A few examples of appraisal values for
THE VILLAGE

• Vintage German village with
  Vintage German village with cottages, churches (5"h), 3-stall stable, birdhouses, trees, gesera grass, lots of carved figures and animals, fencing, picnic table and chairs.
• VIEW OF VILLAGE AND STONE BRIDGE,
  VIEW OF VILLAGE AND STONE BRIDGE, CHARCOALView of Village and Stone Bridge, Charcoal
• ENGLISH SCHOOL VILLAGE SCENE, O/P
  ENGLISH SCHOOL VILLAGE SCENE, O/P English School, oil on panel, early 20th century, depicting a village scene with houses and figures conversing outside, signed at lower right, framed, frame marked "W. East. 1923" possibly for William H. East, at lower center. Provenance: Acquired from Frances Aronson Fine Art in Atlanta, Georgia; Provenance: the Private Collection of Jim McArthur, Cumming, Georgia. Approx. sight h. 22", w. 18"; overall h. 29", w. 23.5", d. 1.5".
• OOC - Brittany Village by Ross
  OOC - Brittany Village by Ross Braught (NY/PA 1898-1983) signed lr and dated 1922 depicting a cluster of small homes backed by a church large sand dune water to the right several elderly villagers on the street housed in an artist carved and painte
• Mark Kremer (Russian, born 1928)
  Mark Kremer (Russian, born 1928) "In the Village." Oil on canvas, ca. 1981, initialed lower right. The image measures approx. 9-3/4" x 17-3/4"", and with the gilt frame with linen liner approx. 16-3/4" x 24-3/4".
• PAUL AIZPIRI, "LE VILLAGE" OIL ON
  PAUL AIZPIRI, "LE VILLAGE" OIL ON CANVAS, FRAMED Paul Augustin Aizpiri (French, 1919-2006). "Le Village", oil on canvas, signed lower right. Painting of a country village with blue sky. Provenance: Christies New York, July 2014, Lot 95; Eric Pillon, Versailles, 5 December 2005. Approx.
• JUDITH VIORST, THE VILLAGE
  JUDITH VIORST, THE VILLAGE SQUARE, 1966 Judith Viorst, "The Village Square" Coward McCann, New York: 1965 (paperback, 2nd Ed.)
• Untitled (Village Scene)
  Untitled (Village Scene) (Italian, 1890 - 1967) 20 x 28 1/2 inches.
• Scenic village in Mexico;
  Scenic village in Mexico; possibly Jalisco; vintage oil on canvas; 10" x 13 3/4"; signed M. Corona, Mexico lower right. Property of the Patti Lewis Estate.
• LOUIS COUTRAUX (FRANCE/RUMANIA,
  LOUIS COUTRAUX (FRANCE/RUMANIA, 1923 - ) Continental Village Street Scene of an overcast morning view down a village lane punctuated by two saplings and rhythmic windows, oil on linen, signed lower right, bio of artist verso from Daniel Rees, Fine Art Dealer, Jackson, Michigan. Housed in a gold gesso French Impressionist frame, OS: 29 1/2" x 45 1/2", SS: 23 1/2" x 35 1/2". Good condition.
• OUR VILLAGE BY MARY RUSSELL
  OUR VILLAGE BY MARY RUSSELL MITFORDOur Village: Sketches of Rural Character & Scenery Author: Mary Russell Mitford. Publisher: J. M. Dent and Co. Year: 1800
• POESCHEL, VIEW OF VILLAGE, OIL ON
  POESCHEL, VIEW OF VILLAGE, OIL ON CANVAS, FRAME: 23 X 28 INPoeschel, View of Village, Oil on Canvas, Frame: 23 x 28 in
• ENGLISH SCHOOL (CIRCA 1900),
  ENGLISH SCHOOL (CIRCA 1900), COTTAGE SCENE WITH VILLAGERS Pencil on paper, unsigned, matted and framed under glass.
• VACLAV VYTLACIL "VILLAGE SCENE"
  VACLAV VYTLACIL "VILLAGE SCENE" GRAPHITE ON PAPER Vaclav Vytlacil (American, 1892-1984) graphite on paper drawing depicting a village atop a hill landscape scene, signed to lower right, with a white mat housed under glass in a hardwood frame. Image: 13.75" H x 17" W; frame: 23" H x 25.75" W x 1" D. Provenance: Property from a 21 East 87th Street estate.
• ENGLISH SCHOOL: VILLAGE ON THE
  ENGLISH SCHOOL: VILLAGE ON THE COAST Oil on canvas relined 18 x 26 in. unsigned.
• Victor Clare painting, title
  Victor Clare painting, title inscribed verso "The Village Church", signed lower left and verso "Victor Clare", oil on canvas board, British, 20th century, 11 x 8-1/2 in.; modern gilt wood and composition frame. Crackle, cupping, cleavage, flaking at top; frame with abrasions.
• MOUSTAPHA FARROUKH, VERS LE
  MOUSTAPHA FARROUKH, VERS LE VILLAGE, 1955Moustapha Farroukh(Lebanese, 1901-1957)Vers le Village, 1955watercolor on papersigned lower right M. Farroukh, dated and titled12 1/2 x 9in (32 x 23cm) Provenance:The Collec
• TESHOME, VILLAGERS, OIL ON BOARD
  TESHOME, VILLAGERS, OIL ON BOARD AND FRAMED MOLATeshome, Villagers, Oil on Board and Framed Mola
• Vintage German town square with
  Vintage German town square with houses, castle, stable, group of vendor stalls and games of chance, trees, fencing, small accessories, small animals and figures.
• GERMANIC VILLAGE OVERLOOK LANDSCAPE
  GERMANIC VILLAGE OVERLOOK LANDSCAPE PAINTING Europe,1925Vast green landscape mottled with white buildings and red roofs, a tall building with a crow stepped gable sits to the mid left.
• Nineteenth century European village
  Nineteenth century European village scene; oil on canvas in ornate gilt frame; 10 5/8" x 13 3/4"; unsigned.
• French School (19th century) Basque
  French School (19th century) Basque Village, signed lower left "Guinet", oil on canvas, 16 x 25-1/2 in.; wood frame,
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) THE VILLAGE, 1925 (TASSI 20) Etching, signed in pencil to margin17cm (6 3/4in), 22cm (8 3/4in)Provenance: Christie's, South Kensington, 16th April 2014, lot 120.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.20.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no. 9.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air of quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Gordon Cooke has linked The Village to Samuel Palmer's etching The Bellman of 1879 (op.cit., unpaginated, see Victoria & Albert Museum collection acc. no.E.1465-1926). In contrast, Roberto Tassi detected the influence of Jean-François Millet and declared that The Village revealed 'a new and absolutely original vision...with tilled fields, weary labourers, their wretched cottages and the evening stillness that weighs on everything.' (op.cit., p. 19) Ronald Alley has explained that the scene depicted was 'based mainly on scenery around Cudham in Kent, but with elements from Warning Camp in Sussex.’ (Ronald Alley, Graham Sutherland, London 1982, p. 58.)
• FRENCH SCHOOL (19TH CENTURY),
  FRENCH SCHOOL (19TH CENTURY), VILLAGE STREET SCENE Oil on canvas (lined), partial signature or monogram at lower right, presented in a later gilt frame.
• ALFRED ALTIDOR (HAITIAN 1966)
  ALFRED ALTIDOR (HAITIAN 1966) HAITIAN VILLAGE SCENE Oil on canvas: 24 x 16 in. Framed
• Lot of two paintings including
  Lot of two paintings including ink and watercolor painting titled "Little Village, Brittany", signed R.R. Coster to lower left-hand corner; painting 8 1/2" x 6 1/2", frame 13 1/4" x 15 1/4", and one painting of people and animals, likely of Indonesian origins, unsigned; image 11 3/4" x 8 3/4", frame 16 1/4" x 13 1/2" (approx.)
• CORA (B. 1959), VILLAGE SOUS LA
  CORA (B. 1959), VILLAGE SOUS LA NIEGE (Village under the Snow), oil on canvas, signed at lower right, inscribed on the verso, presented in an attractive contemporary frame.
• Small painting of a village
  Small painting of a village depicting villagers performing their daily tasks, possibly New Mexico where the painting was purchased, oil on cigar box lid, consigned, 5 1/2" x 6 3/8", framed 8" x 8 3/4", good condition
• RURAL VILLAGE OIL ON CANVAS, A
  RURAL VILLAGE OIL ON CANVAS, A STREAM IN THE FOREGRURAL VILLAGE OIL ON CANVAS, a stream in the foreground, a village with a church steeple, and mountains in the background. Illegibly signed lower right. Image measures 18" x 22". In a wood frame; 25" x 28.5" overall.
• NAIVE MINIATURE WATERCOLOR OF A NEW
  NAIVE MINIATURE WATERCOLOR OF A NEW ENGLAND VILLAGE Carefully drawn view of a small cluster of church, meeting house, mansion and mill, marked on back "Ann Towne, Cousin, Died 1862", in the original red painted pine slit frame, under old glass, with brass hanging loop, OS: 4 3/8" x 4 3/4", SS: 2 5/8" x 2 7/8", folded, stained.
• FOLKSY VILLAGE SCENE (AMERICAN
  FOLKSY VILLAGE SCENE (AMERICAN SCHOOL 20TH CENTURY). Oil on canvas illegible signature lower right. Brightly colored buildings at crossroads. 14''h. 24''w. in a frame 17 1/2''h. 27''w.
• Post-Impressionist style French
  Post-Impressionist style French village street scene. Unsigned. In ornate gilt frame. 15" x 19"
• A VILLAGE IN WINTER BY JESSE
  A VILLAGE IN WINTER BY JESSE BRADFORD HAGUE (AMERICAN 1903-1994). Oil on canvas signed lower left. A serene scene of a rural Ohio village with the general store/post office at the right. Unframed 20.25''h. 24.25''w. See also lots 44 45 and 139.
• Vilmos Aba-Novak (Hungarian
  Vilmos Aba-Novak (Hungarian 1894-1941) Village Festival. Oil on wood panel signed in the lower right framed in an antiqued gilt frame overall 27" x 32".
• Maurice Sarthou (French, 1911-2000)
  Maurice Sarthou (French, 1911-2000) "Village de Pecheurs" or "Fishing Village", oil on masonite, signed "M. E. Sarthou", lagel on reverse from Galerie Moderne at Brentano's NY, 9-1/2" x 13", framed 16-7/8" x 20-5/8", very good condition
• Theophile Berengier (French,
  Theophile Berengier (French, 1851-1928) "View of a Fortified Village", ca. 1897, oil sketch on artist's board, signed lower right, with exhibition entry label en verso "P. M. P. Exposition 1897", 9-3/4" x 14-3/4". Presented in a period carved giltwood and plaster frame in the Barbizon style with engraved brass artist name plaque.