Lot 0082C

Samuel Jakovlevic Adlivankin (1897-1966) non-objec

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William Samuel Schwartz (American/Russian, 1896–1977) Symphonic Forms #2: William Samuel Schwartz (American/Russian, 1896–1977) Symphonic Forms #2 oil on canvas signed William S. Schwartz (lower right); signed, titled, and inscribed Chicago and Painting #272 (on the r

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William Samuel Schwartz (American/Russian, 1896-1977): William Samuel Schwartz (American/Russian, 1896-1977) Before the Storm, 1925 oil on canvas signed William S. Schwartz (lower left); signed, titled, and dated (verso) 24 x 18 inches. Provenance: R.H. L

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William Samuel Parrott, (American, 1843-1915): William Samuel Parrott (American, 1843-1915) "Mt. Hood" oil on canvas signed lower right, a "William A. Kargas Fine Art, Los Angeles, CA" label with artist and title en verso. Period gilt frame. 42" x

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Samuel Bak: Castle with a Pear,1994, Oil on canvas, 65X54 cm. Signed and dated.

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Samuel A. Kilbourne (1836-1881), Atlantic Salmon: Samuel A. Kilbourne (1836-1881) Atlantic Salmon signed "S.A. Kilbourne" lower left watercolor, 13 1/2 by 20 in.

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William Samuel Schwartz (American/Russian, 1896–1977) The Lumberjack, 1928: William Samuel Schwartz (American/Russian, 1896–1977) The Lumberjack, 1928 oil on canvas signed William S. Schwartz (lower right); signed, dated, titled, and inscribed Chicago and Painting #170

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Samuel F.B. Morse (American, 1791-1872), c. 1832 The Goldfish Bowl 29 3/4 x 27 7/8 in.: Samuel F.B. Morse (American, 1791-1872), c. 1832 The Goldfish Bowl Depicting Mrs. Richard Carey Morse and her two children Elizabeth and Charlotte with a goldfish bowl to the left in a classical inter

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William Samuel Schwartz (American/Russian, 1896-1977) A: William Samuel Schwartz (American/Russian, 1896-1977) A Countryside, 1929 oil on canvas signed William S. Schwartz (lower center); signed, titled, dated, and inscribed (verso) 28 x 30 inches. Provenan

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Samuel Halpert: Samuel Halpert American, 1884-1930 Rooftops (The Church), 1929 Signed S. Halpert. (lr), signed and inscribed The Church./by/S. Halpert. on a label affixed to the reverse Oil on paperboard laid down on

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Frederick Samuel Dellenbaugh (1854-1935) Navajo Indian 60 x 42 in. framed 64 x 46 1/2 in.: Frederick Samuel Dellenbaugh (1854-1935) Navajo Indian signed, inscribed and dated 'F.S. DELLENBAUGH / ARIZONA / 1884-5' (lower left) and signed and dated again, titled and inscribed 'Keam's Caño

2022Frederick Samuel Dellenbaugh (1854-1935) Navajo Indian 60 x 42 in. framed 64 x 46 1/2 in.See Sold Price

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Pair of Oil Paintings by Samuel J E Jones: Pair of Antique 19th C Oil Paintings by Samuel J E Jones. Each of a hunting scene, oil on canvas, framed and signed. Samuel John Egbert Jones, (1797 - 1861) was active/lived in United Kingdom. Each me

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WILLIAM SAMUEL HORTON (New York/Michigan/France,: WILLIAM SAMUEL HORTONNew York/Michigan/France, 1865-1936"Ravens on the Balcony". Signed lower left "W.S. Horton". Titled on gallery label verso.Oil on canvas, 25" x 30.5"

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Samuel Bak: Pears,Oil on canvas, 60X53 cm.Signed.

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Circle of Samuel de Wilde (London 1751-1832) A scene from a play: three actors: Circle of Samuel de Wilde (London 1751-1832) A scene from a play: three actors oil on canvas 45.2 x 61.2cm (17 13/16 x 24 1/8in).

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Samuel Rosenberg 1959 abstraction Regeneration: Rosenberg, Samuel (American/Pittsburgh, 1896-1972), Regeneration, 1959, oil and mixed media on canvas, 60 x 41 inches, signed lower left, with the artist's strip frame, Provenance: Joseph Kalla, Pitts

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William Samuel Horton (American, 1865-1936) Sunflowers,: William Samuel Horton (American, 1865-1936) Sunflowers, c. 1919 oil on canvas signed Williams S. Horton and indistinctly dated (lower right) 41 x 32 ½ inches. Property from the Collection of Home

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Samuel Jakovlevic Adlivankin (1897-1966) non-objec

Item Details

Description

Samuel Jakovlevic Adlivankin (1897-1966) non-objective compositionsigned in Cyrillic and dated 1920 gouache, watercolour and pen & ink on paper laid down to card 34 by 25cm., 13? by 9?in.

***Non-Objective Composition bears an interesting relationship to Adlivankin's non-objective works of the early 1920s. It utilises the same vocabulary of diagonals, rectangles and semi-circles and these compositional elements are similarly disposed across the picture plane. Non-Objective Composition was probably conceived as a preliminary work for a full-scale oil or might perhaps be an attempt at a non-objective extrapolation of such a painting. The authenticity of this work has been confirmed by Dr. Anthony Parton..