralism and lithography, as well as hosted a popular ten-part series for NBC titled "You're Part of Art". From 1980 until his retirement in 1998, he was a full Professor of Art at Hostos Community College of the City University of New York. Hollingsworth’s role during the Golden Age of Comic Books has recently been covered by Ken Quattro in nvisible Men: The Trailblazing Black Artists of Comic Books (San Diego: YOE Books/IDW Publishing, 2020).CONDITION Observed in frame, the painting appears in good condition. No apparent issues visible to the naked eye with no significant issues to report. Inspection under UV shows no apparent sign of restoration. framed dimensions: 90 x 105 cm (35 3/8 x 41 3/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
![ABRAHAM MANIEVICH (UKRAINIAN 1883-1942)Self-Portrait, 1936charcoal on paper68 x 54 cm (26 3/4 x 21 14 in.) [sight]signed and](https://cdn.globalauctionplatform.com/21685c8f-fe63-42ed-b3eb-ad6401159c32/117b970e-6a63-422a-9782-ad64011e85c3/468x382.jpg)
Los 134
ABRAHAM MANIEVICH (UKRAINIAN 1883-1942)Self-Portrait, 1936charcoal on paper68 x 54 cm (26 3/4 x 21 14 in.) [sight]signed and dated lower leftWe are grateful to Alan Pensler for confirming the authenticity of this work.CONDITION Observed in frame, the work appears in good condition. Horizontal creasing visible to the sheet, most notably to the upper right edge and corner, and to the right edge extending towards the center, consistent with age.framed dimensions: 103 x 88 cm (40 1/2 x 34 5/8 in.)N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 137
JOHN BUTLER YEATS (IRISH 1839-1922)Portrait of a Manpencil on paper 20 x 15 cm (7 7/8 x 5 7/8 in.) PROVENANCEGift of the artist to Ernie O'Malley, 1935Collection of Ernie O'Malley (1897-1957), Irish Republican Army officer and Literary Figure, and husband of Helen Hooker (1905-1993)Thence by descent in the familyCONDITION Unframed, the work appears in age-appropriate condition. Visible surface soiling along the lower edge. Minor toning to the perimeter. Hinged along top edge. dimensions of matte: 33 x 28 cm (13 x 11 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 138
JOHN BUTLER YEATS (IRISH 1839-1922)Portrait of a Childpencil on paper 17 x 13 cm (6 3/4 x 5 18 in.) PROVENANCEGift of the artist to Ernie O'Malley, 1935Collection of Ernie O'Malley (1897-1957), Irish Republican Army officer and Literary Figure, and husband of Helen Hooker (1905-1993)Thence by descent in the familyCONDITION Unframed, the work appears in age-appropriate condition. Visible surface soiling to the left center edge. Minor toning to the perimeter. Hinged along top edge. dimensions of matte: 30 x 25.4 cm (11 3/4 x 10 in.)N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
![LADY PINK [SANDRA FUBARA] (AMERICAN B. 1964)Queen Matilda, 2008acrylic on four panels173 x 452 cm (68 x 178 in.)signed lower](https://cdn.globalauctionplatform.com/21685c8f-fe63-42ed-b3eb-ad6401159c32/14d2fcec-32bb-48a9-85e6-ad65015c64f4/468x382.jpg)
Los 146
LADY PINK [SANDRA FUBARA] (AMERICAN B. 1964)Queen Matilda, 2008acrylic on four panels173 x 452 cm (68 x 178 in.)signed lower rightPROVENANCEAcquired at Graffiti Gone Global Exhibition by SUSHISAMBAEXHIBITIONWoodward Gallery Project Space, NYC Lady Pink mural, June – August 2009. [stamp on verso]Graffiti Gone Global by SUSHISAMBA, Miami, December 3-6, 2009LITERATUREJames and Karla Murray Graffiti Gone Global by SUSHISAMBA (2009), ex. cat., p. 27 (illustrated)LOT NOTESQueen Matilda by Lady Pink is not only a visually vibrant work in the artists quintessential style for which she is most known, synopsistic of Sandra Fubaras oeuvre, but the painting is also a window into the life of the artist, her values, and her life as a young artist in the emerging street art movement in New York City in 1980s.To be more specific, the street art movement was centered in New York City's East Village neighborhood of Manhattan. The East Village is represented in the painting through use of the logos from some of the city's most popular hangouts among counterculture youth -- fertile breeding grounds for creativity that were frequented by the likes of Harring, Basquiat, and a litany of punk and folk musicians. In Queen Matilda, one can see the logos of -- among others -- CBGB, one of the city's most iconic music clubs, the birthplace of punk music and previously a biker bar, and Gem Spa, perhaps the East Villages most iconic corner store, located on St. Marks Place since the 1920s selling newspapers, candy, and one of the pioneers of the Egg Cream, a beverage synonymous with New York City. The logos of such establishments, and the East Village-scaled street seen in the bottom half of the painting, demonstrate the cultural mecca that this neighborhood came to be, and its influence on Lady Pink.Lady Pink often depicts architectural forms in her work. Occasionally, these forms personify a female figure like that of the large form made of pink brick that can be seen as the centerpiece in Queen Matilda. Lady Pinks artistic journey started with graffiti; she became a known member of the tagging scene in New York City and gained acclaim for her work. At the time, there were very few female graffiti artists. In her work, the female form and an overall message of female empowerment can be often seen. In Queen Matilda the architectural, female form shows the city itself as a living, nurturing entity - and emphasizes the role the city played for Lady Pinks upbringing, and the role women play as the backbone of societies overall. One can also see a train running through the city, emerging from behind the female figure on the right side of the work -- an allusion to her artistic beginnings tagging subway trains prior to her finding fame in the fine arts world.This painting showcases Lady Pinks roots, like the roots seen tangled over the head of the female figure the painting is centered around. This work, like the neighborhood Lady Pink hails from, is colorful, fertile, and magical. Perhaps most notably, it is hard to discern whether the work should be seen as solely an ode to the neighborhood the artist calls home, or something of a self portrait as well. As is true with so many now-ubiquitous artists, there would likely not be a Lady Pink were it not for New York City’s East Village.CONDITIONUnframed, the group appears in good condition. Minor scattered scuffing to the lower right of the panels with lettering Mendel. Minor cracking and lifting along of the lower edges of the one with the lettering Spa. Each with minor losses to the corners and edges consistent with age. Inspection under UV shows no apparent signs of restoration.unframedN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 237
18TH CENTURY FRENCH SCHOOLPortrait of a Nobleoil on canvas 59 x 47 cm (23 1/4 x 18 1/2 in.) CONDITION Observed in frame, the painting appears in age-appropriate condition. The canvas has been relined. Overall fine and stable craquelure, most notably against the shaded areas. Inspection under UV shows retouching to around 40% primarily to the left and right edges. Scattered retouching to the Man's coat and chest. framed dimensions: 75 x 66 cm (29 1/2 x 26 in.)N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 238
ATTRIBUTED TO CHRISTOPHER STEELE (BRITISH 1733-1767)Portrait of a Womanoil on canvas91 x 71 cm (35 7/8 x 28 in.) PROVENANCEEstate of Helen Hooker (1905-1993)Thence by descent in the familyCONDITION Observed in frame, the painting appears in age-appropriate condition. Overall very fine and stable craquelure. A scuff visible to the left edge, resulting in a loss measuring 4 cm (1 5/8 in.) in length. The canvas has been relined. Inspection under UV shows a heavy layer of masking varnish with retouching to her face visible under varnish. framed dimensions: 111 x 89 cm (43 3/4 x 35 in.)N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 239
19TH CENTURY CONTINENTAL SCHOOL Portrait of a Brunette Womanoil on canvas77 x 64 cm (30 1/4 x 25 1/4 in.) PROVENANCECollection of Ernie O'Malley (1897-1957), Irish Republican Army officer and Literary FigureThence by descent in the familyCONDITION Observed in frame, the painting appears in age-appropriate condition. Overall very fine craquelure. The canvas has been relined. Along the upper edge the canvas as lifted. Inspection under UV shows scattered retouching around 5%, mostly around the womans face and lower left corner. framed dimensions: 97 x 84 cm (38 1/4 x 33 1/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 244
19TH CENTURY WEDDING PORTRAITS BY AMERICAN ARTISTScomprising: a) Groome Portrait, oil on canvas, 31 x 35 cm (12 1/4 x 13 3/4 in.) b) Bride Portrait, oil on panel, 32 x 25 cm (12 5/8 x 9 7/8 in.) CONDITION Observed in frame, the pair appears in age-appropriate condition. Each with visible very fine and stable craquelure. a) A minor loss to the left edge visible to the naked eye. Overall surface dust. b) Minor losses to the perimeter, most notably to the upper right corner. A visible scuff to the center along the brides right shoulder, measuring 7 cm in length. Inspection under UV shows a heavy even layer of varnish to each but no apparent sign of restoration. framed dimensions:a) 39 x 33 cm (15 3/8 x 13 in.)b) 40 x 32 cm (15 3/4 x 12 5/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 363
EARLY 19TH CENTURY KPM PORCELAIN CUP AND SAUCER, WITH PORTRAIT OF ALEXANDER Ithe tea cup with a centered portrait of Alexander I in uniform in a gilt frame, against a white ground, the foot rim, handle and rim with gilt detailing, the saucer with a conforming design, each marked with a factory mark in blue underglaze, the tea cup with an additional mark in gilt under glaze, the saucer with two additional marks, one in black overglaze the other an impressed 28 all under each base; height of tea cup: 11 cm (4 3/8 in.), diameter of saucer: 13 cm (5 1/8 in.) CONDITION The set appears in good condition. Very light surface scratches visible to the gilt detailing of each. Consistent with age. Inspection under UV shows no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 396
PAINTED BY WAGNER FINLEY A LATE 19TH-EARLY 20TH CENTURY ROYAL-VIENNA STYLE VASE oviform with two gilt rocaille-moulded foliate handles, with a frill rim, with a full-length portrait of a brunette maiden seated in the woodlands, attended by two putti, bearing a bowl and offering flowers, with three putti on the reverse with a garland of roses among the clouds, atop a gilt rocaille-moulded base, marked with factory mark in blue underglaze, impressed numerals A/42 in paste, signed Wagner lower right of scene; overall height: 48 cm (18 7/8 in.) CONDITION The vase appears in good condition. Rubbing to the gilt detailing on the rim, handles and feet. Inspection under UV shows minor overpainting to one are of the frilled rim. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 397
ACKERMANN & FRITZ ROYAL VIENNA-STYLE PORCELAIN VASE, 'SOLITUDE', PAINTED BY WAGNER FINELYamphora style vase with two gilt handles, centered a cartouche with a portrait of Solitude, the body with a gilt floral motif against a blue and seafoam green ground, signed Wagner in black underglaze lower right of portrait cartouche, marked with factory mark in blue underglaze, inscribed in black overglaze, Solitude, Dec: 290 Depose, with numeral 5580 in red over glaze on foot rim, all under base; overall height: 30 cm (11 3/4 in.) CONDITION The vase appears in very good condition. Very light scuffing to the gilt detailing, most notably to the rim, foot rim and handles. Light surface scratches to the gilt cartouche. A very minor hairline fracture along the foot rim extending to the to the top of the base and underneath the base, as apparent in photographs. Inspection under UV shows no apparent signs of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 408
EARLY 20TH CENTURY DRESDEN PORCELAIN ART-NOUVEAU VASEthe base of elongated fluted form, with two small gilt handles, the recto of the vase with a portrait titled, Clementine, against a white and gilt ground, the rest of the body with a gilt floral and foliate vine against a blue and white marbled ground, marked with the factory mark in blue overglaze and titled Clementine in red underglaze; height: 23 cm (9 in.) CONDITION The vase appears in very good condition. Rubbing and very light surface scratches to the gilt, most notably to the handles. Overall surface dust, most notably to the handles. Inspection under UV shows no apparent signs of restoration or repairs.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 54
ELMER LIVINGSTON MACRAE (AMERICAN 1875-1953)Portrait of Helen Hooker, 1912pastel on cloth laid on cardboard61 x 51 cm (24 x 20 1/8 in.)signed and dated lower rightPROVENANCECommissioned from the artist by the Hooker family, Greenwich, CTThence by descentCONDITION Observed in frame, the work appears in stable age-appropriate condition. Discolouration to the cloth, as apparent in the catalogue images. Otherwise, no significant issues apparent to the naked eye. in original Heydenryk frame, framed dimensions: 81 x 71 cm (31 7/8 x 28 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 61
LLOYD MOYLAN (AMERICAN 1893-1963) Portrait of Otto Spaethoil on panel 36 x 36 cm (14 x 14 in.)PROVENANCECollection of Otto and Elois Spaeth, noted industrialists, art collectors and patrons of American artThence by descent in the familyLOT NOTESEloise Spaeth, along with her husband, Otto Spaeth, was a prominent art collector, who had an outsize influence on the development of appreciation for American art and art museums, in the middle of the 20th Century. Her husband, Otto Spaeth, was the founder of the Dayton Tool and Die Company, amongst other major manufacturers, and was a Vice President of the Whitney Museum of American Art. Together, they established a collection of leading European and American modernists of the day, including works by Pablo Picasso, Henri Matisse, Alexander Calder, Edward Hopper, Georgia O'Keefe, Stuart Davis, and Charles Sheeler. In addition to being a major collector, she was also active in the American Federation of Art, serving as the traveling exhibtions chairwoman, and the Venice Biennale American Pavilion. She also authored widely published books on American Art, including American Art Museums: An Introduction to Looking (1960). The Spaeth's were also personal friends and patrons of many leading artists of the day. The Smithsonian Archives of American Art is in possession of the Spaeth's correspondence and papers.CONDITION Observed in frame, the painting appears in good condition. Overall visible surface dust to the naked eye. Scattered minor losses visible to the navy ground. With no significant issues to report otherwise. Inspection under UV shows no apparent sign of restoration. framed dimensions: 48 x 46 cm (18 7/8 x 18 1/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 131
Adolf Raufer, 1871 Wien – 1965 ebenda Öl/Leinwand. Portraits zweier italienischen Bauernjungen. Gezeigt wird ein Bauernjunge in weißem Hemd und blauer Weste und Strohhut beim Rauchen, der den Betrachter herausfordernd anblickt. Das zweite Portrait zeigt einen Bauernjungen in weißem, löchrigem Hemd und roter Weste, der eine halb geschälte Orange in den Händen hält und den Betrachter freundlich anschaut. Unten rechts signiert. Min. F.a., min. besch., ansonsten guter altersbedingter Zustand. Deutschland, frühes 20. Jh. H x B ca. 40,4 x 30,5 cm, H x B ger. ca. 46,3 x 36,5 cm
Los 492
Victorian Engineering Interest , Birmingham & Liverpool Junction Canal - a 19th century photograph album containing images of eminent engineers along with their signatures and letters associated with the contributions made by the sitters towards a proposed portrait painting of Joseph Baxendale Esq (1785 - 1872)
![An 18th century coloured portrait engraving, from a drawing of G.dDou, in the collection of William Baillie Esq [1775] [heigh](https://cdn.globalauctionplatform.com/0ca753d6-e09a-4e58-9deb-ad6e00d8fde7/c0d90b23-1b78-41a3-afb7-ad7001610fa9/468x382.jpg)
Los 482
After Adam Buck (1759-1833) - Pair of coloured engravings - Spring and Autumn (?), each 11ins x 8ins, six coloured mezzotints - Shoulder length portraits of women, ovals 8.5ins x 6.5ins, and 19th Century English school - Watercolour - Head and shoulders portrait of a woman wearing ringlets, 6.5ins x 5.5ins, all framed and glazed
Los 817
Late 18th Century British School - Miniature painting - Portrait of a gentleman wearing brown coat and white collar, his hair powdered, the gold coloured metal frame set with pearls, the reverse set with pearls and blue enamel and an ornately arranged locket of hair with gilt metal and pearl ribbon device, oval 2.5ins x 2ins, with a gilt metal and ebonised wood stand with hanger
Los 818
Late 18th Century British School - Miniature painting - Portrait of a gentleman wearing blue coat, with white collar and cravat, in gilt metal and blue enamel frame, the front of the frame set with pearls, the reverse with a lock of hair and finely worked monogram in pearls, 2.25ins x 1.75ins
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283284 Los(e)/Seite