Designer & Manufacturer: Pablo Picasso (Spanish, 1881-1973); Madoura
Markings: Madoura Plein Feu imprint, Edition Picasso imprint, Edition Picasso Madoura; ed. 193/300
Country of Origin & Materials: France; white earthenware with colored engobe and glaze
Dimensions(H,W,D): 9″h, 7″w, 5″d
Additional Information: Reference: Pablo Picasso- Catalogue of the Edited Ceramic Works 1947-1971, Alain Ramie, 437.

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Condition
very good, some grime around rim and light surface marks; no visible chips, cracks or repairs

Superb hollow decorative Canada goose, Ward Brothers, Crisfield, Maryland. Signed and dated 1977. Carved in preening pose with highly detailed feathering, raised wings, and finely sculpted head. A Polaroid photograph of Lem Ward holding another Canada goose is taped on the underside. 21″ long.
Condition
A couple of very minor chips on side of the tail; two very thin tight drying cracks in the breast; overall superb original condition with a nice mellowed surface.

Chateau Lafite Rothschild 1982
Pauillac, 1er Cru Classe
u: three very top shoulder, seven top shoulder, two high shoulder, corrosion resulting in light losses to eleven capsule tops, case wear to all capsule bases (nicks to six), nick to top edge of one label
“This is a denser version of the 1990 that stylistically reminds me of what the young 1959 probably tasted like. Still backward with a deep ruby/plum color revealing only a touch of lightening at the edge, the wine offers up an extraordinary nose of caramelized herbs, smoke, cedar, pen ink, black currants, and earth. The gorgeous aromatics are followed by a full-bodied, plump, rich, fleshy wine with low acidity. With 6-8 hours decanting in a closed decanter, it will offer beautiful drinking, but it needs another 5-8 years to reach full maturity. It is capable of lasting 50-60 years. This classic Lafite is not as fat and concentrated as the 1982 Latour, nor as complex or concentrated as the 1982 Mouton Rothschild, but it is a winner all the same.” R. Parker for TWA, 97+ pts. 06/09
12 bottles (owc)
Estimate $28,000-32,000

Items may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.

Agony in the Garden, 1956
Oil on canvas (framed)
Signed, dated and titled
25″ x 30″
Provenance: Sid Deutsch Gallery, New York (label on verso)
Meredith Long and Company, Texas (label on verso)
Private Collection, San Francisco
Private Collection, Minnesota
Condition
Signed lower right recto. Signed, dated and titled on verso. A few brown accretions on surface, otherwise in good condition. 1-1/2″ area of inpainting middle of left side. Condition reports are rendered as specialist opinion by the staff of the Auction House and/or independent consultants and not as statements of fact. We do not guarantee the content of written or verbal condition reports. The absence of a condition report does not imply that there are no condition issues with the lot. Please call us at (609) 397-9374 or e-mail [email protected] with any questions about this lot at least 24 hours prior to auction.

Fine Vintage Circa 1940s-1950s Approx. 40.0 Carat TW Pear Shape, Round Brilliant and Baguette Cut Diamond and Platinum Necklace. Diamonds D-E-F color, VVS-VS clarity. measures 16″ L, 1″ W. Approx. weight: 76.1 grams. Condition: Very good condition. Estimate: $40,000.00 – $60000.00 Domestic Shipping: $36.00
Condition
Very good condition.

ANDRE BRASILIER (FRENCH B. 1929)
Les chevaux bleus, 1988
oil on canvas
97 x 145.5 cm (38 1/4 x 57 1/4 in.)
signed lower right; initialed and titled on verso

PROVENANCE
Christie’s, New York, September 10, 2008, lot 30

EXHIBITED
New York, Hammer Galleries, Andre Brasilier, October-November 1989

LITERATURE
Xavier d’Aleyrac de Coulanges, Andre Brasilier: Catalogue Raisonne 1982-2002 (Paris, 2002), vol. I, p. 115, no. 1988/26 (illustrated)

GRIGORY GLUCKMANN (RUSSIAN 1898-1973)
Debut,
oil on canvas
77.5 x 92 cm (30 1/2 x 36 1/4 in.)
signed lower right

PROVENANCE
Dalzell Hatfield Galleries, Los Angeles, Art for the Executive and for the Museum, 1957, exhibition and sale
Private collection, California
Sotheby’s, New York, October 6, 1998, lot 225
Christie’s, New York, April 24, 2009, lot 225

EXHIBITED
Dalzell Hatfield Galleries, Los Angeles, Art for the Executive and for the Museum, April-June 1957
Palm Springs Desert Museum, Palm Springs, Grigory Gluckmann – Contemporary Classicist, November 3-December 3, 1972

Pair of Dublin Castle Pistols and a Horseman’s Saber, c. 1767, .67 bore, walnut stocks with light storekeeper’s stamps on the wrist, brass fittings, wrist plates marked “F/8,” tails of the lock plates marked “DUBLIN/CASTLE/1767” with a crown over “GR” in front of the cocks and ordnance mark under the pans, barrels have proof marks on the breech and marked “17=L=D” on the top, with wooden ramrods, and an American horseman’s saber with a brass hilt (knuckle bow missing), wooden grip, “HARVEY” blade, and a leather scabbard with a brass throat, barrel lg. 8 1/8, overall lg. 14 1/8, sword blade lg. 35 5/8, overall lg. 42 in.

Provenance: The collection of Dr. Clifford D. Harvey, by descent to the consignor.

Note: Dr. Harvey collected these in the late 19th to early 20th century and the sword was listed as being with the two pistols when he acquired them.
Estimate $20,000-30,000

One stock has a period replaced forend in cherry, some dings and nicks and very light cracks, the lock functions properly, all of the iron parts have some patination. the knuckle bow on the sword is missing as is the drag from the scabbard.

Items may have wear and tear, imperfections, or the effects of aging. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner shall have no responsibility for any error or omission.

1965, pencil signed and numbered 149/200 (there were also 50 in Roman numerals and approximately 5 artist’s proofs), with full margins, Original Editions, New York, publisher. Color screenprint on heavy, smooth white wove paper.
image: 35 9/16 x 25 9/16 in. (90.3 x 64.9cm)
sheet: 37 5/8 x 27 5/8 in. (95.6 x 70.2cm)

In her forward to the The Prints of Roy Lichtenstein: A Catalogue Raisonné, Ruth Fine writes, “Lichtenstein has said he thinks of his 11 Pop Artists prints as his first “true” Pop prints, the ones that were really done as prints.” In the present work, contributed to the third volume of 11 Pop Artists, Lichtenstein’s primary subject and emphasis is text, rather than pictorial narrative of who delivers the punch and why. Here, the words ‘POW!’ and ‘Sweet Dreams, Baby’ exemplify perfectly what Fine describes as the artist’s juxtaposition of “a verbal-visual language, both as a cartoon-bubble conversation device and to suggest sound, referred to as ‘audioscription’ by the artist (“Wham,” “Crak,” “Pow”), presenting the issue of language and its formal properties in a very different context than it has been used.”

M.L. Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997, Introduction by Ruth Fine, New York, 2002 (pp. 21-22).

with wirework detail; weighing approximately: 21.0 grams; fits wrist size: 6 1/8in. (interior diameter: 2 1/8in); width: 5/8in. (minor wear) Items are sold as is. Please inquire about condition if not otherwise stated.