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Lot 1
ALFRED STIEGLITZ (1864-1964)
Reflections: Night - New York * The Glow of Night - New York.

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Lot 2
ARTHUR B. DAVIES (1862-1928)
Field near Montrose, Colorado.

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Lot 3
ARTHUR B. DAVIES (1862-1928)
Portrait of a Woman.

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Lot 4
EUGÈNE ATGET (1857-1927)
Le Soldat Laboureur par Lemaire (Tuileries, Paris).

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Lot 5
EUGÈNE ATGET (1857-1927)
St. Cloud (cascade).

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Lot 6
ABRAHAM WALKOWITZ (1878-1965)
Self Portrait.

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Lot 7
ABRAHAM WALKOWITZ (1878-1965)
Crouching Male Nude.

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Lot 8
ABRAHAM WALKOWITZ (1878-1965)
Wharf Scene (Gloucester).

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Lot 9
ABRAHAM WALKOWITZ (1878-1965)
Street View with Church Steeple.

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Lot 10
ABRAHAM WALKOWITZ (1878-1965)
Two watercolor and gouache landscapes.

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Lot 11
ABRAHAM WALKOWITZ (1878-1965)
Anticoli Corrado.

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Lot 12
ABRAHAM WALKOWITZ (1878-1965)
Two watercolors.

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Lot 13
ABRAHAM WALKOWITZ (1878-1965)
Park Scene.

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Lot 14
ABRAHAM WALKOWITZ (1878-1965)
Bathers in a Landscape.

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Lot 15
ABRAHAM WALKOWITZ (1878-1965)
Figures Gathering (Strollers).

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Lot 16
ABRAHAM WALKOWITZ (1878-1965)
Group of 4 watercolors of Isadora Duncan.

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Lot 17
ABRAHAM WALKOWITZ (1878-1965)
Group of 5 watercolors of Isadora Duncan.

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Lot 18
ARTHUR B. DAVIES (1862-1928)
Draped Female Figures.

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Lot 19
ABRAHAM WALKOWITZ (1878-1965)
New York.

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Lot 20
ABRAHAM WALKOWITZ (1878-1965)
Abstract Cityscape.

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Lot 21
ABRAHAM WALKOWITZ (1878-1965)
Abstract Cityscape.

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Lot 22
ABRAHAM WALKOWITZ (1878-1965)
Abstract Cityscape.

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Lot 23
ABRAHAM WALKOWITZ (1878-1965)
Two pen and ink abstract cityscapes.

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Lot 24
ABRAHAM WALKOWITZ (1878-1965)
Two abstract pencil drawings.

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Lot 25
ABRAHAM WALKOWITZ (1878-1965)
Group of 5 pencil drawings of abstract compositions.

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Lot 26
ABRAHAM WALKOWITZ (1878-1965)
Group of 5 drawings of abstract compositions.

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Lot 27
ABRAHAM WALKOWITZ (1878-1965)
Abstract Composition (Landscape).

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Lot 28
ABRAHAM WALKOWITZ (1878-1965)
Three ink drawings of abstract compositions.

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Lot 29
ABRAHAM WALKOWITZ (1878-1965)
Three ink drawings of abstract compositions.

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Lot 30
ABRAHAM WALKOWITZ (1878-1965)
Three ink drawings of abstract compositions.

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Lot 31
CARL VAN VECHTEN (1880-1964)
Abraham Walkowitz.

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Lot 32
ARNOLD NEWMAN (1918-2006)
Abraham Walkowitz in front of New York Stock Exchange * Portrait of Ibram Lassaw.

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Lot 33
WILLIAM ZORACH (1887-1966)
Washington Square Park, New York.

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Lot 34
WILLIAM ZORACH (1887-1966)
Flowering Tree.

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Lot 35
WILLIAM ZORACH (1887-1966)
Standing Nude.

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Lot 36
EUGENIE BAIZERMAN (1899-1949)
Young Artist (Portrait of Saul Baizerman).

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Lot 37
EUGENIE BAIZERMAN (1899-1949)
Enjoyment (Two Nudes).

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Lot 38
CARL SPRINCHORN (1887-1971)
Three brush and ink and wash drawings.

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Lot 39
ELIE NADELMAN (1882-1946)
Standing Nude in Profile.

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Lot 40
ELIE NADELMAN (1882-1946)
Standing Woman in Profile.

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Lot 41
ELIE NADELMAN (1882-1946)
Head.

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Lot 42
PAUL MANSHIP (1885-1966)
The Flight of Europa.

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Lot 43
LÉON HARTL (1889-1973)
Still Life with Grapes and Glass Bowl.

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Lot 44
JOSEPH STELLA (1877-1946)
Untitled.

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Lot 45
JOSEPH STELLA (1877-1946)
Untitled.

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Lot 46
JOSEPH STELLA (1877-1946)
Leader Brand.

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Lot 47
JOSEPH STELLA (1877-1946)
Four Leaves.

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Lot 48
JOSEPH STELLA (1877-1946)
Bathers.

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Lot 49
JOSEPH STELLA (1877-1946)
Chaussette.

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Lot 50
JOSEPH STELLA (1877-1946)
Two portrait drawings.

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Lot 51
JOHN GRAHAM (1886-1961)
Two color crayon portrait drawings.

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Lot 52
JOHN GRAHAM (1886-1961)
Two color pencil portrait drawings.

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Lot 53
JOHN GRAHAM (1886-1961)
Sketchbook with approximately 40 drawings.

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Lot 54
YASUO KUNIYOSHI (1889-1953)
Girl and Boy.

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Lot 55
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Snake in the Grass.

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Lot 56
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Still Life # 16 (Brioche and Petit Pain).

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Lot 57
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Study of a Brown Paper Bag.

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Lot 58
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two drawings.

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Lot 59
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two figure studies.

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Lot 60
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two drawings of women.

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Lot 61
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two pen and ink drawings.

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Lot 62
KONRAD CRAMER (1888-1963)
Two drawings.

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Lot 63
BERENICE ABBOTT (1898-1991)
Cherry Street, NYC.

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Lot 64
BERENICE ABBOTT (1898-1991)
Washington Arch, Looking Up 5th Avenue, Greenwich Village, NYC.

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Lot 65
BERENICE ABBOTT (1898-1991)
Pierre Mac Orlan.

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Lot 66
EDWARD WESTON (1886-1958) / COLE WESTON (1919-2003)
China Cove.

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Lot 67
RAPHAEL SOYER (1899-1987)
Rooftops in Cape Cod.

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Lot 68
GEORGE C. AULT (1891-1948)
Landscape with Tall Tree.

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Lot 69
GEORGE C. AULT (1891-1948)
Kitchen Table.

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Lot 70
KONRAD CRAMER (1888-1963)
Interior with a Stove.

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Lot 71
WOOD GAYLOR (1884-1957)
Three watercolors.

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Lot 72
WOOD GAYLOR (1884-1957)
Three watercolors.

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Lot 73
EMILE BRANCHARD (1881-1938)
At the Lake.

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Lot 74
EMILE BRANCHARD (1881-1938)
The Old Barn.

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Lot 75
EMILE BRANCHARD (1881-1938)
Mountain Landscape.

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Lot 76
EMILE BRANCHARD (1881-1938)
Mother and Child.

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Lot 77
ARNOLD FRIEDMAN (1879-1946)
Two watercolors.

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Lot 78
ARNOLD FRIEDMAN (1879-1946)
Three watercolors.

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Lot 79
ARNOLD FRIEDMAN (1879-1946)
Industrial Landscape on a River.

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Lot 80
ARNOLD FRIEDMAN (1879-1946)
Coastal Landscape with a Red Boat.

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Lot 81
ARNOLD FRIEDMAN (1879-1946)
Wooded Hillside.

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Lot 82
TURKU TRAJAN (1887-1959)
Three abstract oils on canvas.

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Lot 83
TURKU TRAJAN (1887-1959)
Three oils on canvas board.

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Lot 84
ILSE BING (1899-1998)
Tours, France.

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Lot 85
BRASSAÏ (1899-1984)
Self Portrait.

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Lot 86
BRASSAÏ (1899-1984)
Un Fiacre devant le Café Le Dome, Montparnasse.

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Lot 87
BRASSAÏ (1899-1984)
Le Désir * Loctudy.

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Lot 88
BRASSAÏ (1899-1984)
Matisse, Sketching.

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Lot 89
ALBERT EUGENE GALLATIN (1881-1952)
Henri Matisse, Nice.

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Lot 90
ÉMILE SAVITRY (1903-1967)
Brassaï.

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Lot 91
JULIO GONZÁLEZ (1876-1942)
Paysanne à la Sarcle.

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Lot 92
JACQUES VILLON (1875-1963)
Nature Morte.

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Lot 93
FRANÇOIS KOLLAR (1904-1979)
Lilas Blanc.

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Lot 94
FRANÇOIS KOLLAR (1904-1979)
Hands and Brooch.

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Lot 95
ROGER PARRY (1905-1977) & FABIAN LORIS (1906-1979)
Banalité.

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Lot 96
Albert Renger-Patzsch (1897-1966)
Amphitheater.

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Lot 97
Albert Renger-Patzsch (1897-1966)
A group of 5 industrial studies.

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Lot 98
GEORGE L. K. MORRIS (1905-1975)
Composition #9.

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Lot 99
BALCOMB GREENE (1904-1990)
Untitled.

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Lot 100
GERTRUDE GREENE (1904-1956)
Untitled.

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Lot 101
THEODORE ROSZAK (1907-1981)
Untitled photogram.

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Lot 102
THEODORE ROSZAK (1907-1981)
Studies for Constructions.

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Lot 103
SIDNEY GEIST (1914-2005)
Untitled.

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Lot 104
PAULE VÉZELAY (1892-1984)
Untitled.

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Lot 105
PAULE VÉZELAY (1892-1984)
Six Forms (No. 9, 1936).

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Lot 106
PAULE VÉZELAY (1892-1984)
Six Forms in Six Compartments.

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Lot 107
PAULE VÉZELAY (1892-1984)
Trois formes.

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Lot 108
PAULE VÉZELAY (1892-1984)
Lines in Space No. 42 (One White Plastic and One Copper Line in Space on White).

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Lot 109
PAULE VÉZELAY (1892-1984)
Lines in Space No. 24 (Red, White and Blue Plastic Curved Lines Against Red Background).

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Lot 110
PAULE VÉZELAY (1892-1984)
Lines in Space No. 11 (Sept Angles sur Fond Noir).

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Lot 111
Ella Bergmann-Michel (1896-1972)
Fadencollage–Studie II.

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Lot 112
Ella Bergmann-Michel (1896-1972)
Film von Sündenfall zu Basel.

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Lot 113
EILEEN AGAR (1899-1991)
My Muse.

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Lot 114
JEAN COCTEAU (1889-1963) & MAN RAY (1890-1976)
L'Ange Heurtebise.

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Lot 115
MAN RAY (1890-1976)
New York 1920.

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Lot 116
(MAN RAY) (1890-1976)
Portrait of Man Ray in the apartment of Lee Miller and Tanja Ramm, Paris.

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Lot 117
MAN RAY (1890-1976)
Jacques Villon.

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Lot 118
MAN RAY (1890-1976)
La Photographie n'est pas l'Art.

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Lot 119
MAN RAY (1890-1976)
Françoise Rosay.

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Lot 120
MAN RAY (1890-1976)
The studio on rue Férou featuring a painted screen by Man Ray, titled "The Twenty Days and Nights of Juliet."

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Lot 121
MAN RAY (1890-1976)
Venus Restaurée.

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Lot 122
MAN RAY (1890-1976)
Perpetual Motif.

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Lot 123
MAN RAY (1890-1976)
Matchbox (Boîte d'allumettes).

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Lot 124
MAN RAY (1890-1976)
Enough Rope II.

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Lot 125
MAN RAY (1890-1976)
Phare de la Harpe.

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Lot 126
MAN RAY (1890-1976)
Lèvres d'Or.

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Lot 127
MAN RAY (1890-1976)
Pain peint (Blue Bread) (Catalogue d'exposition Man Ray qui s'est tenue à la Galerie Alexandre Iolas à Paris en 1973-74).

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Lot 128
MAN RAY (1890-1976)
Les Six Masques Voyants.

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Lot 129
MARCEL DUCHAMP (1887-1968)
Rotoreliefs.

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Lot 130
MARCEL DUCHAMP (1887-1968)
La Moustache sans la Joconde (Non vouloir).

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Lot 131
MARCEL DUCHAMP (1887-1968)
Certificat de lecture.

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Lot 132
MARCEL DUCHAMP (1887-1968)
The Large Glass and Related Works.

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Lot 133
NAOMI SAVAGE (1927-2005)
Marcel Duchamp and Man Ray.

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Lot 134
NAOMI SAVAGE (1927-2005)
There are more Duchamp scholars than there are Duchamp collectors.

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Lot 135
ALEXANDER LIBERMAN (1912-1999)
Marcel Duchamp's Hands, New York City.

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Lot 136
Henri Cartier-Bresson (1908-2004)
Bowery (A short time only).

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Lot 137
ROBERT FRANK (1924-2019)
Paris (Lovers on a Bench).

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Lot 138
Laure Albin-Guillot (1879-1962)
Panorama of New York City.

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Lot 139
Laure Albin-Guillot (1879-1962)
Arbres.

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Lot 140
Laure Albin-Guillot (1879-1962)
Ciels.

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Lot 141
Laure Albin-Guillot (1879-1962)
Portrait of a Woman.

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Lot 142
ANDRÉ BRETON (1896-1966) & MARCEL DUCHAMP (1887-1968)
Le Surréalisme en 1947.

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Lot 143
ALEXANDER ARCHIPENKO (1887-1964)
Torso, Female Torso.

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Lot 144
SAUL BAIZERMAN (1889-1957)
Two bronze sculptures.

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Lot 145
SAUL BAIZERMAN (1889-1957)
Large Head (Self Portrait).

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Lot 146
BARBARA MORGAN (1900-1992)
Beaumont Newhall, Ansel Adams, and Willard Morgan - in Barbara's Studio.

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Lot 147
BARBARA MORGAN (1900-1992)
Pearl Primus - Speak to me of Rivers.

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Lot 148
BARBARA MORGAN (1900-1992)
Martha Graham, American Provincial * Doris Humphrey with My Red Fires, Matriarch * José Limón, Chaconne * Martha Graham, Ekstasis.

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Lot 149
EARL KERKAM (1891-1965)
Three figure drawings.

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Lot 150
KONRAD CRAMER (1888-1963)
Group of 4 works on paper.

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Lot 151
KONRAD CRAMER (1888-1963)
Nude Figure.

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Lot 152
KONRAD CRAMER (1888-1963)
Study of Construction #4.

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Lot 153
WILFRID ZOGBAUM (1915-1965)
Still Life.

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Lot 154
WILFRID ZOGBAUM (1915-1965)
Untitled.

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Lot 155
WILFRID ZOGBAUM (1915-1965)
Abstract Composition.

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Lot 156
WILFRID ZOGBAUM (1915-1965)
Brackets.

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Lot 157
WILFRID ZOGBAUM (1915-1965)
Untitled.

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Lot 158
WILFRID ZOGBAUM (1915-1965)
Two abstract charcoal drawings.

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Lot 159
WILFRID ZOGBAUM (1915-1965)
Untitled.

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Lot 160
HARRY CALLAHAN (1912-1999)
Weed, Aix-en-Provence.

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Lot 161
PAUL STRAND (1890-1976)
Lupin, the Garden, Orgeval.

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Lot 162
JOSEF SUDEK (1896-1976)
From the series Labyrinths, 1948-1973.

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Lot 163
RALSTON CRAWFORD (1906-1978)
Coney Island.

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Lot 164
RALSTON CRAWFORD (1906-1978)
Untitled (Sails).

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Lot 165
RALSTON CRAWFORD (1906-1978)
Anchor on the Coast.

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Lot 166
RALSTON CRAWFORD (1906-1978)
Lovely Stornoway (Memories).

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Lot 167
SIDNEY GORDIN (1918-1995)
Study for Sculpture.

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Lot 168
ALBERT EUGENE GALLATIN (1881-1952)
Collage No. 15.

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Lot 169
ALBERT EUGENE GALLATIN (1881-1952)
No. 11 (Spheres).

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Lot 170
ALBERT EUGENE GALLATIN (1881-1952)
No. 13.

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Lot 171
ALBERT EUGENE GALLATIN (1881-1952)
No. 10.

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Lot 172
ALBERT EUGENE GALLATIN (1881-1952)
No. 71.

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Lot 173
ZORAN ANTONIO MUSIC (1909-2005)
Barchi, Venezia (Boats, Venice).

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Lot 174
ALFONSO OSSORIO (1960-1990)
Untitled (Reflection Symmetry).

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Lot 175
ANDRÉ VILLERS (1930-2016)
Jacques Prévert and Picasso, Cannes.

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Lot 176
PABLO PICASSO (1881-1943)
Bird on a Branch.

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Lot 177
PABLO PICASSO (1881-1943)
Hen Subject.

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Lot 178
CARL WALTERS (1883-1955)
Two glazed terre-de-faïence works.

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Lot 179
GEORGE SPAVENTA (1918-1978)
Cat.

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Lot 180
ENRICO DONATI (1908-2008)
Surrealist Composition.

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Lot 181
ENRICO DONATI (1909-2008)
Decalcomania.

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Lot 182
SIDEO FROMBOLUTI (1920-2014)
Fog at Gay Head.

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Lot 183
LUDWIG SANDER (1906-1975)
Untitled.

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Lot 184
ROBERT CONOVER (1920-1998)
Untitled.

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Lot 185
ROBERT CONOVER (1920-1998)
Untitled.

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Lot 186
ROBERT CONOVER (1920-1998)
Abstract Composition.

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Lot 187
DAVID SMITH (1906-1965)
Study for Man and Woman in the Cathedral.

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Lot 188
RICHARD STANKIEWICZ (1922-1983)
Untitled (Nail Construction).

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Lot 189
RICHARD STANKIEWICZ (1922-1983)
Untitled (Nail Construction).

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Lot 190
RICHARD STANKIEWICZ (1922-1983)
Untitled.

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Lot 191
RICHARD STANKIEWICZ (1922-1983)
Wind Gong.

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Lot 192
RICHARD STANKIEWICZ (1922-1983)
Untitled.

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Lot 193
RICHARD STANKIEWICZ (1922-1983)
Three brush and Sumi ink drawings.

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Lot 194
RICHARD STANKIEWICZ (1922-1983)
Three brush and Sumi ink drawings.

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Lot 195
RICHARD STANKIEWICZ (1922-1983)
Two brush and Sumi Ink drawings.

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Lot 196
LUCAS SAMARAS (1936 - )
Interior.

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Lot 197
LUCAS SAMARAS (1936 - )
Still Life #2.

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Lot 198
LUCAS SAMARAS (1936 - )
Abstract #2.

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Lot 199
COSTANTINO NIVOLA (1911-1988)
Untitled.

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Lot 200
HARRY SHUNK (1924-2006) & JÁNOS KENDER (1938-2009)
Christo and Raymond Hains, Néo-Dada emballe, Eiffel Tower, Paris (collage).

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Lot 201
WILLY RONIS (1910-2009)
Salle des Pas Perdus de la Gare Saint Lazare, Paris.

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Lot 202
LESTER JOHNSON (1919-2010)
Studio Interior.

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Lot 203
LESTER JOHNSON (1919-2010)
Interior.

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Lot 204
LESTER JOHNSON (1919-2010)
Coastal Scene with Ships.

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Lot 205
LESTER JOHNSON (1919-2010)
Window Abstraction.

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Lot 206
LESTER JOHNSON (1919-2010)
Untitled (Man).

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Lot 207
LESTER JOHNSON (1919-2010)
Nude.

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Lot 208
LESTER JOHNSON (1919-2010)
Three lithographs.

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Lot 209
LESTER JOHNSON (1919-2010)
Three lithographs.

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Lot 210
LESTER JOHNSON (1919-2010)
Three watercolors.

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Lot 211
LESTER JOHNSON (1919-2010)
Two Men in Hats.

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Lot 212
LESTER JOHNSON (1919-2010)
Bittersweet.

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Lot 213
LESTER JOHNSON (1919-2010)
Still Life in Milford #4.

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Lot 214
LESTER JOHNSON (1919-2010)
Still Life with a Tabletop.

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Lot 215
ROBERT DE NIRO, SR. (1922-1993)
Still Life with Lemons.

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Lot 216
ROBERT DE NIRO, SR. (1922-1993)
Group of 4 lithographs.

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Lot 217
ANDRÉ MASSON (1896-1987)
Portrait of Virginia Zabriskie.

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Lot 218
ELLEN LANYON (1926-2013)
Untitled (Portrait of Virginia Zabriskie).

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Lot 219
EMILIO CRUZ (1938-2004)
Figural Composition.

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Lot 220
EMILIO CRUZ (1938-2004)
Three Figures.

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Lot 221
EMILIO CRUZ (1938-2004)
Four Figures.

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Lot 222
MILTON RESNICK (1917-2004)
House.

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Lot 223
SHIRLEY GOLDFARB (1925-1980)
Untitled.

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Lot 224
SHIRLEY GOLDFARB (1925-1980)
Two oils on canvas.

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Lot 225
WOLF KAHN (1927-2020)
Purple Trees.

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Lot 226
CLINTON HILL (1922-2003)
Gradient Study

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Lot 227
CLINTON HILL (1922-2003)
Re-Enter.

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Lot 228
NELL BLAINE (1922-1996)
Floral Abstract.

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Lot 229
HERMAN ROSE (1909-2007)
Little Blue Bottle.

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Lot 230
LÉON HARTL (1889-1973)
Still Life with Pitcher.

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Lot 231
ALVIN ROSS (1920-1975)
Light Bulbs in Basket.

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Lot 232
MAURICE HENRY (1907-1984)
L'Hommage a Paganini.

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Lot 233
GEORGES HUGNET (1906-1974)
Huit Jours à Trébaumec.

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Lot 234
DANIEL SPOERRI (1930 - )
Untitled.

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Lot 235
BEN (BEN VAUTIER) (1935 - )
Le voyeur.

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Lot 236
PIERRE BURAGLIO (1939 - )
Sans titre.

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Lot 237
KARL MANN (1930 - )
Box #1.

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Lot 238
JEAN TINGUELY (1925-1991)
Sans titre.

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Lot 239
ALLAN KAPROW (1927-2006)
Untitled (Calling).

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Lot 240
RED GROOMS (1937 - )
Nervous City.

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Lot 241
NEAL SLAVIN (1941 - )
Statue of Liberty.

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Lot 242
LEE FRIEDLANDER (1934 - )
New York City.

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Lot 243
LEE FRIEDLANDER (1934 - )
Father Duffy, Times Square, New York City.

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Lot 244
LEE FRIEDLANDER (1934 - )
Sceaux, France.

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Lot 245
HAMISH FULTON (1946 - )
A portfolio of four works entitled Kent, England 1971-1975.

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Lot 246
REUBEN NAKIAN (1897-1986)
Leda and the Swan.

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Lot 247
MARY FRANK (1933- )
Time Out of Mind.

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Lot 248
MARY FRANK (1933 - )
Two Figures on the Beach.

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Lot 249
MARY FRANK (1933 - )
Beach with Breakers.

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Lot 250
MARY FRANK (1933 - )
Group of 4 brush and ink and wash figure studies.

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Lot 251
MARY FRANK (1933 - )
Untitled (Lion-Headed Woman).

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Lot 252
MARY FRANK (1933 - )
Two watercolors.

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Lot 253
MARY FRANK (1933 - )
Two watercolors.

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Lot 254
MARY FRANK (1933 - )
Winged Figure

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Lot 255
MARY FRANK (1933 - )
Two color monotypes.

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Lot 256
PETER AGOSTINI (1913-1993)
Standing Nude.

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Lot 257
PETER AGOSTINI (1913-1993)
Female Figure.

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Lot 258
DENISE COLOMB (1902-2004)
Jean Arp.

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Lot 259
HANS HARTUNG (1904-1989)
Un Monde Ignoré.

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Lot 260
ROY LICHTENSTEIN (1923-1997)
Modern Sculpture with Apertures.

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Lot 261
GEORGE SUGARMAN (1912-1999)
Roland.

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Lot 262
ATTILIO PIERELLI (1924-2013)
Obelisco multiplo I.

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Lot 263
STEVEN URRY (1939-1993)
Untitled (Ribbon).

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Lot 264
KENNETH SNELSON (1927-2016)
Untitled.

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Lot 265
GEORGE RICKEY (1907-2002)
One Plane Horizontal II.

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Lot 266
GEORGE RICKEY (1907-2002)
Floral Study.

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Lot 267
ÉDOUARD BOUBAT (1923-1999)
Cynthia, Paris.

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Lot 268
WILLIAM KLEIN (1928 - )
Three heiresses, Greece.

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Lot 269
WILLIAM KLEIN (1928 - )
Stars and Stripes, Dorothée Bis, Paris * Coulisses Kenzo, Paris [Backstage at Kenzo].

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Lot 270
WILLIAM KLEIN (1928 - )
View from Virginia Zabriskie's apartment on 57th Street, New York City.

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Lot 271
TOD PAPAGEORGE (1940 - )
New York Discoteque.

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Lot 272
WILLIAM DICKEY KING (1925-2015)
Portrait of a Woman.

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Lot 273
WILLIAM DICKEY KING (1925-2015)
Standing Figure.

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Lot 274
PAT ADAMS (1928 - )
Untitled.

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Lot 275
MICHAEL SINGER (1945 - )
Seven Moon Ritual Series 7/20/78.

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Lot 276
GORDON POWELL (1947 - )
Warrior.

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Lot 277
BRYAN HUNT (1947 - )
Five Falls.

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Lot 278
Jean-Luc Poivret (1950-2017)
Two paintings.

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Lot 279
PETER FLACCUS (1947 - )
Untitled (July 1976).

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Lot 280
HARRY CALLAHAN (1912-1999)
Morocco.

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Lot 281
HARRY CALLAHAN (1912-1999)
Wisconsin.

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Lot 282
MIA WESTERLUND ROOSEN (1942 - )
Three pencil drawings.

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Lot 283
JUNKO YODA (1943 - )
Untitled (#W.P. 11).

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Lot 284
JUNKO YODA (1943 - )
Two acrylic and washi paper abstract paintings.

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Lot 285
NANCY KOENIGSBERG (1927 - )
Enclosure II.

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Lot 286
ANDRÉ LÉOCAT (1949 - )
Group of 3 sculptures.

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Lot 287
GEORGES ROUSSE (1947 - )
Untitled (interior).

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Lot 288
PASCAL KERN (1952-2007)
Two photographs and a diptych from the series Fiction Colorée.

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Lot 289
JOAN FONTCUBERTA (1955 - )
Le Chant des Oiseaux.

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Lot 290
ANNE ARNOLD (1925-2014)
Dog.

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Lot 291
JASON HUNSINGER (1951 - )
Cat in Hand.

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Lot 292
NICHOLAS NIXON (1947 - )
Group of 4 photographs from Nixon's series featuring his family.

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Lot 293
TIMOTHY WOODMAN (1952-2018)
Swimmer in Wave.

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Lot 294
JULIAN OPIE (1958 - )
Off the Shelf.

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Lot 295
COLLECTION OF TOYS.

The Virginia Zabriskie Collection

Officers

Todd Weyman, Vice President & Director, Prints & Drawings

Todd Weyman
Vice President & Director, Prints & Drawings

tweyman@swanngalleries.com
(212) 254-4710 ext. 33
Lisa Crecenzo, Dept. Manager & Client Relations

Lisa Crecenzo
Dept. Manager & Client Relations

lcrecenzo@swanngalleries.com
(212) 254-4710 ext. 51
Sarah McMillan, Cataloguer

Sarah McMillan
Cataloguer

smcmillan@swanngalleries.com
(212) 254-4710 ext. 28
Meagan Gandolfo, Cataloguer

Meagan Gandolfo
Cataloguer

mgandolfo@swanngalleries.com
(212) 254-4710 ext. 58
Deborah Rogal, Director, Photographs & Photobooks

Deborah Rogal
Director, Photographs & Photobooks

drogal@swanngalleries.com
(212) 254-4710 ext. 55
Jessica Hunter, Specialist

Jessica Hunter
Specialist

jhunter@swanngalleries.com
(212) 254-4710 ext. 66



George S. Lowry
Chairman



Nicholas D. Lowry
President, Principal Auctioneer

924899

Andrew M. Ansorge
Vice President & Controller

Alexandra Mann-Nelson
Chief Marketing Officer

2030704

Todd Weyman
Vice President & Director, Prints & Drawings

1214107

Nigel Freeman
Vice President & Director, African American Art

Rick Stattler
Vice President & Director, Books & Manuscripts

Administration

Andrew M. Ansorge
Vice President & Controller

aansorge@swanngalleries.com

Ariel Kim
Client Accounting

akim@swanngalleries.com

Diana Gibaldi
Operations Manager

diana@swanngalleries.com


Kelsie Jankowski
Communications Manager

kjankowski@swanngalleries.com

Shannon Licitra
Shipping Coordinator

slicitra@swanngalleries.com

THE VIRGINIA ZABRISKIE COLLECTION

We are honored to offer the collection of Virginia Zabriskie in this special single-owner auction that opens our 2021 fall season. Virginia Zabriskie built her personal collection during a pioneering career that spanned more than five decades, marked by audacity and innovation in a field that was seldom encouraging to professional women.

After acquiring her New York gallery in 1954, at the age of 26, Zabriskie inherited a promising roster of young artists, including Pat Adams, Clinton Hill and Lester Johnson, all well-represented in this auction. As a young art student, she had recognized her calling, musing later that, “My ability to interpret and criticize art grew faster than my ability to make it.

Pursuing art history, she became friends with and was mentored by the artist, critic and modern art promoter Walter Pach while she was a college student; through him, she met Marcel Duchamp, Edward Hopper and other contemporary artists in New York. Moreover, Pach had been instrumental assisting the artist Arthur B. Davies, president of the landmark 1913 “International Exhibition of Modern Art” also known as the Armory Show, as well as one of its founders, Walt Kuhn, by bringing together leading contemporary European and American artists for the show. This influence doubtlessly cemented Zabriskie’s connoisseurship and faith in artists’ visions and informed her groundbreaking exhibitions, developed around the juxtaposition of media and historical eras. The risks she took with artists outside the market mainstream and the opportunities she saw in promoting a new vision of modern art as a neophyte New York gallery owner certainly harkened back to reminiscences Walter Pach would have shared with her about the 1913 Armory Show and that watershed period in modern art. She is responsible for both launching the careers of artists and bringing forgotten, unappreciated artists to light. Zabriskie’s diverse program—a reflection of her unique curatorial vision and individual aesthetic—brought photography to the forefront at a time when the medium was still considered vanguard, and encompassed a wide range of work, from early 20th century Dada and Surrealist masters to American photography icons like William Klein and Harry Callahan.

In 1966, the Zabriskie Gallery, which had been in a small space on the second floor of 835 Madison Avenue that had originally been established by Marvin Korman (a fellow graduate student at the Institute of Fine Arts at New York University from whom she had acquired the gallery), relocated to 699 Madison Avenue, and after five years to 29 West 57th Street. By the early 1980s, Zabriskie Gallery had expanded into three spaces, two in New York, and one in Paris. The gallery at 724 Fifth Avenue specialized in painting; sculpture was highlighted at the 521 West 57th Street location. In addition to featuring contemporary and modernist American painters, Zabriskie’s trailblazing programming included the exhibition of sculpture by Mary Frank, Saul Baizerman, George Rickey, Kenneth Snelson, Theodore Roszak and Richard Stankiewicz, among others.

In 1977, Galerie Zabriskie opened in Paris at 29 rue Aubry le Boucher. It was the first gallery of its kind, joining an exhibition space for photographic works with a bookstore devoted to selling photo-related literature. Zabriskie not only presented individual American and French photographers, but also organized numerous landmark group shows which united these photographers from both sides of the Atlantic.

She was a champion of 19th-century photographers such as Felice Beato, Edouard Baldus and Eadweard Muybridge, and extraordinarily held the first commercial exhibition in France of Eugene Atget’s photographs of Paris (thanks in part to the photographer and Zabriskie Gallery artist Berenice Abbott, who had acquired Atget’s negatives, through the studio of Man Ray and the art dealer Julien Levy, both of whom were also intrinsically linked to Zabriskie). Through this trans-Atlantic exchange, Zabriskie introduced many modern and contemporary European photographers to America, and brought American photography to Europe, creating a wider audience for Harry Callahan, Alfred Stieglitz, Paul Strand, Lee Friedlander, Brassaï, Man Ray, Berenice Abbott, Robert Frank and Nicholas Nixon, all artists included among this auction.

Her full roster, most of whom appear in this auction, boasted a wide range of artists, including Abraham Walkowitz (Zabriskie held numerous exhibitions of his work and handled the artist’s estate), Elie Nadelman, Alexander Archipenko, Marcel Duchamp, Joseph Stella, Ralston Crawford, Lucas Samaras, Nell Blaine, Milton Resnick, Ben Vautier, and many others.

The Paris gallery closed in 1998 with “Au Revoir Paris,” a group show highlighting all the American photographers whose first European exposure came at Galerie Zabriskie. In 1999 Virginia Zabriskie received the Médaille de la Ville de Paris, presented at the Hotel de Ville in Paris, for her significant contribution to French culture. Zabriskie continued to helm her New York gallery, at its last public exhibition space, in the Fuller Building on Madison Avenue, until its closing in December 2010. She continued to work as a private art dealer thereafter.

Though Zabriskie had said “to survive is to succeed,” it is universally acknowledged that through her unwavering vision and determination, she left a legacy that has transformed our industry, both visually and professionally, which will persist for generations to come.

  • Swann Auction Galleries would like to express our sincerest thanks to Deborah Eigen, Assistant Gallery Director, Zabriskie Gallery, New York, from 1975 to 1990, for her extraordinary efforts and assistance with this auction. During her fifteen years at the gallery, an important time of its growth to prominence, Deborah Eigen was Virginia Zabriskie’s close assistant, collaborator, friend and confidante. She was instrumental to the groundbreaking exhibition program and the acquisition of numerous key works, central to the gallery’s focus. After the New York gallery was closed in 2010, Deborah returned to work with Virginia Zabriskie as her assistant and steadfast friend until Ms. Zabriskie’s death in 2019. Over a period of more than twenty-five years working with Virginia Zabriskie, and now as an advisor to the Estate of Virginia Zabriskie, Deborah has upheld the legacy of this renowned New York gallery and its storied owner. She has been an indefatigable source of knowledge, inspiration and care for all things Zabriskie, to many of us at Swann, through the preparation of this catalogue and the organization of this “Collection of Virginia Zabriskie” auction.
  1. Hans Namuth, Virginia Zabriskie before a painting by Pat Adams on the occasion of Zabriskie Gallery’s 25th Anniversary, silver print, 1978.
  2. Virginia Zabriskie, Self Portrait, etching, 1949. Courtesy the Estate of Virginia Zabriskie.
  3. Paul Maurer, Zabriskie Gallery, New York, silver print.
  4. Paul Maurer, Pierre Boucher, Pierre Jahan, Virginia Zabriskie and others at Galerie Zabriskie, Paris, silver print, 1978.
  5. Paul Maurer, Virginia Zabriskie’s apartment, including works by Sidney Geist, Man Ray, Timothy Woodman, William Klein and others, New York, silver print.
  6. Timothy Woodman, Virginia Zabriskie, painted aluminum, 1979. Courtesy the Estate of Virginia Zabriskie.
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1

Alfred stieglitz (1864-1964)
Reflections: Night - New York * The Glow of Night - New York.


Together 2 photogravures, the images measuring 209.6x273.1 and 120.7x235 mm; 8¼x10¾ and 4¾x9¼ inches, the sheets 241.3x285.8 and 393.7x495.3 mm; 9½x11¼ and 15½x19½ inches, each with Stieglitz’s printed copyright and date, on recto. 1897.

Both of these photogravures appeared in Stieglitz’s portfolio Picturesque Bits of New York And Other Studies, which dramatically highlighted the aesthetic clashes of the era and of Stieglitz’s own work in realistic, glistening urban scenes.

Estimate

$2,000 – $3,000

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2

Arthur b. davies (1862-1928)
Field near Montrose, Colorado.


Oil on panel. 135x240 mm; 5¼x9½ inches. Signed in oil, lower left recto. Circa 1905.

Provenance: Charles Wharton Stork, Philadelphia, with the label verso.

Estimate

$1,200 – $1,800

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3

Arthur b. davies (1862-1928)
Portrait of a Woman.


Oil on canvas. 185x150 mm; 7¼x6 inches. Circa 1905.

Provenance: Ferargil Gallery, New York, with the label on the frame back; gifted from the artist Walter Pach to Virginia Zabriskie; according to the latter, Pach thought the sitter resembled a young Ms. Zabriskie.

Pursuing art history at New York University, Zabriskie became friends with and was mentored by the artist, critic and modern art promoter Walter Pach (1883-1958); through him, she met Marcel Duchamp, Edward Hopper and other contemporary artists in New York, significantly influencing her future path as a trailblazing gallery owner.

Moreover, Pach had been instrumental assisting Davies, the president of the landmark 1913 "International Exhibition of Modern Art" also known as the Armory Show, as well as one of its founders, Walt Kuhn, by bringing together leading contemporary European and American artists for the show.

Estimate

$1,200 – $1,800

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4

Eugène atget (1857-1927)
Le Soldat Laboureur par Lemaire (Tuileries, Paris).


Albumen print, the image measuring 215.9x177.8 mm; 8½x7 inches, with Atget's title and inventory number, in pencil, on verso. Circa 1910.

Atget's fin de siècle photography was exhibited alongside Berenice Abbott's New York imagery at the newly-opened Galerie Zabriskie, Paris as early as 1977, representing, extraordinarily, the first commercial exhibition for the French photographer. Abbot and Atget are inextricably linked, Abbott first encountering the elderly French photographer's work in 1925 at the Man Ray Studio. After Atget’s death, in 1927, she collaborated with Julien Levy, of New York’s Julien Levy Gallery, to buy most of Atget’s negatives and prints, bringing them back to New York in 1929. Abbott’s initiative preserved Atget's archive, which, given its influence on the avant-garde, has become an important chapter of Abbott’s legacy.

Estimate

$3,000 – $5,000

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5

Eugène atget (1857-1927)
St. Cloud (cascade).


Albumen print, the image measuring 219.1x181 mm; 8⅝x7⅛ inches, with Atget's title and inventory number, in pencil, on verso. 1923.

Estimate

$5,000 – $8,000

ABRAHAM WALKOWITZ

Walkowitz was born in Tyumen, Sibera to Jewish parents and immigrated to the Lower East Side of New York with his mother in 1889. He was trained in the academic style at the National Academy of Design, New York, and at the Académie Julian in Paris, though his style was most influenced by his experiences outside of the studio. During his time in Paris from 1906-07, Walkowitz saw Isadora Duncan (1877-1927) dance at Auguste Rodin’s (1840-1917) Paris studio and made his first drawings of her. He later recalled, “She was a Muse. She had no laws. She didn’t dance according to rules. She created. Her body was music. It was a body electric, like Walt Whitman.” Like Duncan’s dancing, Walkowitz’s drawings and watercolors were created by quick and spontaneous lines and washes of color. In Paris, Walkowitz was also impressed by the landmark 1907 Paul Cézanne (1839-1906) retrospective exhibit at the Salon d’Automne and by his introduction to the work of Henri Matisse (1869-1954) and Henri Rousseau (1844-1910). By the time Walkowitz returned to New York, his style was heavily influenced by European Modernism, with emphasis on gestures, simplified forms and flat planes of bold color. His first solo exhibition was held at Haas Gallery, the back of a modest frame shop, in New York in 1908.

In 1912, Walkowitz met Alfred Stieglitz (1864-1946) through Marsden Hartley (1877-1943) and became involved with the 291 Gallery, New York, which served as a hub of American modernism. Stieglitz was so impressed by the young artist, that he sent him to study art in Greece, Italy and North Africa in 1914. His style became more abstract; its reduced linear forms lent themselves to the city’s rush skyward, prematurely anticipating the New York School and the Abstract Expressionists.

In 1913, Walkowitz was represented at the Armory Show and in the 1916 Forum exhibition. Walkowitz was concerned with politics and artists’ rights and was active in various artist’s groups, founding the People’s Art Guild and the Society of Independent Artists (he became director of the latter from 1918 to 1938). In 1920, he exhibited at the Société Anonyme alongside Man Ray (1890-1976), Hartley and Joseph Stella (1877-1946). Despite local and international recognition, Walkowitz was not nearly as well-known as his contemporaries. Virginia Zabriskie was among the many figures in the field, including Stieglitz, Henry McBride, Carl Van Vechten and Lloyd Goodrich, who thought that Walkowitz deserved more recognition than he received.

Walkowitz painted into the 1940s, when his eyesight began to fail. Zabriskie represented him during the last six years of the artist’s life. She admired him for the breadth of his art and for his passion and conviction. Zabriskie Gallery held thirteen exhibitions of Walkowitz’s work and placed him in the collections of major institutions. In promoting his legacy, Zabriskie grew close to the aging artist, accompanying him to the Academy of Arts and Letters award ceremony in May 1962, where Walkowitz was given the Marjorie Peabody Waite Award for a distinguished elderly artist, to a standing ovation. After his death, Zabriskie purchased the Abraham Walkowitz Estate, including numerous watercolors and paintings left undiscovered in his studio. Zabriskie organized Walkowitz’s memorial service and remembered him as a devoted, often feisty artist whose work was not fully understood in his lifetime.

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6

Abraham walkowitz (1878-1965)
Self Portrait.


Etching with additions in pencil. 150x115 mm; 6x4½ inches, wide margins. Signed and dated "1900" in pencil, lower right. A very good, richly-inked, proof-like impression. Circa 1900-02.

With— Group of 4 etchings, including Fruit Market * Saturday Afternoon * In the Marketplace * Bathers. Each signed in pencil or ink, lower margin. Various sizes. Each circa 1900.

Provenance: Artist's estate, New York.

Estimate

$700 – $1,000

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Abraham walkowitz (1878-1965)
Crouching Male Nude.


Bronze. 155 mm; 6⅛ inches (height), excluding base. Edition of only 3 cast in 1968. With the artist's initials, numbered "2-3" and "© 1900 Ex NY 68" incised at the lower edge. 1900.

Another cast of this sculpture, numbered "1-3", sold at Christie's, New York, March 4, 2008, lot 130. The third and final cast of this bronze is in the collection of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Provenance: Artist's estate, New York.

Though the majority of Walkowitz's œuvre are paintings and works on paper, the artist was also a sculptor. He likely received instruction in sculpture during his formal training in New York and Paris and supplemented his knowledge of the human form with anatomy classes at the Flower Fifth Avenue Hospital in New York. In Paris, Walkowitz visited Auguste Rodin's (1840-1917) studio and may have been influenced by his work, though he placed great importance on portraying naturalized, non-idealized bodies, such as New York laborers. Walkowitz exhibited his early sculptures into the 1920s but was always known best as a painter.

Walkowitz's painting and drawing style of expressing the essence of the subject by using simplified, almost naive forms carried over into his sculpture. The present work recalls Oscar Bluemner's 1913 essay on Walkowitz in Camera Work. He wrote that Walkowitz, "can increase the vibration of strong charcoal-tones— say the motif of a muscular back— to a degree that one imagines a thunderstorm."

Estimate

$3,000 – $5,000

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8

Abraham walkowitz (1878-1965)
Wharf Scene (Gloucester).


Oil on canvas. 360x460 mm; 14x18 inches. Signed in oil, lower left recto. Circa 1905.

Provenance: Artist’s estate, New York.

Exhibited: “Abraham Walkowitz Retrospective,” Utah Museum of Fine Art, University of Utah, Salt Lake City, October 27-December 1, 1974, and Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, May 7-June 29, 1975, with the labels on the frame back.

Estimate

$2,500 – $3,500

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9

Abraham walkowitz (1878-1965)
Street View with Church Steeple.


Oil on canvas. 305x460 mm; 12x18¼ inches. Circa 1910.

Provenance: Artist’s estate, New York.

Estimate

$1,500 – $2,500

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10

Abraham walkowitz (1878-1965)
Two watercolor and gouache landscapes.


Volendam, Holland. 480x655 mm; 19x25⅞ inches. Signed, titled and dated in ink, lower right recto. 1906 * Anticoli Corrado, Italy. 475x655 mm; 18¾x25¾ inches. Signed, titled, dated and inscribed “Italy” in ink, lower right recto, and signed in ink, verso. 1906-07.

Provenance: Artist’s estate, New York.

Estimate

$2,500 – $3,500

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11

Abraham walkowitz (1878-1965)
Anticoli Corrado.


Oil on canvas. 460x540 mm; 18x21¼ inches. Signed in oil, lower left recto. Circa 1906-07.

Provenance: Artist's estate, New York.

Exhibited: "Abraham Walkowitz Retrospective," Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, May 7-June 9, 1975, with the label on the frame back; "Abraham Walkowitz: Walkowitz in Europe 1906-1907", Zabriskie Gallery, New York, March 17-April 18, 1998.

Anticoli Corrado is a hillside community located roughly 25 miles northeast of Rome. The picturesque Italian town has been popular with artists since the 19th century, and its young inhabitants often posed as models for the community of artists who lived near the Piazza di Spagna in Rome during the late 19th and early 20th centuries.

Estimate

$3,000 – $5,000

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12

Abraham walkowitz (1878-1965)
Two watercolors.


Landscape, France (Abstraction), watercolor on cream laid paper. 303x475 mm; 12x18¾ inches. Signed, titled, dated and inscribed "Paris" in ink, lower right recto. 1906 * Provincetown Rooftops, Abstraction, watercolor on cream wove paper. 295x390 mm; 11½x15¼ inches. Circa 1912.

Provenance: Artist's estate, New York.

Exhibited: (Provincetown Rooftops, Abstraction) "Provincetown Painters 1890s-1970s," Everson Museum of Art, Syracuse, New York, April 1-June 26, 1977, with the label on the frame back.

Estimate

$2,000 – $3,000

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13

Abraham walkowitz (1878-1965)
Park Scene.


Oil on canvas. 405x560 mm; 16x22 inches. Circa 1908.

Provenance: Artist's estate, New York.

Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 91 (illustrated).

Estimate

$3,000 – $5,000

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14

Abraham walkowitz (1878-1965)
Bathers in a Landscape.


Oil on canvas board. 505x605 mm; 20x23¾ inches. Circa 1910.

Provenance: Artist’s estate, New York.

Estimate

$1,000 – $1,500

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15

Abraham walkowitz (1878-1965)
Figures Gathering (Strollers).


Oil on canvas. 355x275 mm; 14x11 inches. Circa 1908.

Provenance: Artist’s estate, New York.

Exhibited: “Abraham Walkowitz: The Early Years 1895-1925,” Zabriskie Gallery, New York, January 9-February 3, 1973, number 18 (illustrated).

Estimate

$2,000 – $3,000

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16

Abraham walkowitz (1878-1965)
Group of 4 watercolors of Isadora Duncan.


Each watercolor and pen and ink on paper. Each signed in ink, lower recto. Various sizes. Each circa 1910-20.

Provenance: Artist’s estate, New York.

Estimate

$2,000 – $3,000

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17

Abraham walkowitz (1878-1965)
Group of 5 watercolors of Isadora Duncan.


Each watercolor and pen and ink on paper. Each 227x145 mm; 9x5¾ inches. Each signed in ink, lower recto. Each circa 1910-20.

Provenance: Artist’s estate, New York.

Estimate

$2,500 – $3,500

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18

Arthur b. davies (1862-1928)
Draped Female Figures.


Charcoal and color pastels on two-joined sheets of gray paper mounted on card. 325x530 mm; 12¾x20⅞ inches. Circa 1920.

Estimate

$1,000 – $1,500

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19

Abraham walkowitz (1878-1965)
New York.


Collage, pen and ink and brush and ink on paper. 370x300 mm; 14½x12 inches. Signed repeatedly and dated “1909” and “1913” in ink, recto. Circa 1909-13.

Provenance: Artist’s estate, New York.

Estimate

$1,500 – $2,500

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20

Abraham walkowitz (1878-1965)
Abstract Cityscape.


Charcoal on paper. 408x270 mm; 16⅛10⅝ inches. Circa 1908-15.

Provenance: Artist’s estate, New York.

Estimate

$1,000 – $1,500

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21

Abraham walkowitz (1878-1965)
Abstract Cityscape.


Pencil on cream wove paper. 435x280 mm; 17⅛x11 inches. Circa 1910-20.

Provenance: Artist's estate.

Estimate

$3,000 – $5,000

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22

Abraham walkowitz (1878-1965)
Abstract Cityscape.


Pen and ink and pencil on cream wove paper. 355x215 mm; 14x8½ inches. Signed in ink, lower center recto. 1910.

With—Abstract Composition, pen and ink on cream wove paper. 202x125 mm; 8x5 inches. Initialed in ink, lower right recto. Circa 1910.

Provenance: Artist’s estate, New York.

Estimate

$1,500 – $2,500

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23

Abraham walkowitz (1878-1965)
Two pen and ink abstract cityscapes.


Both 350x213 mm; 13⅞x8½ inches. Both signed in ink, lower center recto. Both circa 1910-20.

Provenance: Artist's estate, New York.

Estimate

$2,500 – $3,500

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24

Abraham walkowitz (1878-1965)
Two abstract pencil drawings.


Both 435x283 mm; 17x11 inches. One signed in pencil, lower left recto, the other signed and dated in ink, lower center recto. Both circa 1912.

Provenance: Artist’s estate, New York.

Estimate

$1,000 – $1,500

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25

Abraham walkowitz (1878-1965)
Group of 5 pencil drawings of abstract compositions.


Each signed and four dated “1915” or “1916” in pencil, lower center recto. Various sizes. Each circa 1915-16.

Provenance: Artist’s estate, New York.

Estimate

$1,500 – $2,500

JOSEPH STELLA AND COLLAGE

Stella completed more than sixty-five collages during his career, using items like dirty paper, cigarette wrappers, theater tickets and leaves, all tremendously avant-garde for their time. They highlight each element’s tactility in a relatively unaltered state by the artist, allowing their natural decomposition and decay to show. They were not exhibited during Stella’s lifetime, and he spoke and wrote very little of them. Not until a selection was first exhibited at the Zabriskie Gallery in 1960-61 were they brought to the attention of the broader artistic community. The following year, Zabriskie Gallery lent two collage works by Stella for “The Art of Assemblage” travelling exhibition organized by the Museum of Modern Art, New York.

During his lifetime, Stella was primarily known for his Futurist works as well as his interest in Precisionism in the 1920s and 1930s. He started making these intimate, experimental and personal collages around 1918 and likely continued throughout his career. Joann Moser, in writing about Stella’s collages, has noted that they “. . . anticipated some of the more important developments in the medium over the past fifty years and represent some of the more significant and innovative achievements of his entire career (“The Collages of Joseph Stella: ‘Macchie/Macchine Naturali’,” American Art, Summer 1992, vol. 6, no. 3).

JOHN GRAHAM

Graham’s significant, influential career of four decades was marked by reinvention and a commitment to his vision of the endless possibilities of American Art.

Born Ivan Dabrowsky in Kiev, Graham was a law student and a czarist soldier in the 1917 revolution. After imprisonment and the downfall of Nicholas II, Graham left Russia and arrived in the United States in 1920. Though it is unclear if he showed artistic inclination in Russia, Graham recreated himself as an art student in New York. He attended the Art Students League from 1922 to 1924, where he studied under John Sloan (1871-1951). In a meteoric rise to recognition, Graham’s first solo museum exhibition was organized by Duncan Philips in 1929.

Like many early career artists, Graham traveled to Paris (his work would later be exhibited at Galerie Zabriskie, Paris) and he came under the influence of the Surrealists and their psychoanalytical approach, however he remained dedicated to his mission of creating a new American Art. Along with Stuart Davis (1892-1964) and Arshile Gorky (1904-1948), Graham would provide a foundation for American Modernism and would be sought out by a new generation of the New York School (his watershed 1937 treatise, System and Dialectics of Art had advanced the Abstract Expressionist movement).

During the 1940s, Graham departed from his post-Cubist style, and adopted a new loosened, abstract style. At this time, he served as a mentor to younger artists such as Jackson Pollock, Willem de Kooning and Arshile Gorky, whose works would shape the Abstract Expressionist movement. Graham was also considered influential to Lee Krasner, David Smith, Dorothy Dehner, and Mark Rothko.

In his mature career, he found inspiration in Old Master works and he approached his canvases with a measure of dignity and mysticism. His portraits are powerful, standing out boldly from their flattened back drops. Simultaneously, Graham conveyed a delicate luminosity and vulnerability; his sitters’ askew eyes act to ground the figure in a plane between fantasy and reality. This merging of worlds characterizes not only Graham’s work but also his storied, monumental life.