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Photo |
Lot Number |
Description |
|
 |
194 |
BARBIZON SCHOOL
(19th century)
Landscape with Figures at Dusk
Oil on
artist board
Apparently
unsigned
8.75 inches
x 7 inches
Estimate
$400-$600
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|
 |
116 |
JOHN JOSEPH
(of Barth) BARKER
(British 1824-1904)
Landscape with Shepherd and
Haywagon
Oil on
canvas
Signed lower
right “J. Barker”
30 inches x
25 inches
Estimate
$2,000-$3,000
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|
 |
110 |
Attributed
to EDWARD CHARLES BARNES (British 1830-1882)
Cooling the Milk
Oil on
canvas laid down
Signed lower
left “*.*. Barnes”
29.5 inches
x 24 inches
Estimate
$1,000-$2,000
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|
 |
531 |
After
ANTOINE LOUIS BARYE
(French
1795-1875)
Marching Lion
Bronze with
dark brown patina
Signed on
base
Length 17
inches (43 cm)
Estimate
$200-$300
|
|
 |
476 |
WILLI BAUER
(German b. 1928-)
Expansive Landscape with
Distant River and Figures
Oil on
canvas
Signed lower
left
39 inches x
27 inches
Estimate
$700-$1,000
|
|
 |
183 |
FRANK MOSS
BENNETT
(1874-1953)
Woman
Admiring A Butterfly
Signed lower
right “F.M. Bennett”
19.5 inches
x 13.25 inches
Estimate
$2,500-$3,500
|
|
 |
184 |
ALFRED
BENNETT
(British 1861-1916)
Boating in the Loch
Oil on wood
panel
Signed lower
right
10 inches x
8 inches
Estimate
$400-$600
|
|
 |
136 |
ANTOINE
BLANCHARD
(French 1910-1988)
Café de la Paix, Opéra
Oil on
canvas
Signed lower
right
13 inches x
18 inches
Estimate
$4,000-$6,000
|
|
 |
134A |
ANTOINE
BLANCHARD
(French 1910-1988)
“Place de la Republic”
oil on canvas. Signed lower left.
13inches x 18 inches.
Estimate $4,000-$6,000
Provenance: Mrs. Janet Wray, Coquellette circa 1960.
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|
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133 |
ANTOINE
BLANCHARD
(French 1910-1988)
Bouquinistes de Notre Dame
Oil on
canvas
Signed lower
left
13 inches x
18 inches
Estimate
$5,000-$7,000
|
|
 |
132 |
ANTOINE
BLANCHARD
(French
1910-1988)
Place de la Republique
Oil on
canvas
Signed lower
left
21.75 inches
x 18 inches
Estimate
$8,000-$12,000
|
|
 |
134 |
ANTOINE
BLANCHARD
(French 1910-1988)
Boulevard de la Madeleine
Oil on
canvas
Signed lower
right
13 inches x
18 inches
Estimate
$4,000-$6,000
|
|
 |
477 |
Attributed
to ANTOINE BLANCHARD (French 1910-1988)
Old Paris
Oil on
canvas
Signed lower
right, signed and titled on verso
20 inches x
24 inches
Estimate
$2,000-$3,000
|
|
 |
72 |
LUCIENNE
BLOCH
(American 1909-1999)
City Park
Oil on
canvas
Signed lower
right
21.75 inches
x 18.25 inches
Estimate
$1,200-$1,800
|
|
 |
528 |
JOHN VINCENT
BLOOM
(American 1906-2002)
A Seated Male Figure
Terra cotta
and polychrome
Signed on
underside
Height 6.5
inches
Estimate
$75-$150
|
|
 |
520 |
After ROSA
(MARIA-ROSALIE) BONHEUR
A Bull
Bronze with
dark brown patina
Mounted on
later marble plinth
Length 5
inches (12.5 cm)
Estimate
$100-$200
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|
 |
83 |
CAMERON
BOOTH
(American 1892-1980)
Hart
Mountain North of Cody, Wyoming,
1941
Oil on
artist board
Signed lower
right and dated ’41. Verso with title, date and dedicatory
inscription.
10 inches x
14 inches
Estimate
$300-$500
|
|
 |
109 |
Studio of
WILLIAM ADOLPH BOUGUEREAU (French 1825-1905)
Hollyhocks Maiden, circa 1890
Oil on
canvas
Bears the
signature “W BOUGUEREAU” lower right.
21.5 inches
x 25.5 inches
Estimate
$2,500-$3,500
|
|
 |
157 |
A. BOZZI
(Italian 19th/20th century)
Venice
Oil on canvas
Signed lower right
22 inches x 27 inches
Estimate $600-$900
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|
 |
28 |
Attributed to
ALFRED THOMPSON BRICHER
(American 1837-1908)
Seascape
14 inches x
10 inches
Estimate
$7,500-$10,000
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|
 |
80 |
LELA M.
(Powers) BRIGGS
(American 1896-1953)
Fetching
Water,
1948
Watercolor
on paper
19.25 inches
x 22.5 inches, unframed
Estimate
$200-$300
|
|
 |
625 |
LELA BRIGGS
(American 1896-1953)
Flood Waters
and Making Hay (a pair)
Watercolor
on paper
Both signed
lower right and dated ‘49
Both 15
inches x 11 inches, unframed
Estimate $200-$300
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|
 |
628 |
LELA BRIGGS
(American 1896-1953)
Still Life
with Flowers and Doll,
circa 1940
Watercolor
on paper
Signed lower
left
10.75 inches
x 10.25 inches, unframed
Estimate
$150-$200
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|
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636 |
LELA BRIGGS
(American 1896-1953)
Portrait of
a Seated Woman with Hat,
1932
Watercolor
on paper
Signed on
verso and dated 1932
15.25 inches
x 11.25 inches, unframed
Estimate
$150-$300
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|
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638 |
LELA BRIGGS
(American 1896-1953)
Still Life
with Flowers,
circa 1940
Watercolor
on paper
Signed lower
right
10.75 inches
x 10.25 inches, unframed
Estimate
$150-$200
|
|
   |
639 |
LELA BRIGGS
(American 1896-1953)
Hay Time,
Spring Flood, and Back of the House (3 works)
Watercolor
on paper
Each signed
11 inches x
15 inches, 11.5 inches x 14 inches, and 22 inches x 15 inches,
unframed
Estimate
$300-$500
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|
   |
640 |
LELA BRIGGS
(American 1896-1953)
Harvest
Plenty, Making Hay,
and
Spring (3 works)
Watercolor
on paper, circa 1930’s
Each signed
20 inches x
24 inches, 11 inches x 15 inches, and 11.25 inches x 15 inches,
unframed
Estimate
$300-$500
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|
 |
646 |
LELA BRIGGS
(American 1896-1953)
Blond Girl,
1932
Watercolor
on paper
Signed lower
right and dated 1932
15.25 inches
x 11 inches
Estimate
$150-$300
|
|
   |
647 |
LELA BRIGGS
(American 1896-1953)
Barnyard
Scene, Backyards,
and Canal
Clipper (3 works)
Watercolor
on paper
21 inches x
15 inches, 14 inches x 10 inches, and 13 inches x 10 inches,
unframed
Estimate
$350-$500
|
|
   |
648 |
LELA BRIGGS
(American 1896-1953)
Docks,
Inlet,
and
Spring (3 works)
Watercolor
on paper, circa 1950
Each signed
21 inches x
14 inches, 21 inches x 14 inches, and 16 inches x 11 inches,
unframed
Estimate
$350-$500
|
|
   |
649 |
LELA BRIGGS
(American 1896-1953)
Spring
Flood, Rural Church,
and Still Life (3 works)
Watercolor
on paper, circa 1940’s
22 inches x
15 inches, 22 inches x 15 inches, and 14 inches x 15 inches,
unframed
Estimate $300-$500
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|
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296 |
BRITISH
SCHOOL
(19th century)
Saint Andrew,
circa 1890’s
Watercolor,
gouache and ink on card
Unsigned
17.5 inches
x 5 inches
Estimate
$300-$500
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|
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192 |
BRITISH
SCHOOL
(19th century)
A Pair of Peacocks
Oil on
artist board
Unsigned
9 inches
x6.75 inches
Estimate
$250-$350
|
|
 |
200 |
BRITISH
SCHOOL(19th
century)
Quiet Waters
Oil on
canvas
Apparently
unsigned
20 inches x
30 inches
Estimate $250-$500 |
|
 |
469 |
BRITISH
SCHOOL
(19th century)
Landscape
with Cottage and Distant Manor House,
circa 1870
Oil on
canvas
Apparently
unsigned
20 inches x
14 inches
Estimate
$200-$300
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|
 |
180 |
BRITISH
SCHOOL
(19th century)
Fishing Boats
Oil on
canvas
Apparently
unsigned
16 inches x
12 inches
Estimate
$400-$600
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|
 |
188 |
WALTER F.
BROWN
(American 1853-1929)
Venetian Sail Boats
Oil on
canvas laid down
Signed lower
right
18.75 inches
x 14.75 inches
Estimate
$600-$800
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|
 |
196 |
J. BUCKHART
(European 20th century)
Summer Landscape with
Animals, circa
1940’s.
Oil on canvas
Signed “J. Buckhardt” ? lower
left
23 inches x 18.25 inches
Estimate $200-$300
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|
 |
58 |
ADDISON
BURBANK
(American 1895-1961)
Evening Celebration
Oil on
artist board
Signed lower
left
18 inches x
24 inches
Estimate
$500-$800
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|
 |
57 |
ADDISON
BURBANK
(American 1895-1961)
Guatemalan
Water Gatherers,
circa 1940
A pair of
paintings
Oil on board
Signed lower
left and lower right
18 inches x
24 inches each
Estimate
$1,000-$1,500
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|
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486 |
ADDISON
BURBANK
(American 1895-1961)
The Removal from the Cross
Watercolor
and gouache on paper
Signed lower
right
25 inches x
17 inches, unframed
Estimate $150-$250 |
|
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60 |
BYRON
BURFORD
(American b.1920-)
Penelope and
her Cat,
circa 1939
Oil on
canvas
Signed lower
right “Burford”
24 inches x
50 inches
Estimate
$800-$1,200
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|
 |
50 |
BYRON
BURFORD
(American b.1920-)
Route 51,
circa 1938
Oil on
canvas
Signed lower
left “Burford”
28 inches x
22 inches
Estimate
$800-$1,200
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|
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172 |
UMBERTO
CACCIARELLI
(Italian 19th/20th century)
The Duet
Watercolor
on paper
Signed lower
right "U. Cacciarelli - Roma"
21.75 inches
x 14.5 inches (55 cm x 37 cm)
Contained in
a vintage gilded frame.
Estimate
$2,500-$3,500
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|
 |
519 |
NEIL CAMPBELL
(British 20th century)
A Pair of Dogs Running
Bronze with
brown patina
Signed on
base
Height 8
inches (20.5 cm), Length 12.25 inches (31.5 cm)
Estimate
$200-$300
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|
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107 |
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|
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29 |
CHARLES
BOSSERON CHAMBERS
(American 1882-1964)
The Models for Men and Women
A pair of
paintings, circa 1925
Oil on
canvas
Both signed
lower left
27 inches x
33 inches and 24 inches x 30 inches
Estimate
$3,000-$5,000
The theme of
these paintings reflects the practice of encouraging men to
embrace Christ by trying to emulate Him in all that they do, in
their studies, in work and in marriage. Similarly, women are
encouraged to embrace God through emulating the Virgin Mary.
Particularly focusing on her unwavering obedience to God’s will
in all that they do. It is interesting to note that essentially
this same concept is clearly echoed in the Second Vatican
Council, which opened approximately 35 years after the
completion of this painting. In it the Council reminded the lay
faithful that if we are to truly transform the world in Christ
then we must all embrace Him by answering the call to holiness
in all that we do, above all in our day to day lives, regardless
of our social standings or vocation.
Charles Bosseron Chambers was an accomplished illustrator and
portraitist. His highly stylized signature is found on perhaps
the best known and most widely reproduced image of the infant
Christ-The Light of the World. Chambers was born and raised in
Saint Louis, Missouri and brought up within a devout Catholic
household.
Like the majority of American artists of the day, Chambers
sought an art education in Europe studying at both the Berlin
Royal Academy and the Royal Academy of Vienna. He also studied
in Dresden and Italy. Due to his mother’s ill health, the family
then moved to Florida where Chambers’ art career first took hold
painting society figures such as Henry Flagler, Henry Phipps and
many others.
In 1916 Chambers moved to Manhattan with his wife Anne, the
niece of Archbishop Patrick Freehan of Chicago. In 1919 Chambers
was commissioned to do work for the newly built St. Ignatius
Church in Rodgers Park, Illinois, a suburb of Chicago. There,
Chambers produced a painting of St. Joseph holding the infant
Christ. The face of the infant Christ from that painting was the
inspiration for the image known by millions of Catholics as The
Light of the World.
Between 1920 and 1950 literally millions of Chambers religious
paintings became reproduced and widely displayed. Chambers also
did other illustration work including Sir Walters Scotts
“Quentin Durward” for Scribners, together with many advertising
commissions. But it was his work in the religious field, prints,
holy cards, calendars and magazine covers that brought him
national recognition and a steady source of income.
Along with The Sacred Heart of Jesus, The Little Flower, The
Immaculate Heart of Mary, St. John The Baptist and many others,
the offered lot clearly illustrates Chambers high skill as a
painter. It also demonstrates an immediate and unambiguous
approach to his themes. An approach and style that conveys an
innocence of holiness which continues to produce generations of
admirers who connect in a most personal and deeply spiritual way
to his work.< |
