Day One – Saturday, November 20, 1999
Beginning at 10:00 AM
All items are sold in Lot Order.

Group Photo of lots 001-006 Here.  
Individual Photos can be viewed by clicking on the highlighted name in the description of each lot. 

1

BIRGER SANDZEN (American 1871-1952) “Smoky River” oil on canvas, 14.25” x 20.25”, signed and dated 1923 lower right. Stretcher inscribed in pencil “Smokey River” and “Birger Sandzen, Lindsborg, Kansas” and with period newspaper obituary of artist.  Estimate..... $17,500-$22,500

1A

A PERIOD COPY OF THE BIRGER SANDZEN Exhibition Catalog “The American Scandinavian Foundation 1922”, front and back cover with Sandzen block prints. 9.25” x 7.25”.  Estimate.............................. $100-$200

2

ERNEST MARTIN HENNINGS (American 1886-1956) “Pueblo Village” oil on board, signed lower right, 10”x14”.  Estimate........ $8,000-$12,000
Provenance: Marshall Fields & Company, Chicago, Illinois to a private Midwest collection.  Hennings immersed himself in all aspects of the Taos environment. He had a profound respect for the Pueblo Indians and sought to capture their tranquil and powerful life in his work. Of his life in Taos, Hennings wrote, “I have been working in Taos for many years and I think that should prove that I like it here, the country, the mountains with their canyons and streams, the sage beneath the clouded skies, the adobe village with its Spanish people and of course the Taos Pueblo with its Indians.” A native of Chicago and student of the Chicago Art Institute, Hennings was one of many Taos artists who exhibited often at various Chicago galleries incl. Marshall Fields.

3

ANTHONY THIEME (American 1888-1954) “A Courtyard” watercolor, 15” x 21.5”, signed, titled & dated lower left. “A. Thieme St. Augustine 1944”. Verso with Grand Central Art Galleries exhibition label April-May 1947. Estimate........................................................ $800-$1,200

4

ATTRIBUTED TO MAURICE BRAUN (American 1877-1941) “Mountainous Desert Foot Hills” sketch, oil on board, signed lower right, “M. Braun 5”x7”. Estimate $1,000-$2,000  Provenance: Private collection Chicago, Illinois.  According to Martin E. Petersen, author of “Second Nature - Four Early San Diego Landscape Painters,” Prestel - Verlag Publishing, 1991; “Braun was frequently, but not exclusively a studio painter. When he first began painting in California, he would often paint large canvases in the field. Usually, however, he would make a small oil sketch in situ. These sketches were essentially studies of light, form and texture, either on a panoramic scale or smaller details of rocks or trees.”

5

JOSEPH RUSLING MEEKER (1827-1889) “Bluffs on the Mississippi River” oil on canvas laid down, 20”x30”, signed lower left. Estimate $4,000-$6,000

6

WILLIAM KEITH (American 1839-1911) “Sunset Russian River” oil on board, signed lower left “W. Keith” and inscribed on verso with title & artist’s name. 12.25”x18.5”. Estimate ....................$3,000-$4,000 
Provenance: The Father Karl Klein Estate.  The offered lot comes with a letter dated “Los Angeles Oct. 25, 1923” addressed to the artist “Dey de Ribkowsky” and reads “Dear Sir, the Sunset by William Keith which you have from me - my father purchased from Mr. Keith twenty-five years or more ago. We have had it since I can remember. My father was a close friend of the artist. Sincerely Etla Ryan Egan.”

Group Photo of Lots 007-015 Here.

7

JOHN PHILIP FALTER (American 1910-1982) “Old Gold Advertisement” circa 1950, oil on canvas, signed lower right. 28.25”x22.25”. 
Estimate $1,000-$1,500 Lot includes full color printed sheet of finished ad with super imposed text “No grandstand plays...no offside treatment...that’s Old Gold!” Life, Look and Post, November 1950.

8

9

LEO KOBER (American 1878-1931) “Plentiful Catch” oil on canvas, signed with initial “K” and dated 1910 lower right. 12”x10”.  Estimate $500-$750

10

ALMA HELD (American 1898-1988) “Young Athlete” oil on board, 30”x24”, double signed upper left & lower left.  Estimate $2,000-$3,000 
Alma Held's childhood notebooks show a keen interest in art from a very early age.  She was an exceptional draftsman and astute painter. She graduated from the University of Iowa under the instruction of Charles Cumming (1926). She also studied at the Cape Cod School of Art under Charles Hawthorne, whose influence can readily be seen in her works. She studied at the National Academy of Design where she was awarded the Suydam Bronze Medal for life drawing. Held began exhibiting at the Iowa Art Salon in 1925 where she was awarded a silver medal for a still life and a gold medal the following year for a portrait. She taught together with Grant Wood at the University of Iowa for a short period, but for the majority of her unwed life she sustained herself through her art.  She exhibited widely in the Midwest including Kansas City Missouri, Joslyn Memorial Omaha, Nebraska, the Little Gallery in Cedar Rapids and numerous others. She gained regional prominence and she was highly sought after for her portraiture work. Her works can be found in many public buildings throughout Iowa and are held by the Waterloo Museum of Art and the Hearst Center for the Arts.

11

BEN FOSTER (American 1852-1926) “Burning Leaves in a Wooded Winter Landscape” oil on canvas, 24” x 18”, signed lower right. 
Estimate... $1,750-$2,500

12

CLARA TAGGART MCCHESNEY (American 1860-1928) “Portrait of a Beautiful Young Woman” oil on canvas, 40.25”x30.25”, signed and dated 1918 lower right. Estimate $1,500-$2,500 Note: Supposedly a portrait of Mrs. Adolphe Wenzell, wife of a former Director of the First Bank of Boston.

13

HENRY BACON (American 1839-1912) “Pretty Polly” oil on board, 12.5”x9.5”, signed and dated lower right 1864. Inscribed on verso with title. Estimate.............................................. $750-$1,500

14

CHARLES PARTRIDGE ADAMS (American 1858-1942) “Estes Park Landscape”. Oil on canvas, signed & dated 1898 lower right 22.5”x24.25”. Estimate............................... $3,000-$5,000

15

DEY DE RIBKOWSKY (American 1880-1936) “The Grand Canyon” oil on canvas, signed lower right, 20”x15”.  Estimate $1,000-$1,500  Provenance: Father Karl Klein estate.  Dey de Ribkowsky was a well traveled artist for his time. Born in Bulgaria, at age 13 he began art studies in Paris and continued in Florence and St. Petersburg. From there he sailed to Buenos Aires where he founded the Beaux - Arts in 1904. In 1910 he immigrated to the U.S. It would appear De Ribkowsky traveled and painted extensively throughout the U.S. settling in California in the early 1920’s. While primarily thought of as a Marine painter, his subjects appear to be varied. His works are held in numerous private collections and museums including: Alexander III Museum - St. Petersburg, Uruguay Museum, Buenos Aries National Museums and many others.

Group Photo of lots 016-024 Here.

16

after ANDREA SOLARIO (Italian 1460-1530) “Sorrowful Madonna” oil on gessoed wood panel, 15” x 12”, contained in a large and impressive carved 16^th-style Italian frame.  Estimate................................ $800-$1,200

17

ITALIAN SCHOOL (18^th century) “St. Francis of Assisi”, oil on copper, unsigned, 10”x9.5”. Estimate........................................ $500-$750

18

19

CONTINENTAL SCHOOL (18^th/19^th century) “The Apostle Saint James” oil on canvas, unsigned, 26”x21”.  Estimate........................ $800-$1,200

20

CONTINENTAL (19^th century) “The Madonna” in the 15^th century style, oil on gessoed wood panel, 15”x12”. Estimate $400-$600  Provenance: The Father Karl Klein Estate.

21

CONTINENTAL SCHOOL (19^th century) “The Nursing Virgin” oil on tin, unsigned, 13.75”x10.75”.  Estimate .............................. $300-$500

22

follower of  CORRADO GIAQUINTO (Italian 1703-1765) “Christ Before Pontius Pilate”, oil on canvas, unsigned, 39”x29”.  Estimate $2,000-$3,000 The red flag on the right side of this image displaying the letters “SPQ” meant to read “SPQR” for “Senators, Populi, quam Romanes” - a Roman slogan, here included to represent the authority of Rome - Pontius Pilate.

23

SPANISH COLONIAL (18^th century) “Gathering of the Archangels”, oil on copper, unsigned. 9.5”x7.5”. (Probably Mexican School). 
Estimate....... $1,500-$3,000 Provenance: Father Karl Klein Estate.

24

CONTINENTAL SCHOOL (circa 1700) “St. Jerome” oil on canvas, unsigned, 25.5”x18.5”. Estimate ............................................. $1,000-$1,500

25

attributed to JOHN L. RITCHIE (British d.1875) “Dawn” oil on canvas, unsigned, 10.5” x 14”. Estimate ................................. $800-$1,200

26

NOVAK (European 19^th/20^th century) “Landscape at Dusk” oil on canvas, signed lower right, Verso with Gallerie label of “Gemalde - Salon Schutzler. Leipzig.”. Estimate................ $750-$1,000

27

28

CAMILLE MAGNUS (French b.1850-) “Forest Clearing with Figure” oil on canvas, signed and dated 79 lower right. 23.25”x29”.  Estimate $800-$1,200

29

REINHARD ZIMMERMAN (German 1815-1893) “A Hearty Debate” oil on wood panel, signed and dated 1875 lower right, 18” x 24”.  
Estimate      $6,000-$10,000

30

ARTHUR TREVOR HADDON (British 1864-1941) “Mediterranean Market” oil on canvas, signed lower right, 28”x36”.  Estimate.. $2,500-$3,500

31

A LARGE & IMPRESSIVE GILT-BRONZE MONSTRANCE, probably French. Resting on a six lobed flared base decorated with lilies and a cross, a Gothic column stem with scrolling foliage support. The central exposition window encircled with 24 Austrian brilliant cut crystals. An ornate multi-layer brilliant sunburst with cross finial and with removable luna. Height 25.25”.  Estimate.......................................................... $1,750-$3,000

32

A FINE CONTINENTAL SILVER-GILT CHALICE, circa 1912. The base finely engraved with the four Evangelists, Christ & the Madonna & Child. The stem in guilloche’ red enamel above & below the node. The bowl supported by a pierced foliage design and engraved in Latin, “You have redeemed us Oh Lord in your blood.” Hallmarked 800 & with dedicatory inscription dated 1912, possibly Polish. Weight 1 pound 8 oz, Height 8.75”. Together with a gilded sterling paten. Estimate........................................... $1,750-$3,000

33

A LARGE GILT BRONZE CHALICE, 19^th century continental. The base and stem decorated with winged cherubs, the bowl with flowers. Height 10.5”. Estimate.................. $800-$1,200

34

A FINE SILVER AND GILT BRONZE CHALICE. Overall engraved with intertwining strapwork. The base with applied cross displaying a brilliant cut stone. Height 9.25”. Together with a gilded sterling paten. Estimate         $800-$1,200

35

A FINE 19^TH CENTURY SILVER GILT CHALICE, probably German. Beautiful bulbous base chased with scrolling foliage, the node of solid silver supporting a pierced basket receptacle for bowl. Indistinguishable hallmark. Height 9”. Estimate.............................. $1,500-$2,500

36

A SILVER AND GILT-BRONZE CASED CHALICE AND PATTEN SET. The domed base with cross, grapes and wheat supporting a stem with large node holding a gilded-sterling marked cup. With fitted velvet lined case and sterling paten. Height 9”.  Estimate ......................... $800-$1,200

37

A SILVER AND GILT BRONZE CIBORIUM, 19^th century. Base marked “J. Stanek - Praha.” Silver-gilt bowl hallmarked and lid with cross finial displaying multi-faceted garnet. Height 11.5”. Estimate................ $800-$1,200

37A

38

FINE 18^TH/19^TH CENTURY POLYCHROMED & GILT IRON HOLY WATER FONT displaying angels below the empty cross adorned with a shroud and crown of thorns. Estimate....... $600-$1,200

39

A BEAUTIFUL SOUTH GERMAN DOUBLE-SIDED PAINTED ALTAR CROSS, 18^th century. Painted with the crucified Christ together with the four Evangelists at each end. The reverse with the Virgin, Holy Spirit and various saints including Francis and Anthony. Breathtaking. Height 25”. 
Estimate $1,000-$1,500

40

NO LOT

41

A LARGE GILT BRONZE TABERNACLE. Resting on a dome base, the cylindrical body with handles and heavy bronze door depicting two angels praying before the cross. The cone finial with flame. Together with a solid sterling ciborium. With working lock & key. Height 32”. Estimate $1,500-$2,500

42

AN 18^TH / 19^TH CENTURY GILT-IRON HOLY WATER FONT. The bowl in the form of a shell as used by St. John the Baptist. Above the bowl the Holy Spirit depicted as a dove. The entire form with winged cherubs. Height 14”. Estimate................................................................. $500-$800

43

A LARGE AND IMPRESSIVE GILT-BRONZE TABERNACLE. The 16” diameter cylindrical body with large heavy bronze door depicting Christ upon the cross with a multitude gathered at his feet in prayer. Height 21”. Estimate............................................................... $800-$1,200

44

HEAVY BRONZE ALTAR CRUCIFIX, 19^th century. Resting on four raised feet, the base with relief foliage and the Greek abbreviated name of Christ. Height 19”. Estimate ........ $300-$500

45

A VERY FINE SOUTH GERMAN OR ITALIAN CARVED BUST OF CHRIST, circa 1900. Carved completely in the round out of a solid piece of wood. Exceptional detail, Height 7”. Estimate ..... $400-$600

46

A GILT BRONZE ALTAR ANGEL. Resting on a circular footed base embellished with paste stones a winged angel holds an orb with cross finial. Height 11.75”. Estimate........... $400-$700

47

AN ANRI CARVED WOOD MADONNA & CHILD FIGURE, Height 10.75”. Estimate................................ $200-$400

48

A CARVED AND POLYCHROME ALTAR CRUCIFIX, probably South German, 19^th century. Height 17”.  Estimate................. $100-$300

49

A LARGE BRONZE SANCTUARY LAMP. The rim with winged cherubs. Length 34”. Estimate ............ $400-$600

50

A POLYCHROME CRUCIFIX with sculpted corpus mounted on wood cross. 16”x8”. Estimate............................... $75-$150

51

A FINE PIERCED BRONZE ADJUSTABLE GOSPEL STAND. Width 12”, Height 11.5”. Estimate................................................ $600-$1,000

52

A PAIR OF SEVEN LIGHT, GILT CANDELABRUM. Height 30” each. Estimate............................................................... $500-$800

53

A FINE PAIR OF GILT-BRONZE, adjustable seven light candelabrum. Height 25”, at rest.  Estimate.................................................... $500-$800

54

A RUSSIAN, SILVER RELIQUARY CROSS with receptacles and hinged lid. 20^th century. 4”x3.5”.  Estimate..................................... $250-$400

55

RUSSIAN ICON: The Iverskaya Mother of God, circa 1896. A large and impressive icon painted on Mt. Athos and acquired there from the Russian Monastery of Panteleimon. The Mother of God with bleeding cheek wound gestures toward her son, the infant Christ whom she holds in her arm. The upper left corner with a full length image of the “Holy Great Prince Alexandr Nevskiy.” The upper right corner with the “Holy Great Martyr Princess Alexandra” the entire image overlaid with a stupendous 10 piece, silver-gilt, repoussé , chased and heavily enameled riza embellished with paste stones and weighing one pound twenty eight ounces. Riza hallmarked Moscow, dated 1896 and with Cyrillic makers mark “I.T.” Ivan Phiippovich Tarabrov, active in Moscow from 1893-1913 and with works in the collection of the State Historical Museum. Verso of icon printed in Cyrillic “On the Blessed and Holy Mountain, Athos at the Russian Monastery of Panteleimon, this icon was blessed.” It was every pious Russian’s desire to visit the Holy Land via Mt. Athos. It would appear that the offered lot was acquired by a pilgrim of some wealth. For to commission a riza such as the one which adorns the present icon, one would have to have substantial wealth. An incredibly beautiful icon of the type less frequently encountered. 19” x 10.5”. 
Estimate .... $12,000-$18,000

56

RUSSIAN ICON: The Mother of God of the Passion, 19^th century. Here the Mother of God looks tenderly upon her infant son, Christ who looks upwards at one of two descending Angels of the Lord who hold in their hands implements of the passion. Overlaid with a beautiful silver-gilt, repoussé and chased riza with shaded enamel haloes and corner plaques. Also with painted porcelain title plaques. The Virgin’s mantle set with paste stones upon her head & shoulder. Hallmarked Moscow, circa 1908 and with Cyrillic makers mark of “A.A.”, probably Andre Alexandrov, active 1879-1917. Beautiful! 12.75”x10.75”. Estimate........................... $5,000-$7,500

57

RUSSIAN ICON: The Lord Almighty, 19^th century. An exceptionally well painted bust portrait of Christ preserving the 17^th century style. Painted on a dark caramel ground with gold hatched halo and highlights. Titled in gilt Old Church Slavonic, (Gospod Vsederzhitel) - “The Lord Almighty”. Overlaid with a very fine silver repoussé and finely chased riza. Hallmarked Moscow and dated 1848. Cyrillic makers mark “M.F.” Maxim Fontikov, active 1840-1900. A fine icon in excellent condition. 12.25”x10.5”  Estimate.. $2,000-$3,000

58

RUSSIAN ICON: John the Forerunner, 18^th century. A finely painted icon with obvious Moscow Armory School influence. Here John, known in the West as “The Baptist” is shown wearing a hair shirt and holding a scroll upon which is written: “behold the Lamb of God, which takes away the sins of the world.” A text adapted from John 1:29. The entire image overlaid with a later, rare, silver filigree riza, hallmarked Moscow and dated 1818. 13”x10.6”. 
Estimate   $4,500-$6,000

59

RUSSIAN ICON: The Smolensk Mother of God, 19^th century. Mary holds the infant Christ who delivers a blessing. Overlaid with a two-tone silver-gilt riza with multi-color enamel halo and enamel title plaques. Hallmarked Moscow and with indistinguishable maker mark. 12.25”x10.5”. 
Estimate $2,500-$3,500

60

RUSSIAN ICON: The Lord Almighty, circa 1900. Finely executed in egg tempera, Christ delivers a blessing with his right hand & holds an open book of Gospels to John 13:34, “A New Commandment I give unto you, that ye also love one another...”. The entire image overlaid with a masterpiece of silver & enamel work. The 1½ pound silver-gilt, repoussé riza embellished with fantastic shaded enamel corner plaques & halo. The Gospel text in champleve enamel, the background engraved in scrolling foliage & the borders in heavy relief repoussé work. The clothing of Christ in matte stippled silver and matte, & polished gold plate with intricate chasing. Hallmarked Moscow, circa 1908-1917 & with Cyrillic makers mark “S.K.” for Simeon Kazakov, active 1899-1908 with works in various Russian Museums. A true masterpiece. 12.5”x10.25”.  Estimate...................................... $13,000-$16,000

61

RUSSIAN ICON: The Vladimir Mother of God, 19^th century. Exquisite painting with fine detail on a gold leaf ground. Here Mother and Child in a tender cheek to cheek embrace in this famous Russian Icon. The left border with the Guardian Angel, on the right the female Martyr Fotinna. Overlaid with a beautiful gilded, repoussé and chased riza. The gown of the Virgin and Christ covered with a riza sewn with a profusion of seed pearls, paste gemstones and beads. Breathtaking. 12.75”x10.75”.  Estimate ......... $3,500-$4,500

62

RUSSIAN ICON: The Tikhvin Mother of God, 19^th century. Here the Mother of God gestures towards the Infant Christ who delivers a blessing with his right hand. It is this gesturing motion which places this particular icon in the category called “Hodigetria,” Greek for “Way-Shower” or “Guide”. Tradition has it that the original Tikhvin icon was painted by Saint Luke, and was transported from place to place until mysteriously coming to rest on the “Tikhvin” river in 1510. A finely painted image laid down on a green ground keeping faithful to the traditional style of the pre-Nikon period. The entire image overlaid with a finely crafted gilt, repoussé and chased riza. In fine condition. 12.25”x10.25”.  Estimate     $650-$1,000

63

RUSSIAN ICON: Mother of God, Joy to All Who Sorrow, circa 1908. Here Mary is seen atop a bank of clouds holding the infant Christ who delivers a blessing. They are attended by angels who deliver food and clothing to the suffering people gathered below. Overlaid with a very fine multiple piece silver-gilt, repoussé and engraved riza. The haloes in multi-colored shaded enamel. The title plaque in champleve enamel. Beautiful. 12.25”x10.25”. 
Estimate ....................... $2,000-$3,000

64

RUSSIAN ICON: The Feodorskaya Mother of God, 18^th century. Mary and Christ in a tender cheek to cheek embrace. The icon takes its name from visions witnessed by the citizens of Kostroma who saw an icon of this type being carried through the streets by a mysterious warrior whom they believed to be Saint Theodore (Feodor-Russian). In the early 17^th century the prototype for this icon was used to bless Mikhail Romanov upon his ascension to the throne. It thus became the patron of the House of Romanov. The borders with silver basma work. The Virgin and Child’s heads encircled by silver-gilt haloes and a tsata. A fine old icon. 12.75”x10.75’.  
Estimate....... $2,500-$3,500

Photo of Lots 065-073 Here.

65

RUSSIAN ICON: The Smolensk Mother of God, 19^th century. The Mother of God holding the infant Christ who delivers a blessing. The entire image overlaid with a repoussé and chased silvered metal riza with attached halo. The veil of the Virgin overlaid with a thick padded riza adorned with seed pearl stones & beads. 12.75”x10.75”.  Estimate........ $1,750-$2,500

66

RUSSIAN ICON: The Annunciation, circa 1845. Here the Archangel Gabriel (left) announces the coming birth of Christ to Mary (right). The entire image overlaid with a very fine and heavy, repoussé and chased gilded silver riza with attached haloes. Hallmarked St. Petersburg & with Cyrillic makers mark “T.Z.” Tikhon Zalesov, active St. Petersburg 1845-1854. At top center God the Father; and between them a dove, sign of the Holy Spirit.  On the top border the title in Old Church Slavonic “Blagovyeshchenie.” Exceptional craftsmanship in the riza. 12.25”x10”.  Estimate........... $2,000-$3,000

67

RUSSIAN ICON: The Sign Mother of God, 19^th century. In this, the famous National Miracle Working Russian Icon, Mary is depicted with arms outstretched and the young Christ upon her chest. The borders with family Saints including: The Archangel Michael, the Holy Martyr Ekaterina (Catherine), Athanasius the Great, and the Venerable Pelagia. The entire image overlaid with a heavily repoussé silver riza with attached haloes. Hallmarked St. Petersburg and dated 1845. Cyrillic makers mark “A.O.” 12.5”x10.5”.  Estimate $2,000-$3,000

68

RUSSIAN ICON: The Guardian Angel, first part of the 19^th century. The Guardian Angel is the spiritual being who watches over each human. He is often found as a secondary figure on many icons, and is also frequently found as a “border saint”. His attributes are a cross & sword. Christ Emanuel is seen on the upper margin. Overlaid with a heavily repoussé & chased silvered metal riza with attached halo. The image is identified by the engraved title plaque, “The Holy Guardian Angel” 12.5”x11”.  Estimate...... $1,500-$2,000

69

RUSSIAN ICON: The Resurrection, circa 1900. In early icons this subject is depicted as Christ’s descent into Hades to free the Old Testament righteous men and women held there in captivity. The subject is hinted at in I Peter 3:19, but is mostly based on the apocryphal Gospel of Nicodemus. Here Christ is shown at center atop the fallen gates of hell. Jesus grasps the hand of Adam, and Eve kneels at Christ’s feet (right). Behind them are the others identified by inscriptions as: King David, Solomon, Daniel, John the Baptist, Moses and others. A beautiful icon preserving the 16^th century style. 12.5”x10.5”.  Estimate    $1,000-$1,500

70

RUSSIAN ICON: The Unburnt Thornbush Mother of God, circa 1800. The title for this icon is based on the vision by the Old Testament Prophet Moses who saw a Thornbush burnt but not consumed by the flames. An Old Testament prefiguration of Mary. She is depicted at center holding the infant Christ and set upon a pair of four pointed stars. On the four points of one of the stars are the symbols of the four Evangelists. On the points of the other star and in the heavens depicted as stylized clouds are angels which represent virtues and elemental powers. In the corners are more Old Testament prefigurations of Mary, Moses (upper left), Isaiah (upper right), Ezekiel (lower left) and Jacob (lower right.) The borders overlaid with earlier engraved basma with inscriptions identifying many of the depicted scenes and with the title for this icon “Neopalimaya Kupina” at top. The Virgin and infant Christ with haloes and tsata. A complex and interesting icon depicting over 20 images of Angels. 12.25”x10.5”. Estimate........................................... $2,500-$3,500

71

RUSSIAN ICON: The Mother of God Joy To All Who Sorrow with Saints, late Yaroslavl style, 18^th century. In this beautiful and unique rendering, Mary and the Infant Christ are shown surrounded by a throng of needy humans. Below is the image of the “Not Made by Human Hands,” Image of Christ. The central motifs are flanked by a gathering of fifteen saints some of which include, St. Flaurus, St. Demetri, Sts Kirik and Julita, & below center right is the Holy & Good Believing Prince Theodore of Smolensk and Yaroslavl together with his children David and Constantine. The young David delivering a blessing in the manner preferred by the “Old Believers”. Exceptional detail atop gold leaf & applied silver gilt haloes. The title inscribed on the top margin in Slavonic. 12.25”x11.25”.  Estimate......................................... $3,500-$4,500

72

RUSSIAN ICON: The Descent of the Holy Spirit, around 1823. Here the 12 Apostles together with the Mother of God are gathered together in a room. The Holy Spirit in the form of a dove descends upon the apostles & leaves a flame atop each one, see Acts 2. The entire image overlaid with a truly outstanding heavily repoussé & chased gilded silver riza with applied halo & dove. Hallmarked Kursk & dated 1823. Cyrillic makers mark “P.F.” 12.75”x10.5” Estimate........................ $2,500-$3,500

73

RUSSIAN ICON: Mary of Egypt with Life Scenes, 19^th century. Mary of Egypt (Egipetskaya) was an actress & prostitute of Alexandria. Repenting of her worldly life, she went to live in the desert as an ascetic. In the desert she was found (430 AD) by the monk Zosimus, who gave her communion. Later on he discovered she had died so he buried her and spread the story of her pious life. She is depicted here as a partially-clothed ascetic with long stringy hair. In the background are scenes of her being discovered by Zosimus, Zosimus giving her communion and so on. Christ at upper left in the form known as “The Not Made by Hands Image.” A less frequently encountered subject in good condition. 12.5”x10”.  Estimate ......................... $800-$1,200

74

Paul – César Helleu (French 1859-1927) “Portrait of James McNeill Whistler (Study)” pencil on paper, signed lower right, 20”x15”. Circa 1897.  Estimate................................ $12,000-$18,000

75

Group Photo of lots 076-077 Here

76

77

Group Photo of lots 078-079 Here

78

79

80

A SIGNED COPY OF SINCLAIR LEWIS’ “Main Street”. Illustrated by Grant Wood and signed by him as being copy #122 out of 1500. Signed in ink. With original slip cover. Estimate............. $300-$500

81

A GRANT WOOD SIGNED COPY of his 1935 “Lakeside Press Gallery” exhibition catalog. Estimate............................................ $150-$300

82

AN INTERESTING LOT OF CORRESPONDENCE including a signed letter about Grant Wood’s death, written by his sister “Nan Wood” the woman in Wood’s magnum opus “American Gothic” together with other letters written to and signed by Nan Wood Graham regarding her brother Grant. Together with a period copy of Wood’s “Lakeside Press Gallery” exhibition catalog.  Estimate.......................................................... $300-$500

83

“FAMILY DOCTOR” A framed and period Abbot Laboratories presentation facsimile of the print which they commissioned and distributed to the medical profession. Comes with interesting period presentation card discussing the work and Wood. 9”x11”. Estimate............. $100-$300

Arnold Pyle (American 1908-1973) American art of the 1930’s has recently seen a tremendous increase in interest from collectors, institutions and the public alike. One consequence of this renewed interest is the reevaluation of the many fine painters who worked with and near such figures as Grant Wood, but whose own work has been overshadowed by their better known contemporaries. Arnold Pyle is one such artist whose achievements and work are both noteworthy and important. The Regionalist Art movement in America shook the continent and indeed captured the attention of the art community with the unveiling of Grant Wood’s painting American Gothic at the 43^rd Annual Exhibition of American Paintings at the Art Institute in Chicago in the fall of 1930. While rumblings of this movement had begun earlier through the works of artist John Steuart Curry and Thomas Hart Benton, it was Wood’s works more than any other that seemed to solidify this truly American genre. For a short time, the epicenter of this cultural quake was the small country crossroads of Stone City, Iowa together with Cedar Rapids, Iowa, birthplace and lifelong home of artist Arnold Pyle. Arnold Pyle was born in Cedar Rapids, Iowa on May 27, 1908. It was from Grant Wood that Pyle first received encouragement to paint during an eighth grade art class instructed by Grant Wood. After graduation from high school Pyle became Wood’s studio assistant, building frames and taking instructions. On Pyle’s 21^st birthday, (1930) Grant Wood immortalized his young protégé in one of his pivotal paintings titled: Arnold Comes of Age, now held in the Sheldon Memorial Art Gallery, University of Nebraska - Lincoln. The year 1930 would also be the first year in which paintings by Pyle would be publicly exhibited, taking third prize at the Iowa Art Salon Exhibition with a painting titled Church at Old Stone City. The following ten years saw Pyle completely immersed in the world of art with his works being shown in over 25 exhibitions coast to coast giving him national recognition and garnering numerous awards. For two consecutive summers (1932, 1933) Pyle was a faculty member of the Stone City Art Colony where he met and became friends with artists John Steuart Curry. When the American Federation of the Arts provided funds for an experimental gallery in Cedar Rapids, Pyle was hired as assistant to the director, a position he held for five years. He was also a member of the Co-Operative Artists of Iowa, a progressive art group in the 1930’s and was also associated with the Art Students workshop in Des Moines. In addition he assisted Wood when Wood was appointed director of the Public Works Art Project for the state of Iowa.  In a preface written by Grant Wood for a catalog of paintings exhibited by Pyle in 1935 Wood wrote: “Arnold Pyle’s work is distinguished by the courage of color. (Continued on 17) (Continued from previous page.)  No symphonies in soft and easy grays; his paintings successfully attempt the much more difficult feat of controlling and harmonizing full intensities.” At the One Hundred Thirty-fifth Annual Pennsylvania Academy of Fine Arts Exhibition in 1936, at which Pyle exhibited the painting, “Train Moving” Thomas Hart Benton commented: “Hell, did he paint that? That was the only thing in the show!” An equal tribute lies in the fact that the artist Alexander Brook (1898-1980) bought the painting. Both Brook and Benton were on the jury for the exhibition. At the end of the 1930’s local business owner Arthur Collins offered Pyle the position of advertising director for his company Collins Radio. Pyle thought that he could maintain his private studio and art career while maintaining a more stable living in a relative field. However with the outbreak of World War II, Collins Radio mushroomed in size making advertising somewhat superfluous and Pyle was appointed Personnel Director.  With the War effort demanding his full attention, Pyle took a hiatus from painting, a break that would last until his retirement at age 60 in 1968. Almost immediately he began to paint again and produced a significant body of work in retirement. In his later work he experimented with both abstract and figural painting. His later figural painting was much more controlled and tighter that his earlier work. On June 9, 1973 and in an ironic twist of fate, Pyle was killed in an automobile accident while returning home from the 1^st Annual Grant Wood Festival. Since his death there have been a number of exhibitions showcasing the work of Arnold Pyle. Now almost 70 years after his first exhibition his works are once again fulfilling the mission of painting in the way Pyle believed they should; “To be a common means of social expression such as writing, speaking or dancing.”  Pyle’s passion for trains and train yards was due to the fact that Pyle’s father was an Engineer on the Chicago Northwestern Railway. -EXHIBITIONS- Iowa Art Salon, Des Moines, Iowa 1930-1938
Pennsylvania Academy of Fine Art, Philadelphia Pennsylvania 1934, 1936
Corcoran Gallery, Washington, D.C. 1934
Chicago Art Institute, Chicago, Illinois 1934-1935
Kansas City Art Institute, Kansas City, Missouri 1935
Phillips Memorial Gallery, Washington, D.C. 1936
New York Worlds Fair, New York 1939
Colorado Springs Fine Art Center, Colorado Springs, Colorado 1941
Joslyn Memorial, Omaha, Nebraska
Oakland Municipal Gallery, Oakland, California
American Federation of Arts, Barr Building, Washington, D.C.
University of Iowa, Iowa City, Iowa
Carson Pirie Scott Galleries, Chicago, Illinois
Increase Robinson’s Gallery, Chicago, Illinois
Cedar Rapids Museum of Art, Cedar Rapids, Iowa
And many others.  

Group Photo of lots 084-089 Here

84

ARNOLD PYLE (American 1908-1973) “Landscape with Bridge”, watercolor on paper, signed lower right. 14.5”x20”.  Estimate $250-$400.  Possibly exhibited at the Iowa Art Salon, 1938.

85

ARNOLD PYLE (American 1908-1973) “Round House”, circa 1933, watercolor and gouache on paper, signed lower center. 15”x22” (unframed).  Estimate $350-$500.  Provenance: Estate of Ruby Pyle, wife of the artist. Possibly the same work exhibited at the Iowa Art Salon in 1933 and which received honorable mention.

86

ARNOLD PYLE (American 1908-1973) “Yards at Marion”, watercolor on paper, signed lower right. 14”x22”  Estimate $400-$600.  Exhibited: Des Moines, Iowa, Iowa Art Salon 1938. Chicago, Illinois, Art Institute of Chicago, 18^th International Exhibition of Water Colors - 1939 (label on verso).

87

ARNOLD PYLE (American 1908-1973) “Fall Landscape”, circa 1930s, watercolor on paper, signed lower right. 14”x20” (unframed).  Estimate  $300-$400.  Provenance: Estate of Ruby Pyle, wife of the artist.

88

ARNOLD PYLE (American 1908-1973) “Sand Tower” oil on canvas, circa 1935, signed lower right, 18”x18”.  Estimate $500-$750.  Provenance: Estate of Ruby Pyle, wife of the artist.

89

ARNOLD PYLE (American 1908-1973) “Yellow Roof #20”, circa 1930s, watercolor and ink on paper, signed lower right. 12”x16” (unframed). Estimate... $200-$300.  Provenance: Estate of Ruby Pyle, wife of the artist.

90

ARNOLD PYLE (American 1908-1973) “Steam Engine”, circa 1930s, watercolor on paper, signed lower right. 14”x20” (unframed). Estimate   $250-$350.  Provenance: Estate of Ruby Pyle, wife of the artist.

91

ARNOLD PYLE (American 1908-1973) “Superior Wisconsin”, watercolor on paper, circa 1940, signed lower left. 14”x20” (unframed). Estimate $200-$300

92

ARNOLD PYLE (American 1908-1973) “Rural Landscape with Buildings and Fence”, circa 1930s, watercolor on paper, signed lower right. 14”x20” (unframed).  Estimate $200-$300 Provenance: Estate of Ruby Pyle, wife of the artist.

93

ARNOLD PYLE (American 1908-1973) “Downtown Along the Cedar”, circa 1930s, watercolor on paper, signed lower right. 14”x20” (unframed).  Estimate..... $200-$300 Provenance: Estate of Ruby Pyle, wife of the artist.

94

ARNOLD (American 1908-1973) “Wrecked Locomotive”, watercolor on paper, circa 1937, unsigned. 14”x20” (unframed). Estimate $200-$300 Provenance: Estate of Ruby Pyle, wife of the artist. Possibly the same work exhibited under this title at the Iowa Art Salon, 1937.

95

ARNOLD (American 1908-1973) “Rock Island Blacksmith Shop”, watercolor and gouache on paper, signed lower right. 15”x22” (unframed).  Estimate $350-$500 Provenance: Estate of Ruby Pyle, wife of the artist. Possibly the same work exhibited at the Iowa Art Salon in 1931.

96

ARNOLD (American 1908-1973) “Spring Flood on the Cedar”, watercolor on paper, circa 1940, signed lower left. 14”x20” (unframed).  Estimate............................... $200-$300

97

ARNOLD PYLE (American 1908-1973) “Engine at Rest”, circa 1930s, watercolor and gouache on paper, signed lower right. 14”x20” (unframed).  Estimate $350-$500  Provenance: Estate of Ruby Pyle, wife of the artist.

98

ARNOLD (American 1908-1973) “Train Yards”, circa 1930s, watercolor and ink on paper, signed lower right. 12”x16”. Estimate $200-$300  Provenance: Estate of Ruby Pyle, wife of the artist.

99

ARNOLD PYLE (American 1908-1973) “Train Yards”, circa 1930s, watercolor on paper, signed lower right. 14”x20” (unframed).  Estimate $200-$300  Provenance: Estate of Ruby Pyle, wife of the artist.

100

ARNOLD (American 1908-1973) “Small Town Cityscape”, watercolor pen and ink on paper, signed lower left. 12”x16” (unframed).  
Estimate   $200-$300

101

ARNOLD PYLE (American 1908-1973) “Spring Iowa Landscape