8s 1926 March 17 NeAn ta “hea eo) al, % f _ £2 ees rn ear ao a + pega - — ~ en wiget $7; oe . a i Shy Fas |» nn Cale eu ees Ae “lt oe Avan Wee! (2) jhe. 43" “ . ee a rh ing fe 38 ia SALE ak vols Cc EXHIBITION FROM THURSDAY, MARCH ELEVENTH a : “COLLECTION OF | f BERT eo NEW YORK CITY _ TO BE SOLD BY HIS ORDER CATALOGUED BY GUY EGLINGTON TO BE SOLD BY AUCTION WEDNESDAY EVENING MARCH SEVENTEENTH AT EIGHT’FIFTEEN THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Presipent ] 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1926 LIBRARY 1 M.Knoedler& 14 East 57th St New York SS SALE NUMBER 2046 PUBLIC EXHIBITION FROM THURSDAY, MARCH ELEVENTH CAE MODERN ART COLLECTION OF ALBERT ROTHBART NEW YORK CITY TO BE SOLD BY HIS ORDER CATALOGUED BY GUY EGLINGTON TO BE SOLD BY AUCTION WEDNESDAY EVENING MARCH SEVENTEENTH - AT EIGHT’FIFTEEN THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Presipent ] 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1926 CONDITIONS OF SALE ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. ae The highest bidder to be the buyer. In all cases of disputed bids the decision | of the Auctioneer shall be final. 7 i: Buyers to give their names and addresses and to make such cash payments on ~ account as may be required, in default of which the lots purchased shall be | resold immediately. 4 Purchases to be removed at the buyer’s expense and risk within twenty-four | hours from the conclusion of the sale, and the remainder of the purchase money | to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the _ lot or lots will be left at the sole risk of the purchaser, and subject to storage | charges. All lots will be placed on public exhibition before the date of sale, for examina- — tion by intending purchasers, and The Anderson Galleries, Incorporated, will ~ not be responsible for the correctness of the description, authenticity, genuine-_ ness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the — conclusion of the sale, or, in the case of absent buyers, when bills are rendered, | any sum deposited as part payment shall be forfeited, and The Anderson Gal- | leries, Incorporated, reserve the right to resell the lot or lots by either private | or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses in- ~ curred. ‘This condition shall be without prejudice to the right of this Com- pany to enforce the sale contract and collect the amount due without such © resale, at its own option. | The Anderson Galleries, Incorporated, will afford every facility for the employ- | ment of carriers and packers by the purchasers, but will not be responsible — for any damage arising from the acts of such carriers and packers. | The Anderson Galleries make no charge for executing orders for their cus-_ tomers and use all bids competitively, buying at the lowest price permitted — by other bids. A Priced Copy of this Catalogue may. be obtained for One Dollar THE ANDERSON GALLERIES, INC. PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK TELEPHONE REGENT 0250 CATALOGUES ON REQUEST — SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON ity LETTER FROM MR. ROTHBART TO MR. KENNERLEY New Yorxk March 5, 1926 Dear Mr. KENNERLEY: It occurred to me that it might interest the readers of this catalogue to know something of the reasons which prompt me to dispose of my art objects. This collection of modern paintings and sculptures was as- sembled by me during the last ten years, here and abroad, in the endeavor to give a tangible expression to my varying con- ception of beauty, and to create an atmosphere which would add rhythm and color to the humdrum of daily life. Now that I find my collection assuming larger proportions than the available space can accommodate, I am made to re- alize how dangerously near I am to the dividing line between col- lecting and hoarding. The best way out of this dilemma seems the auction room. It will give me the privilege of offering to the artists represented, the opportunity to make new friends in the homes of old and new admirers, and it will on the other hand permit me to indulge with fresh enthusiasm in that most en- joyable and thrilling game: the hunt for new prizes. Sincerely yours A. RoTHBART LETTER FROM MR. EGLINGTON TO MR. KENNERLEY New York March 6, 1926 Dear Mr. KENNERLEY: When you asked me to catalogue Mr. Rothbart’s Collection, I consented without enthusiasm. Finding complimentary phrases for pictures which inevitably represent someone else’s taste is an unexciting pastime. ‘The enthusiasm is almost cer- tain to be forced, the words of critical appreciation so much schleim. Imagine my surprise and delight at being brought into the presence of a collection so personal, so devoid of all assump- tion, so playful as this. It has been a keen pleasure to watch, from picture to picture, the spirit of modern art taking different forms, from the almost overpowering masculine strength of Courbet to the joyousness and freedom of Branchard. I need not confess to you that the pictures which gave me the purest and most unmixed happiness were those of the young Americans. Branchard, Bluemner, Brook, Canadé, Gaylor, Hartley, Marin, Maurer, Sheeler, Stella, Sterne, Weber have ' contributed to this collection a group of pictures that sings on the walls. Modest, in a day of aggressive self-assertion, the note that they strike rings so true that the world will soon have no choice but to listen. I only hope that those who come to buy at this sale will take as great a pleasure in the buying as Mr. Rothbart must have taken, or myself in the making of this little book. Sincerely yours Guy Eceiincton iF SALE WEDNESDAY EVENING, MARCH SEVENTEENTH, AT 8:15 | i a NUMBERS 1-114 MAX KLINGER GERMAN, 1857-1920 I NUDE IN LANDSCAPE Etching. Size, 684 x 9 inches. ANDERS ZORN A a a ae ee NORWEGIAN, 1860-1920 VALLKULLA Ho) 0, Asplund, No. 251. Second state. Etching. Signed 1912. Size, 12 x '784 inches. DUTCH 17TH CENTURY 38 BIBLICAL SCENE Drawing im sepia. Inscription in upper left. Size, 8 x 1214 inches. \ FRENCH 18TH CENTURY 4 LANDSCAPE WITH TREES Wash drawing. Size, 814 x 984 wmches. FRENCH EARLY 18TH CENTURY 5 DON QUIXOTE AND SANCHO IN THE STABLE Fine crayon drawing. From the Peltzer Collection. Size, 10 x 18 inches. GUSTAVE. COURBET oa ;; va FRENCH, 1819-1877 | : 4 ¥ | 49 6 LE PETIT PECHEUR pan, A W. panes ; A child fishing in a stream, cottages to right and left. Courbet- . esque cliffs loom in the distance above the fruit trees. Purchased from Mr. Bernheim Jeune, an authentication from whom accompanies the picture. | Pe eee na Oil on canvas. Size, 18 x 21 inches. : he eS ts fie eles cs GUSTAVE COURBET 772 FRENCH, 1819-1877 Wi. 7 WOODLAND, ROCKS AND WATERFALL Sheer cliffs form a narrow ravine, through which a stream flows 4 swiftly. In the distance, at centre, a waterfall. Much of Cour- bet’s grandiose conception is hidden by the too plentiful varnish, but it is plainly seen in the sky above and in the plan of the cliffs. As always, one is conscious of his enormous reserve of |— strength. Oil on canvas. Signed. Size, 25 x 21 inches. [SEE ILLUSTRATION | 2 [NUMBER SEVEN ]| on cof Hoesen Ay [NUMBER EIGHT ] CONSTANTIN GUYS FRENCH, 1805-1892 ; 8 DEMOISELLE A VENDRE 7 An overblown and heavily robed lady shows a disposition to re- veal more of her charms, while a convenient Apache keeps a look- out for the necessary consideration. In the rear, the suggestion of adoorway. A marvellous study in cool tones, most powerfully, even ferociously conceived. Guys at his most trenchant. Purchased from the John Quinn Estate. Water color. Size, 644 x 41% inches. why ees [SEE ILLUSTRATION | ! 4 < ao Ru = HENRI MATISSE CONTEMPORARY FRENCH _ NUDE RECLINING = = Lithograph. Signed. Size, 101% x 15 inches. HENRI MATISSE . | CONTEMPORARY FRENCH _ 10 NUDE RECLINING ON SOFA 7. . Drawn with superb ease throughout. One of Matisse’s finest lithographs. The ground covered with arabesques of a Persian carpet and wall hanging. Lithograph. Signed. Size, 2014 x 1614 inches. CONTEMPORARY FRENCH 11 SALOME Three woodcuts in one frame, illustrative of a passage from Oscar Wilde’s play. Portrait of Salome in the centre, moods from her dance forming the wings of the triptych. Size of the three, 14 x 31 inches. MANGUIN CONTEMPORARY FRENCH 12 VILLAGE AND HARBOR Houses clustering around a narrow inlet with hills behind. Loosely brushed in a manner pleasantly suggestive of Cézanne. Brilliant spots of red in the roof tops relieve the cool lavenders of the hills. Oil on canvas. Signed in lower left. Size, 9 x 11 inches. 5 13 14 15 16 _ J. VALMIER> CONTEMPORARY FRENCH TWO COLOR HARMONIES The first cool, suggestive of a still life, the second more powerful in its contrasts. Both are charmingly playful in their patterns. (2) Tempera on paper. Signed. Size, 7 x 54% and 7 x 5 mches. CSAKY WORKING IN PARIS STUDY IN PATTERNS Water color. Checkers of black and gray in the rug yield to red and white in the table, to be resolved in the white of the wall be-— yond. Into the checker pattern of the foreground a seated girl is cleverly fitted. Both this and the following are marvels of the sophistication that has followed Cubism. Signed. Size, 9 x 616 inches CSAKY WORKING IN PARIS THE CIRCULAR STAIRS Water color. Lady in mauve, standing on a balcony, is looking down on the vertical of a bright red-carpeted stairway that above circles into the pattern of a fan. Signed. Size, 9 x 6 inches. JEAN DE BRUNHOFF CONTEMPORARY FRENCH ST. TROPEZ Water color. Harbor frontage with café in middle ground and converging streets popularized by Utrillo. Sailing boats with furled sails in the harbor. Cool tones of blue and gray, hardly accented. Bold draftsmanship throughout. Signed and dated 1920. Size, 12 x 17 inches. 6 A es. % a — by _ LADISLAS MEDGYES - HUNGARIAN, WORKING IN PARIS | a7 “BACK VIEW FROM STUDIO ~ Looking down the Rue du Faubourg St. Jacques, with the dome of the Val de Grace showing above the roofs. Contrasting hot i a al tones ae the picture an explosive quality that is char- -_ AUGUSTE HERBIN es ae FRENCH 18 THE MOUNTAIN GORGE __ A typical example of one of the numerous phases that the later f searchers after pure form have provoked. Strongly influenced by Courbet. Oil on canvas. Signed. Size, 23 x 2813 inches. ~ AUGUSTE HERBIN | CONTEMPORARY FRENCH 19 CASSIS Landscape sloping down to a calm summer sea. In the fore- ground, trees, shrubs and a single white tombstone that echoes the white of a church spire further down the hill. Simply con- ceived throughout. Oil on canvas. Signed. Size, 231 x 29 inches. 7 Q WO. Hours PAUL STENAC 20 VIEW OF THE SEINE - 21 [NUMBER TWENTY | CONTEMPORARY FRENCH 8 Q b—O ¥ Chinese ink on paper. A study, evidently for a large composition, executed in tones of Chinese ink. A large tree occupies the fore- ground, beneath the branches of which the river and the farther shore are delicately suggested. Signed. Size, 36 x 29 inches. CERIA - CONTEMPORARY FRENCH HARBOR OF ST. TROPEZ Quay and houses to right, fishing, smacks down sail in the hot afternoon sunlight. A stunning study in terra cotta and ultra- marine, with upward sweeping bands of white in the sails, against an intense blue sky. Oil on canvas. Signed. Size, 18 x 20 inches. 8 f [NUMBER TWENTY-TWO | JEAN METZINGER CONTEMPORARY FRENCH ' 22 SIESTA Young girl in burnt-orange frock takes tea in the garden. Bor- der of nasturtiums at right, wooded landscape beyond. The whole pervaded by a dream-like atmosphere. A still life of book and lemon on table at left contains delicate surprise. Oil on canvas. Signed. Size, 25 x 18 inches. [SEE ILLUSTRATION | 9 23 [NUMBER TWENTY-THREE | KISLING CONTEMPORARY FRENCH PORTRAIT STUDY Lady in black velvet, standing before an open doorway, the back- ground a deep ultramarine, brightened in the woodwork with shades of red and lighter blue. The brilliant spot of Chinese white at the opening of the gown is characteristic of Kisling’s love of the dramatic. Oil on canvas. Signed. Size, 36 x 25 inches. [SEE ILLUSTRATION | 10 [NUMBER TWENTY-FOUR || MAURICE DE VLAMINCK CONTEMPORARY FRENCH 24 STILL LIFE Tulips in a vase with pitcher, ewer and wineglass on a blue table. Boldly and thinly brushed. The flowers glow pleasantly against a turquoise ground. Oil on canvas. Signed. Size, 21 x 25 inches. [SEE ILLUSTRATION | 11 | et [NUMBER TWENTY-FIVE MAURICE UTRILLO Ay tl 25 STREET SCENE VN Gee Typical French street with shuttered white buildings ; gardens. ‘The inevitable bistro to right. Spots of blue and green in the windows relieve the pleasant monotony of the facades. Oil on canvas. Signed. Size, 1214 x 15 inches. C/ #) $0. CONTEMPORARY FRENCH 1% Lee [SEE ILLUSTRATION | 12 [NUMBER TWENTY‘SIX | ry JULES PASCIN ff bE bal % 6-0 \ RUSSIAN, WORKING IN PARIS ' ye 26 SEATED MODEL IN CHEMISE | Semi-draped figure in opalescent tones, the hair and linen che- b mise most exquisitely painted. Characteristic of Pascin’s paint- | ings is the life which pervades the entire surface of the canvas. Purchased from the John Quinn Estate. Oil on canvas. Signed. Size, 25 x 81 inches. - [SEE ILLUSTRATION | 13 / ; hAH uC". 27 28 29 30 EKEGARDH CONTEMPORARY SWEDISH THE PROMENADE Afternoon scene on a terraced avenue, with gardens beyond Touches of white in the dresses lend a sparkle of gaiety to the : group of promenaders in the foreground. Oil on canvas. Signed. Size, 23 x 28 inches. H. H. NEWTON CONTEMPORARY ENGLISH LANDSCAPE Hillside with pine trees, a green tone with touches of red pre- vailing. Touches of white in the sky. Oil on canvas. Signed. Size, 111% x 1514 inches. CONSTANTIN SOMOV CONTEMPORARY RUSSIAN AN OLD BALLET Ballerino stands at point, held by her partner, against a romantic setting. In the foreground, the gentlemen of the orchestra are seen in half light. The artist has found intense enjoyment in catching the effects of light on the filmy textures of the ballet skirt, and in contrasting these with the brilliant red of the curtain. Oil on canvas. Signed and dated 1923. Size, 214% x 16 mches. S. KONENKOV CONTEMPORARY RUSSIAN HEAD OF A PEASANT WOMAN Carved directly out of a tree trunk with that delightful playful- q ness which is only possible to one who has a perfect understand- ing of his medium. Simple and benign, the forms have an as- tonishing bigness. — Wood sculpture, Signed. Height, 1414 inches. 14 EE TNT BEEN ROI i BIOTA TR EI Nb es RS nT oe | | | | 34 S. OPITZ CONTEMPORARY AUSTRIAN DANCING NYMPHS Two figures in high relief, set against a rhythm of draperies, one body repeating the other in opposite motion. Strongly stylized throughout. Wood panel. Signed and dated 1923, Size, 1784 x 281% inches. S. OPITZ CONTEMPORARY AUSTRIAN FIGURE STUDY Draped dancing figure, strongly influenced by Archipenko. Wood sculpture. Signed and dated 1922. Height, 1814 inches. EDWIN SCHARFF CONTEMPORARY GERMAN TWO WOMEN Study in low relief. The two figures balance, both in point of line and color. The one on the left, her body turned, is strongly accented; the right is toned down to the lowest possible relief. Coloristically the effect is most charming, the figures beautifully spotted. Bronze relief. Size, 111% x 814 inches. A. FENOSA CONTEMPORARY FRENCH THREE GRACES Bronze. Signed. Height, 10 inches. 15 35 36 37 38 39 40 GEORG KOLBE CONTEMPORARY GERMAN YOUNG GIRL a! Exquisite study of youth. The slender body rises with the — J simplest of modulations, to the finely poised head. oe ina its outlines and superb in its lift. ; Bronze. Signed. Height, 1614 inches. GEORG KOLBE CONTEMPORARY GERMAN STUDY Drawing in wash for his series of the dance. Characterized by charming ease and suavity throughout. Wash on paper. Signed. Size, 1814 x 10 inches. | EMIL ORLIK CONTEMPORARY AUSTRIAN ARABS BENEATH PALM TREES BY THE SEA Dry-point. Signed and dated 1915. Size, 11144 x 734 mches. MIGUEL COVARRUBIAS CONTEMPORARY MEXICAN CARICATURE OF EVA LE GALLIENNE IN “THE SWAN” Water color. Signed. Size, 914 x 141% inches. AWA TSIREH CONTEMPORARY AMERICAN INDIAN HOPI BASKET DANCE Water color. Size, 11 x 1814 inches. AWA TSIREH CONTEMPORARY AMERICAN INDIAN CEREMONIAL DANCE Water color. Size, 914 x 1814 inches. 16 AWA TSIREH CONTEMPORARY AMERICAN INDIAN FOUR FIGURES IN CEREMONIAL DANCE Water color.. Size, 9 x 1514 inches. AWA TSIREH CONTEMPORARY AMERICAN INDIAN CORN DANCE _ Water color. Size, 1614 x 28 inches. TONITA PENA CONTEMPORARY nwiGan INDIAN WAR DANCE — Water color. Signed. Size, 131% x 10 inches. TONITA PENA CONTEMPORARY AMERICAN INDIAN CEREMONIAL DANCE Water color. Size, 814 x 141% inches. --'TONITA PENA CONTEMPORARY AMERICAN INDIAN WAR DANCE Water color. Size, 714 x 131% inches. > TONITA PENA CONTEMPORARY AMERICAN INDIAN EAGLE DANCE Water color. Signed. Size, 7% x 1614 inches. TONITA PENA CONTEMPORARY AMERICAN INDIAN CORN DANCE Water color. Signed. Size, 12 x 22 inches. 17 48 49 50 51 32 53 TONITA PENA CONTEMPORARY AMERICAN INDIAN MEN IN THE CORN DANCE Water color. Signed. Size, 61% x 17 wmches. TONITA PENA CONTEMPORARY AMERICAN INDIAN COMANCHE DANCE Water color. Size, 71% x 20 inches. TONITA PENA CONTEMPORARY AMERICAN INDIAN EAGLE DANCE Water color. Signed. Size, 914 x 138 inches. TONITA PENA CONTEMPORARY AMERICAN INDIAN BOW AND ARROW DANCE Water color. Signed. Size, 714 x 181% inches. TONITA PENA CONTEMPORARY AMERICAN INDIAN CEREMONIAL DANCE Water color. Signed. Size, 11 x 191% inches. LEON GASPARD CONTEMPORARY TAOS SCHOOL AN APACHE CHIEFTAIN A plein-air study of an Indian in a sombrero, with a suggestion of people in the background. Vivid ultramarine coat, against a greenish ground. Boldly brushed. Canvas. Signed and dated 1919. Size, 131% x 10 inches. 18 RALPH W. MEYERS CONTEMPORARY AMERICAN, TAOS SCHOOL SUNRISE The sun rises like a skyrocket behind ultramarine hills, the desert in the foreground being still barely light. Board. Signed and dated 1923. Size, 9144 x 1114 inches. VICTOR HIGGINS AMERICAN, TAOS SCHOOL THE WHITE CIRCLE Ceremonial dance in an open space bordered by tall pines. Stream running through the middle, centre. The figures boldly brushed in white, almost suggesting low relief. Sunlight ren- dered in tan and _yellowish-green tones. Canvas. Signed. Size, 24 x 27 inches. ROBERT W. SATTERFIELD CONTEMPORARY AMERICAN THE HAUNTED HOUSE ; Frame house of desolate aspect on the banks of the Hudso River, the far bank peopled with wharves, a blasted oak at the left. Strongly influenced by the school of Burchfield. Pastel and water color. Signed. Size, 20 x 15% mches. EUGENE HIGGINS CONTEMPORARY AMERICAN VAGRANTS Seated laborer with wife and child, against a suggestion of a wall. Rich texture of red in the woman’s dress, against a greenish-blue ground. Canvas. Signed. Size, 9 x 7 inches. 1g of 59 60 61 ~ JEROME MYERS - CONTEMPORARY AMERICAN ~— STREET SCENE | ASTHvie Bee ~Chudren seated on and playing around a cal a lumber in a | quiet street. A lumber yard or factory at back. To right, a — woman nursing her child. The drab tones of the street and q buildings charmingly relieved by the spots of lavender and apricot ~ in the dresses of the children. Glints of gold panels through 4 the composition at numerous points. am Canvas. Signed and dated 1922. Size, 1414, x 17Y, inches. STUART DAVIS CONTEMPORARY ‘oan eae rE STREETS Crowd study in Davis’s earlier manner, with a cee of archi- tecture in the background. Water color. Signed and dated 1912. Size, WR x 1914 iicheot STUART DAVIS CONTEMPORARY AMERICAN PROFESSIONAL LADIES _ Hard faces passing down a hard street. Interesting, as hinting at Davis’s later development, in its sharpness of outline. Water color. Signed and dated 1912. Size, 141% x 11 inches. E. DIMOCK CONTEMPORARY AMERICAN TWO WATER COLORS Promenades in town and country. . Color notes, charming in their unconcern and freedom of execution. The landscape in the coun- try scene admirably set down in contrasting washes of green 4 and pink. (2) Signed and dated 1924, Size, 714 x 834 inches. 20 [NUMBER SIXTY-TWO_| GUY PENE DU BOIS 725°. : CONTEMPORARY AMERICAN 62 TETE A TETE | A study in evening dress and evening boredom, in the artist’s j most pungent manner. ‘The pervasive turquoise-blue, drenching even the boyish bob of the lady and the time-worn eyes of her escort, lends the picture a death’s head tinge that is only relieved by incisiveness of draughtsmanship. An authentic essay in mod- ern satire. Oil on panel. Signed and dated 1925. Size, 21 x 1714 inches. [SEE ILLUSTRATION | 21 ~ 2 > ee = “ ee = ALBERT STERNER | | CONTEMPORARY ence 638 A SOUVENIR OF THE NINETIES Portrait of a young girl seated on a Louis XV chair. Lithograph. Signed. Size, 14 x 814 inches. | GEORGE P. ENNIS CONTEMPORARY AMERICAN 64 NORTHERN BAY Small sailing boats running through a narrow strait, cliffs fallmg _ S| sheer into the water. - | Water color. Signed. Size, 151% x 191% inches. NAN WATSON CONTEMPORARY AMERICAN 65 FLOWERS AND FRUIT Apples, pears and grapes grouped around a vase of flowers on a flowered background. Canvas. Signed. Size, 138% x 171% inches. -* WALTER DEAN GOLDBECK a Eas : 66 WOODLAND PATH OAAAUAK | “| Interlacing trees form interesting ‘arabesques, in the spates of which are passages of translucent blue and green. Canvas. Signed. Size, 2114 x 18 inches. CONTEMPORARY AMERICAN : 22 diiniie Vnkiwht nie ‘ ‘> P “ rc 7 — “ 4 - ' sou ~~ 4, + aa me — Co Saree 67 68 69 FRANK MORSE ROHMEL CONTEMPORARY AMERICAN NORWEGIAN WATERS Huts clustering around an inlet, with a line of hills beyond. A mosaic of red and blues. Board. Size, 131% x 1514 inches. SIDNEY LAUFMANN CONTEMPORARY AMERICAN GROUP OF TREES Study in cool tones of blue, green and brown, to left, a low brown wall with suggestion of house beyond. Canvas. Signed. Size, 25 x 201% inches. ALEXANDER BROOK CONTEMPORARY AMERICAN THE VALLEY A cluster of houses, barely seen between the trees, with hills beyond; orchards in the foreground. Passages of rose, bluish- green and yellow, framed by the black of fences and tree trunks, lend gaiety to the picture, which grows calmer as it reaches the more distant hills. The olive-green of the furthermost hill is admirably felt. Canvas. Signed. Size, 1914 x 291% mches. 23 [NUMBER SEVENTY | bial GIFFORD BEAL CONTEMPORARY AMERICAN } 40 VILLAGE REUNION er Daan Dw b New England scene with village green, white church beyon aI OD. “ Groups of villagers in old fashioned costumes. Harmony of cool tones, green and a slate-blue prevailing. Panel. Signed and dated 1923. Size, 1744 x 881% inches. [SEE ILLUSTRATION | GIFFORD BEAL CONTEMPORARY AMERICAN 71. TROPICAL LANDSCAPE A study in intensities of green and purple. ‘Three palms frame a plaster hut by the river side, small boats in the foreground. Water color. Signed and dated °25. Size, 14 x 1914 mches. 24 a | Leet WR ot on a f gribires2s ci Nuaer SEVENTY-TWO | a ee Le a en ee ee Rip ge tare EDWARD BRUCE aes CONTEMPORARY AMERICAN e 72 ROMAN AUTUMNAL LANDSCAPE Hills ascending in a hemi-cycle, patterned with bare trees. A study in terra cotta, relieved by turquoise-blue. Canvas. Signed. Size, 22 x 441% inches. be : [SEE ILLUSTRATION | 25 73 74 15 76 7 Sa ee a at: ; PAUL BURLIN | CONTEMPORARY AMERICAN HILLSIDE VILLAGE Houses clustering in the lea of a hillside. Subdued tones, red ‘ predominating. Board. Signed. Size, 914 x 111% inches. LOUIS LOZOWICK CONTEMPORARY AMERICAN SPECTRE OF NEW YORK Spiral patterns cut the perpendicular in ascending motion. 4 Mechanistic vision of skyscrapers in hard outline, a contrast — rigidly enforced in blue and yellow against a Chinese red sky. 9 Canvas. Size, 2144 x 17 mches. WILLIAM GRIMM CONTEMPORARY GERMAN NUDE : Tones of yellow in the flesh against a red background. Canvas. Signed. Size, 25 x 31 inches. JOSEPH DE MARTINI CONTEMPORARY AMERICAN | STILL LIFE Pears and apples in an earthenware bowl with bluish napian in the Cézannesque tradition. Board. Signed. Size, 1214 x 161% inches. ABRAHAM WALKOWITZ CONTEMPORARY AMERICAN BATHERS Group of nudes reclining after the bath, trees and a river behind. The whole composition very powerfully constructed in a sculp- _ turesque fashion. ‘The group to the right conceived with especial — beauty. Monotype. Signed. Size, 131% x 141% inches. 26 aR en 2) SNBtote eUBRIR eT YO. ME eT me aS ey aD ee ee ee —— [NUMBER SEVENTY-EIGHT | MARSDEN HARTLEY CONTEMPORARY AMERICAN ARROYO HONDO VALLEY Brownish-yellow hills part to disclose a blue hill, boldly accented in white. One of the finest of the New Mexican series. Pastel. Signed and dated 1918. Size, 1634 x 154% inches. MARSDEN HARTLEY CONTEMPORARY AMERICAN NEW MEXICAN COLOR SYMPHONY A hill country with a suggestion of trees on the lower slopes. Color symphony of pink and yellow, deepening to purple in the diagonal valleys. Jewel-like quality in the pigment. Oil on board. Size, 814 x 11144 inches. MARSDEN HARTLEY CONTEMPORARY AMERICAN MAGIC VISTA Harmony in green and blues. Low hills rising from the plain into a brilliantly lighted sky. From the New Mexico series. Pastel. Signed and dated 1918. Size, 171 x 27 inches. 27 81 82 83 84 MAX WEBER CONTEMPORARY AMERICAN NUDE, HALF LENGTH Delicate conception in virtual monotone. - Pervading tone of slate- ; blue, scarcely accented by the greenish-yellow of the hair. Water color. ees oe 43/4 x e inches. art MAX WEBER CONTEMPORARY AMERICAN SEATED WOMAN IN BLUE Half length figure in blue dress against a reddish ‘tan ele Water color. Signed. Size, 434 x pe inches. MAX WEBER CONTEMPORARY AMERICAN STILL LIFE a Vases and a lemon on a plain, square Sah in pohauat tones, — save for the strong contrast of the green vase and lemon. | Canvas. Signed. Size, 1914 x 1514 inches. MAX WEBER CONTEMPORARY AMERICAN LANDSCAPE 4 Hill sloping down to lake’s edge in the foreground, with small 4 sailboat to right. Emerald-green and red in the ground form a subdued color scheme that is pleasantly relieved by the changing — blue of the water. | Inscribed on the back: “A mon ami Mr. Rothbart. Max Weber. — Nov.cL2,.1926-%, Canvas. Signed. Size, 154 x 191% inches. 28 [NUMBER EIGHTY-FIVE | ALFRED MAURER CONTEMPORARY AMERICAN 85 GIRL AGAINST A COBALT-BLUE GROUND Characteristically elongated forms, at once firmly and ae ctally outlined. Intense color contrast of red against cobalt-blue ground. Board. Size, 26 x 18 inches. [SEE ILLUSTRATION ]_ 29 [NUMBER EIGHTY-SIX | WALT KUHN CONTEMPORARY AMERICAN 86 FLOWER PIECE A study in poppy-red and cornflower blue, against a translucent slate-gray ground. The cool stroke of green on the leaf is par- ticularly happy. Panel. Signed. Size, 138 x 91% inches. [SEE ILLUSTRATION | 30 = ner a) nie ea § t we r CO ° 87 [NUMBER EIGHTY-SEVEN | JOHN MARIN CONTEMPORARY AMERICAN COLOR VIBRATION IN LANDSCAPE Intricate color play carried over a wide perspective. View from hillside over fields stretching away to the horizon. The color sen- sation is nervously set down. Water color. Signed and dated 1913. Size, 14 x 16 inches. [SEE ILLUSTRATION | JOHN MARIN CONTEMPORARY AMERICAN PINE TREES Marvellous and delicate washings of greens, relieved by tones of lavender. The foreground exquisitely conceived. Characteristic of the finest work of Marin’s middle period. Water color. Signed and dated 1918. Size, 19 x 154% inches. 31 89 [NUMBER EIGHTY-NINE] 4 * MAURICE STERNE CONTEMPORARY AMERICAN BURMESE DANCING GIRL A study in spiral motion, expressing in simple and convincing — terms the rhythm of the dance. Cool tones predominant, the 4 lavender of the bodice being exquisitely seen against the mustard- yellow of the skirt. i Tempera. Size, 1614 x 714 inches. Pee | [SEE ILLUSTRATION | iitos saan @ b2 I Re SE er mene aoe : ' i : [NUMBER NINETY | JOSEPH STELLA CONTEMPORARY AMERICAN INDUSTRIAL ACTIVITY 9 Black factories, in outline at once sinister and elegant, seen against a violent sky of red and yellow, cooling to blue. Pastel. Signed. Size, 16 x 15 inches. [SEE ILLUSTRATION | 303 91 BACK YARD OZ 93 CHARLES SHEELER | CONTEMPORARY AMERICAN Study in the descending planes of roofs reduced to simple terms. — Tempera. Size, 11 x 81% inches. | = CHARLES SHEELER CONTEMPORARY AMERICAN A BLACK PITCHER Fruit and glass on a table rendered in strong contrasts of black and white; the form of the pitcher has a splendid amplitude which _ is repeated in the apple. Crayon drawing. Signed and dated 1921. Size, 16 x 15 inches. CHARLES SHEELER CONTEMPORARY AMERICAN VASE WITH BLACK FLOWERS Black and white on vermilion ground. A study in reflected color, the black carnations taking their color from the vermilion of the table. Crayon and tempera. Signed and dated 1920. Size, 14 x 101% qi inches. 3 7 34 [NUMBER NINETY-FOUR |] CHARLES SHEELER CONTEMPORARY AMERICAN of S41LL LIFE White pitcher, apples and dark green wineglass. An exquisite study in three tones. The “Immaculate School” at its most aristocratic, Pastel. Signed and dated 1923. Size, 1514 x 111% inches. [SEE ILLUSTRATION | B35 95 96 Di EMILE BRANCHARD CONTEMPORARY AMERICAN KNEELING NUDE Ivory flesh tones against an orange ground, framed ES a red curtain. Miniature with impeccable sense of scale. Canvas. Signed. Size, 5 x 8% inches. EMILE BRANCHARD CONTEMPORARY AMERICAN THE MOUNTAIN RANGE ee a Dense green pine forest grows up the hill at the right and fringes q the base of golden-brown mountains to the left. The sky bril- a hantly lighted. 4 Board. Signed. Size, 11 x 221% inches. EMILE BRANCHARD CONTEMPORARY AMERICAN THE STONE FENCE Playful composition of rocks and trees and rolling country, a stone wall which all but divides it forming delightful pattern. Astonishing in its ease and whimsy. Canvas. Signed. Size, 11 x 151% inches. 36 EMILE BRANCHARD CONTEMPORARY AMERICAN 98 WINTER LANDSCAPE A delicate miniature in ivory and pale turquoise. the stream set down with unerring precision. Board. Signed. Size, 5 x 9 inches. | SEE ILLUSTRATION | 37 The tone of NUMBER NINETY-NINE | VINCENT CANADE CONTEMPORARY AMERICAN 99 THE MOUNTAIN ROAD Diverging paths of a moor seen against a sky of turquoise-blue ~ banded with a single white cloud: The forms of the hills admir- ably observed. Board. Signed. Size, 714 x 12 inches. [SEE ILLUSTRATION | 38 mrewrepreeree acti 101 WOOD GAYLOR CONTEMPORARY AMERICAN » 100 EN DESHABILLE Girl in orange chemise seated on a blue stool, against a ground of slate-blue, merging into gray. Delicately drawn, the tones finely seen throughout. } Canvas. Signed and dated 1917. Size, 914 x 5 inches. - OSCAR BLUEMNER CONTEMPORARY AMERICAN DISTRESS Dejected figure of a man in an empty restaurant. Browns and reds, with accents in cool green. Water color. Signed. Size, 9 x 121% inches. OSCAR BLUEMNER CONTEMPORARY AMERICAN 102 AGE AND FATE-WORN HOUSES Gabled houses bordering a narrow road that leads down to the sea. The gray of the road, as it approaches the b-ue water, has fine quality. Water color. Signed. Size, 121% x 91% inches. 39 103 LANDSCAPE WITH BARN 104 [NUMBER ONE HUNDRED AND THREE ]| OSCAR BLUEMNER CONTEMPORARY AMERICAN Brilliant red barn against ultramarine sky, the tree isolated by the coldness of its greens. Water color. Signed. Size, 914 x 12% mches [SEE ILLUSTRATION | OSCAR BLUEMNER CONTEMPORARY AMERICAN LANDSCAPE IN GREEN AND RED | An interesting contrast with the preceding painting, which uses similar materials. | Water color. Signed. Size, 914 x 1214 inches. 40 {0 105 [NUMBER ONE HUNDRED AND FIVE] GASTON LACHAISE CONTEMPORARY AMERICAN DRAPED FIGURE Graceful standing figure, strongly stylized. Bronze. Signed and dated 1917. Height, 13% inches. [SEE ILLUSTRATION | 41 [NUMBER ONE HUNDRED AND SIX | FLORENCE LUCIUS CONTEMPORARY AMERICAN 4 2 106 STANDING NUDE | Girl with slightly bent head, resting her weight on the left leg, her hands clasped behind her. Powerfully modelled. Bronze. Signed. Height, 28 inches. | [SEE ILLUSTRATION | 42 - eo. S THOMAS VIGIL © ; oe “CONTEMPORARY AMERICAN INDIAN BUFFALO DAN CE Water color. Saye Size, 914 x 191% inches. THOMAS VIGIL CONTEMPORARY AMERICAN INDIAN ide 108 HARVEST DANCE La f.: ei Water color. | Size, 914 x 201% inches. FRED KAPOTIE CONTEMPORARY AMERICAN INDIAN Water color. Size, 8% x 16 inches. VELINO SHIJE (MAH PE WI) “CONTEMPORARY AMERICAN INDIAN qa 110 TRIBAL DANCE i _ Water color. Signed. Size, 111% x 181% inches. VELINO SHIJE (MAH PE WI) CONTEMPORARY AMERICAN INDIAN 111 EAGLE DANCE 7 Water color. Signed. Size, 7% x 101% inches. i) Two dancers in bird costume, accompanied by tom-toms. [NUMBER ONE HUNDRED AND VELINO SHIJE (MAH PE WI) . CONTEMPORARY AMERICAN INDIAN r 112 WAR DANCE | Water color. Signed. Size, 1014 x 201% inches. [SEE ILLUSTRATION ] VELINO SHIJE (MAH PE WI) CONTEMPORARY AMERICAN INDIAN 118 WAR DANCE Water color. Signed. Size, 9% x 201% inches. 44 [NUMBER ONE HUNDRED AND FOURTEEN] ‘ WI) VELINO SHIJE (MAH PE CONTEMPORARY AMERICAN INDIAN 114 CORN DANCE inches. 21 x 283/, 1Ze, S Signed. Water color . . [SEE ILLUSTRATION | 45 This catalogue designed by The Anderson Galleries | Composition and press-work by — , Publishers Printing Company, New York i d a 5 \ pi Da ie PN » * \ - sare ASSIS Fi aWig a ar va =f ag 5 ORNS BS rie shay 1 Sian se Oe oe oA ne mie Nal # , Goon om area pis an a sik “] \ ( mal —_ \I ) an a | a et if f 5 Od g > iy ‘ 4 ¥ ’ ; SLT aT Una ahab aaa 49) Tae ay Raa A 7 Pg af a 2 a ae Ay, GETTY RESEARCH NAT ns He é AWA AC Has 3) i | — \ ; HI | | thie a | | MwA b - hi Paes kL wT et Ado NA ertealeet Suk Meets beens ty me ee A el tls g bore al 95 SMa ada ease: wet pS Sages Mekal +e Pie) ee o er ARTE Peek, Mea tie eo East ESS ARE Poh SY bathe wet bn att Shy ‘ rth Delete} bs ar ' £4 Vin penaane eee Melia oan 4 SRSA de rot cane ths ical SOS ede ‘ WORE ia sia we sSiilis if FERN Rai UNS. 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