STERLING SILVER, ADJUSTABLE-16,17 OR 18"

16" OR 18" STERLING SILVER

SILVERTONE

16" STERLING SILVER

16" STERLING SILVER

SIZE 7

SIZE 9

NEW EARRINGS ROSE GOLD TONE

20"

GOLD TONE

6" STERLING SILVER FROM THE TIFANNY T COLLECTION

STERLING SILVER 18-20" FROM THE TIFFANY T COLLECTION

SIZE 7

NECKLACE AND EARRINGS

20" STERLING SILVER

SIZE 9

ROSE GOLD TONE, 16-18" ADJUSTABLE

STERLING SILVER

NEW IN PACKAGE

STERLING SILVER

OK CONDITION

ASSORTED 4-10" GOOD CONDITION

Drago J Prelog, no coa, private collection, medium: oil, measurements: 41"wx53"h framed , good condition Biography: Drago J. Prelog was born in 1939 in Slovenia. Prelog moved with his parents to Austria. From 1954 to 1958, he attended the Bundesgewerbeschule in Graz, focusing mainly on decorative painting. From 1958 to 1962, he studied at the Akademie der Bildenden Künste, where he held a chair in 1969. Drago Prelog was awarded the title of Professor in 1999. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Kenzo Okada, private collection, medium: acrylic, measurements: 48"H X36"W framed, good condition Biography: Kenzo Okada was a Japanese-born American painter and the first Japanese-American artist working in the Abstract Expressionist style to receive international acclaim. At the 29th Venice Biennale in 1958, Okada’s work was exhibited in the Japan Pavilion and he won the Astorre Meyer Prize and UNESCO Prize. n 1927, Okada returned to Japan and within a year he had his first one-person show at the Mitsukoshi Department Store in Tokyo. In 1929, his works were selected for the sixteenth Second Section Exhibition (Nika-ten ???), an annual salon organized by the modernist artist association Second Section Society (Nika-kai ???). Thereafter, Okada's works were displayed in the Second Section Exhibition every year. Okada became popular in the Second Section Society for his luscious portraits of women and landscapes of French cityscapes. In 1937, the Second Section Society admitted Okada's (along with Tamiji Kitagawa, Keiji Shimazaki, Konosuke Tamura, and among others) full membership.[8]: 175–176 Throughout the 1930s, Okada's style gradually changed from the warm tones reminiscent of Marie Laurencin and Henri Matisse immediately after his return to Japan to the distinctive surface in cold colour, which were created by applying layers of colour, and motifs reminiscent of downtown Paris, such as girls and flower sellers.All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Mark Rothko, no coa, private collection, medium:oil, measurements: 48"H X 24"W no frame, ok condition Biography: Mark Rothko, was an American abstract painter. He is best known for his color field paintings that depicted irregular and painterly rectangular regions of color, which he produced from 1949 to 1970. n his later career, Rothko executed several canvases for three different mural projects. The Seagram murals were to have decorated the Four Seasons Restaurant in the Seagram Building, but Rothko eventually grew disgusted with the idea that his paintings would be decorative objects for wealthy diners and refunded the lucrative commission, donating the paintings to museums including the Tate Gallery. The Harvard Mural series was donated to a dining room in Harvard's Holyoke Center (now Smith Campus Center); their colors faded badly over time due to Rothko's use of the pigment lithol red together with regular sunlight exposure. The Harvard series has since been restored using a special lighting technique.Rothko contributed 14 canvases to a permanent installation at the Rothko Chapel, a non-denominational chapel in Houston, Texas. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

3 WITH BOXES, ALL GOOD CONDITION

Cy Twombly, no coa, private collection, medium: oil measurements: 44"W X37"H framed, good condition Biography: Edwin Parker "Cy" Twombly Jr. was an American painter, sculptor and photographer. Twombly influenced artists such as Anselm Kiefer, Francesco Clemente, Julian Schnabel and Jean-Michel Basquiat. Twombly influenced artists such as Anselm Kiefer, Francesco Clemente, Julian Schnabel and Jean-Michel Basquiat.[2][3] His best-known works are typically large-scale, freely-scribbled, calligraphic and graffiti-like works on solid fields of mostly gray, tan, or off-white colors. His later paintings and works on paper shifted toward "romantic symbolism", and their titles can be interpreted visually through shapes and forms and words. Twombly often quoted poets such as Stéphane Mallarmé, Rainer Maria Rilke and John Keats, as well as classical myths and allegories, in his works. Examples of this are his Apollo and The Artist and a series of eight drawings consisting solely of inscriptions of the word "VIRGIL". All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Camille Graeser, private collection, medium: acrylic, measurements: 49"H x 36"W framed, good condition Biography: Camille Graeser was a Swiss painter and member of the circle of Zurich Concrete artists. He was born in Switzerland but grew up in Stuttgart, Germany where he became a furniture designer. He took part in major exhibitions by the association Werkbund and in 1927 was invited to create furniture for Mies van der Rohe.All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Jean Michel Basquiat, no coa, private collection, medium: oil, measurements: 48"H X36"W no frame, good condition Biography: Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement. At 21, Basquiat became the youngest artist to ever take part in Documenta in Kassel, Germany. At 22, he became one of the youngest to exhibit at the Whitney Biennial in New York. The Whitney Museum of American Art held a retrospective of his artwork in 1992. Basquiat's art focused on dichotomies such as wealth versus poverty, integration versus segregation, and inner versus outer experience. He appropriated poetry, drawing, and painting, and married text and image, abstraction, figuration, and historical information mixed with contemporary critique. He used social commentary in his paintings as a tool for introspection and for identifying with his experiences in the black community, as well as attacks on power structures and systems of racism. At 21, Basquiat became the youngest artist to ever take part in Documenta in Kassel, Germany. At 22, he became one of the youngest to exhibit at the Whitney Biennial in New York. The Whitney Museum of American Art held a retrospective of his artwork in 1992. Basquiat's art focused on dichotomies such as wealth versus poverty, integration versus segregation, and inner versus outer experience. He appropriated poetry, drawing, and painting, and married text and image, abstraction, figuration, and historical information mixed with contemporary critique. He used social commentary in his paintings as a tool for introspection and for identifying with his experiences in the black community, as well as attacks on power structures and systems of racism. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Henri Matisse, no coa, private collection, medium: pencil, measurements: 22"H X18"W framed, good condition Biography: Henri Émile Benoît Matisse was a French visual artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. The intense colourism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (French for "wild beasts"). Many of his finest works were created in the decade or so after 1906, when he developed a rigorous style that emphasized flattened forms and decorative pattern. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting.[6] After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Norman Carton, no coa, private collection, medium: oil, measurements: 26"HX21"W framed, good condition Biography: Norman Carton was an American artist and educator known for abstract expressionist art. He was born in the Ukraine region of Imperial Russia and moved to the United States in 1922 where he spent most of his adult life. Norman Carton was born in the Dnieper Ukraine territory of the Russian Empire in 1908. Escaping the turbulence of civil war massacres, he settled in Philadelphia in 1922 after years of constant flight. While attending the Pennsylvania Museum School of Industrial Art,Carton worked as a newspaper artist for the Philadelphia Record from 1928 to 1930 in the company of other illustrator/artists who had founded the Ashcan School, the beginnings of modern American art. From 1930 to 1935, he studied at the Pennsylvania Academy of Fine Arts under Henry McCarter, who was a pupil of Toulouse-Lautrec, Puvis de Chavanne, and Thomas Eakins. Arthur Carles, especially with his sense of color, and the architect John Harbison also provided tutelage and inspiration. Following his time at the Pennsylvania Academy of Fine Arts, Carton studied at the Barnes Foundation from 1935 to 1936 where he was mentored by John Dewey, Bertrand Russell, and again Carles as well as had daily access to Albert C. Barnes and his art collection. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Jean Alberto Gorin, private collection, medium: acrylic measurements: 50"H BY 38"W framed, good condition Biography: Albert Jean Gorin was a French neoplastic painter and constructive sculptor. He was a disciple of Piet Mondrian, and remained true to the concept of rigid geometricism and use of primary colors, but pushed the limits of neoplasticism by introducing circles and diagonals. He was known for his three-dimensional reliefs. n 1926 Gorin saw for the first time one of Piet Mondrian's neoplastic compositions, and one of Theo van Doesburg's elementarist compositions. He read the pamphlet L’Art et son avenir by Georges Vantongerloo. This led to correspondence with Mondrian and Vantongerloo, and then a meeting with Mondrian the same year, the start of a long friendship. Gorin also met Michel Seuphor, an art critic. Around this time Gorin began painting in the neoplastic style. Gorin's oil on cardboard Composition no. 10 (1926) is an early example of his neoplastic style. It is diamond-shaped, reflecting the influence of Mondrian, and the very thick lines are similar to van Doesburg's work Gorin exhibited for the first time in April 1928 at Lille with the "S.T.U.C.A.". Others at this show included Mondrian and César Domela. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

GOOD CONDITION, 6-10"

Carlos Paez Vilaro, no coa, private collection, medium: watercolor, measurements: 31"H X25" W framed, good conditrion Biography: Carlos Páez Vilaró was a Uruguayan abstract artist, painter, potter, sculptor, muralist, writer, composer and constructor. He took an active role in the search for survivors of the 1972 crash of Uruguayan Air Force Flight 571 in the Andes, as his son Carlos Páez Rodríguez was a passenger. He was one of the "Grupo de los 8", a movement of Uruguayan artists formed in 1958 together with Oscar García Reino, Miguel Ángel Pareja, Raúl Pavlovsky, Lincoln Presno, Américo Sposito, Alfredo Testoni and Julio Verdie in order to promote new tendencies in painting. In 1960 they were invited by art critic Rafael Squirru to join the international exhibition at the Buenos Aires Museum of Modern Art (of which he was creator and first director) with artists such as Willem de Kooning, Roger Hilton and Lucio Fontana. The experimental tendencies of the Grupo de los 8 have since gained a place of unquestionable relevance not only in the panorama of Uruguayan art but also at an international level, some of their works forming part of museums and collections worldwide. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Jackson Pollock, no coa, private collection, medium: oil measurements: 50"WX36"H framed, good condition Biography: Paul Jackson Pollock was an American painter. A major figure in the abstract expressionist movement, Pollock was widely noticed for his "drip technique" of pouring or splashing liquid household paint onto a horizontal surface, enabling him to view and paint his canvases from all angles. Paul Jackson Pollock was born in Cody, Wyoming, in January, 28, 1912,[3] the youngest of five brothers. His parents, Stella May (née McClure) and LeRoy Pollock, were born and grew up in Tingley, Iowa, and were educated at Tingley High School. Pollock's mother is interred at Tingley Cemetery, Ringgold County, Iowa. His father had been born with the surname McCoy, but took the surname of his adoptive parents. Stella and LeRoy Pollock were Presbyterian; they were of Irish and Scots-Irish descent, respectively.LeRoy Pollock was a farmer and later a land surveyor for the government, moving for different jobs.Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager. In November 1912, Stella took her sons to San Diego; Jackson was just 10 months old and would never return to Cody.He subsequently grew up in Arizona and Chico, California. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Wifredo Lam, no coa, private collection, medium: pastel, measurements: 28"H X 24" W framed, good condition Biography: Wifredo Óscar de la Concepción Lam y Castilla, better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Wifredo Lam was born and raised in Sagua La Grande, a village in the sugar farming province of Villa Clara, Cuba. He was of mixed-race ancestry: his mother, the former Ana Serafina Castilla, was born to a Congolese former slave mother and a Cuban mulatto father and his father, Yam Lam, was a Chinese immigrant.[2] In Sagua La Grande, Lam was surrounded by many people of African descent; his family, like many others, practiced Catholicism alongside their African traditions. Through his godmother, Matonica Wilson, a Santería priestess locally celebrated as a healer and sorceress, he was exposed to rites of the African orishas.While Lam was never initiated into Santería, Palo Monte, or Abakuá Secret Society, he was familiar with the practices, as cultural participation was widespread in Cuba.His contact with African celebrations and spiritual practices proved to be his largest artistic influence. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Andy Warhol no coa, private collection, medium: silkscreen, measurements: 41"W BY 36"" H framed, good condition framed Biography: Andy Warhol was an American visual artist, film director and producer. A leading figure in the pop art movement, Warhol is considered one of the most important American artists of the second half of the 20th century. Born and raised in Pittsburgh, Warhol initially pursued a successful career as a commercial illustrator in the 1950s. After exhibiting his work in art galleries, he began to receive recognition as an influential and controversial artist in the 1960s. His New York studio, The Factory, became a well-known gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities and wealthy patrons.He directed and produced several underground films starring a collection of personalities known as Warhol superstars, and is credited with inspiring the widely used expression "15 minutes of fame." Warhol managed and produced the experimental rock band the Velvet Underground. He also founded Interview and authored numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

6-8" GOOD CONDITION

Pablo Picasso private collection, medium: mixed media measurements: 30"H BY 38"W good condition Biography: Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist, and theatre designer who spent most of his adult life in France. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War. Picasso demonstrated extraordinary artistic talent in his early years, painting in a naturalistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. After 1906, the Fauvist work of the older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Paul Reed, no coa, private collection, medium: oil, measurements: 29"H X23" W framed, good condition Biography: Paul Reed was an American artist most associated with the Washington Color School and Color Field Painting. Reed was methodical in his painting; his works fall into considered series as he developed and refined an idea. The last work of a series is usually the largest, most complex, or has the greatest clarity. In 1965 Reed created his well-known series—the Disk paintings—where two corners of different color are set off by a diagonal band with a large circle at its center. With these works Reed blended colors by overlapping layers of separate colors, something that was distinct to the new water-based acrylic paints then available. Next Reed created compositions of zigzagging stripes where each line kept its pure color yet created secondary colors at each bend in the Upstart series of 1965. Further color overlapping was explored with the “plaid” effect of grids in the series Interchange, Inside Out, and Coherence of 1966. One of Reed's Coherence paintings belonging to the permanent collection of the National Gallery of Art was recently on view there. Within the Washington Color School, Reed was recognized as the most successful at using the transparency new acrylic paints offered to overlap colors, something Morris Louis (1912–1962) had explored in his Veil paintings but abandoned as he could not achieve the vibrancy he desired with the first generation of acrylic paints, Magna. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Peter Busa, no coa, private collection, medium: acrylic measurements: 25"W X 21"H framed, good condition Biography: Peter Busa was an American painter, known as one of the innovators of Indian space painting, a style developed from surrealist ideas combined with Native American tribal motifs and forms. Born June 23, 1914 in Pittsburgh, Busa began his formal art and architecture studies at the Carnegie Institute of Technology. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Fernand Leger, no coa, private collection, medium: oil, measurements: 22"H X18"W framed, good condition Biography: Joseph Fernand Henri Léger was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art. éger was born in Argentan, Orne, Lower Normandy, where his father raised cattle. Fernand Léger initially trained as an architect from 1897 to 1899, before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts after his application to the École des Beaux-Arts was rejected. He nevertheless attended the Beaux-Arts as a non-enrolled student, spending what he described as "three empty and useless years" studying with Gérôme and others, while also studying at the Académie Julian.[1][2] He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother's Garden) of 1905, one of the few paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger's work after he saw the Cézanne retrospective at the Salon d'Automne in 1907. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

10 PIECES TOTAL ALL GOOD CONDITION

Peter Max, no coa, private collection, medium: measurements: 20"WX21"H framed, good condition Biography:Peter Max is an American artist known for using bright colors in his work. Works by Max are associated with the visual arts and culture of the 1960s, particularly psychedelic art and pop art. In 1962, Max started a small Manhattan arts studio known as "The Daly & Max Studio," with friend Tom Daly. Daly and Max were joined by friend and mentor Don Rubbo, and the three worked as a group on books and advertising for which they received industry recognition. Much of their work incorporated antique photographic images as elements of collage. Max's interest in astronomy contributed to his self-described "Cosmic '60s" period, which featured psychedelic, counter culture imagery. In 1967, Max solidified his place as a counter-cultural icon by designing the flyers for the second ever 'Be In', a political gathering of mainly hippies in New York's Central Park after the Easter parade on March 26, 1967. Max appeared on The Tonight Show on August 15, 1968. He was featured on the cover of Life magazine's September 5, 1969 edition under the heading "Peter Max: Portrait of the artist as a very rich man."

Sam Francis, no coa, private collection, medium: oil measurements: 41"W X 29"H framed, good condition Biography: Samuel Lewis Francis was an American painter and printmaker. Between 1950 and 1958 Francis spent time and painted in Paris, the south of France, Tokyo, Mexico City, Bern and New York.[1] His artistic development was affected by his exposure to French modern painting, Asian culture and Zen Buddhism in particular. His paintings of the 1950s evolved through a series of stages, beginning with monochromatic abstractions, followed by larger richly colored murals and "open" paintings that feature large areas of whiteness. After his 1953 painting "Big Red" was included in the 1956 exhibition "Twelve Artists" at the Museum of Modern Art, New York, Francis began a rapid rise to international prominence. Francis painted large murals for the Kunsthalle, Basel[4] in 1956-8 and for the Chase Manhattan Bank, New York in 1959. Between 1960 and 1963 he created several series of works, including the "Blue Balls" series. Consisting of biomorphic predominantly blue forms and drips, these works referenced the pain that resulted from the renal tuberculosis that he suffered in 1961. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

ASSORTED 7-10" GOOD CONDITION

Roy Lichtenstein, no coa, private collection, medium: oil measurements: 19"H X16"W framed, good condition Biography: Roy Fox Lichtenstein was an American pop artist. During the 1960's, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Lichtenstein then left New York to study at Ohio State University, which offered studio courses and a degree in fine arts.[2] His studies were interrupted by a three-year stint in the Army during and after World War II between 1943 and 1946.After being in training programs for languages, engineering in the Army Specialized Training Program,and pilot training, all of which were cancelled, he served as an orderly, draftsman, and artist.

Norman Bluhm no coa, private collection, medium:waterolor, measurements: 30"HX 26"W framed, good condition Biography: Norman Bluhm, was an American painter classified as an abstract expressionist, and as an action painter. Bluhm's work has been critically praised and his works are in the collections of many major museums. His career is marked by notable stylistic shifts as he continually challenged himself to reach new areas of artistic achievements based on his profound knowledge of art and art history, use of the human figure, color, and a passion for life. Although his style changed dramatically over time, he remained deeply interested in gestural abstraction, and the ethos of Abstract Expressionism. Among his more noted work are a series of poem paintings done with his good friend the poet Frank O'Hara. Shortly before Bluhm died, in 1999, Art in America editor Raphael Rubinstein predicted that the works Bluhm made in the 1980s and 1990s at the end of his career would be as important to the 21st century as Cézanne’s later output was to the 20th. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

ASSORTED EAGLES, GOOD CONDITION

Gerhard Richter, no coa, private collection, medium: oil measurements: 28"W X 22"H no frame, good condition Biography: Gerhard Richter is a German visual artist. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. n the early days of his career, he prepared a wall painting (Communion with Picasso, 1955) for the refectory of his Academy of Arts as part of his B.A. Another mural entitled Lebensfreude (Joy of life) followed at the German Hygiene Museum for his diploma. It was intended to produce an effect "similar to that of wallpaper or tapestry". Gerhard Richter c. 1970, photograph by Lothar Wolleh From 1957 to 1961 Richter worked as a master trainee in the academy and took commissions for the then state of East Germany. During this time, he worked intensively on murals like Arbeiterkampf (Workers' struggle), on oil paintings (e.g. portraits of the East German actress Angelica Domröse and of Richter's first wife Ema), on various self-portraits and on a panorama of Dresden with the neutral name Stadtbild (Townscape, 1956). All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

John Marin no coa, private collection, medium: watercolor measurements: 21"WX21"H framed, good condition Biography:John Marin was an early American modernist artist. He is known for his abstract landscapes and watercolors. In 1909, Marin held his first one-man exhibition at Alfred Stieglitz's 291 gallery in New York City. He had been introduced to Stieglitz by the photographer Edward Steichen, whom Marin in turn had met through the painter Arthur B. Carles. Marin's association with Stieglitz would last nearly forty years, and Stieglitz's philosophical and financial support would prove essential.From 1909 until his death in 1946, Stieglitz showed Marin's work almost every year in one of his galleries.Marin also participated in the landmark 1913 Armory Show. Marin spent his first summer in Maine in 1914 and almost immediately the rocky coast there became one of his favorite subjects. Over the rest of his life, Marin became intimately familiar with the many moods of the sea and sky in Maine."In painting water make the hand move the way the water moves," Marin wrote in a 1933 letter to an admirer of his technique. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

2-5" GOOD CONDITION

Cundo Bermudez, no coa, private collection, medium: oil, measurements: 23"H X18"W framed, good condition Biography: Cundo Bermúdez, born Secundino Bermúdez y Delgado, was a Cuban painter. Born in Havana, Cuba, he died of a heart attack in his Westchester home on October 30, 2008. In 1926, Bermudez was admitted at the 'Institute of Havana,' and in 1930 enrolled at the renowned Escuela Nacional de Bellas Artes “San Alejandro”, where he studied painting for two years. In 1934, he entered the University of Havana to study law and social sciences. He graduated in 1941. Later, he traveled to Mexico and studied at the Academy of San Carlos. In 1949 he founded the Asociación de Pintores y Escultores de Cuba (APEC). All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Yvone Thomas, no coa, private collection, medium: oil measurements: 24"H X18"W framed, good condition Biography:Yvonne Thomas was an American abstract artist. Thomas' first solo exhibition occurred in 1954 at Hendler Gallery, Philadelphia. Sam Feinstein noted that Thomas seemed, "not at all concerned with the opposition of horizontals and verticals,” but instead created works consisting of “soft, curvilinear brushings harmonized into a pictorial lyricism.”[5] In 1955, Thomas was one of eleven artists represented in a show at the Riverside Museum, New York. She exhibited alongside Franz Kline, Milton Avery, Kenzo Okada, and Leon Polk Smith. In Howard Devree's review of the exhibition, he gave recognition to Thomas', "personal color harmonies."[6] In 1956, Thomas had her first solo show at Tanager Gallery. Art News commented that the works exhibited demonstrated “deliberately selected forms.” In 1960, Thomas had her second New York show, which was held at the Esther Stuttman Gallery in New York. When Thomas had another solo exhibition in 1961, held at Galerie Agnes Lefort in Montreal. In 1962 through 1964, Thomas was featured in one-artist shows in New York; Aspen, Colorado; and East Hampton, New York. By the time her work was featured at the Rose Fried Gallery in May 1965, she had developed the more geometric and structural approach of the art in the current exhibition. Thomas continued to paint and actively exhibit her art until the end of her life. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

William Samuel Schwartz, no coa, private collection, medium: measurements: 29"W X 42"H framed, good condition Biography: William Samuel Schwartz was an American artist who lived and worked in Chicago. He became a well-known figure in Chicago, mostly due to his memorable handlebar mustache and eccentric persona. He was also one of a group of prominent Chicago artists—including Ivan Albright, Malvin Albright, and Aaron Bohrod—that hung out at Riccardo's Restaurant and Gallery during the 1940s and 1950s. In his final years, Schwartz returned exclusively to painting abstracts; these paintings are considered among his best work. Schwartz began suffering from Alzheimer's disease around 1970 and died in Chicago on February 10, 1977. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Dana Schutz, no coa, private collection, medium: oil, measurements: 34"WX42"H framed, mint condition Biography: Dana Schutz is an American artist who lives and works in Brooklyn, New York. Schutz is known for her gestural, figurative paintings that often take on specific subjects or narrative situations as a point of departure. Schutz first came to attention in 2002 with her debut exhibition Frank from Observation (2002) at LFL gallery (which then became Zach Feuer Gallery).This show was based on the conceit of Schutz as the last painter, representing the last subject "Frank". Since then her fictive subjects have ranged from people who can eat themselves, a gravity fanatic, imaginary births and deaths, public/private performers, awkward situations, and mundane objects.On the occasion Schutz's museum retrospective at the Neuberger Museum, New York Times critic Karen Rosenberg wrote: "Ms. Schutz has become a reliable conjurer of wickedly grotesque creatures and absurd situations, willed into existence by her vigorous and wildly colorful brush strokes." She concludes, "Again and again Ms. Schutz has challenged herself to come up with a subject that's too awkward, gross, impractical or invisible to paint. But she has yet to find one that stumps her." In Shoe, 2002, Dana Schutz portrays a single grey shoe above a sticky blue material that resembles gum, seemingly stuck on a bold orange traffic line. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

8-12" GOOD CONDITION

Lowell Nesbitt, no coa, private collection, medium: oil, measurements: 30"wx40"h no frame, good condition Biography: Nesbitt was often classified as a Photorealist artist, though he fought inclusion with this group of artists throughout his career. Nesbitt established himself as an artist who could employ both diversity of technique and subject matter while creating paintings, drawings and prints using studio interiors, articles of clothing, piles of shoes, x-ray figures (Nesbitt was the first highly recognized artist to use this subject matter since the artists of the New Zealand region unknowingly painted "x-ray style" figures at the early portion of the last millennium), caverns, ruins, landscapes, flowers, groupings of fruits and vegetables, and electronic components (he is credited for being the first artist to use computer parts as subject matter for his artwork). He also used his pet dogs in addition to birds, reptiles, various mammals and the Neoclassical facades of SoHo's 19th century cast-iron buildings and several of Manhattan's major bridges, in addition to a number of series in which he incorporated numerous Victorian staircases, and other interior scenes as subject matter for his artwork. His last series in the 1980s, titled the “impossible series” was a grouping of surrealistic landscapes paintings and drawings. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Walter Elmer Schofield, no coa, private collection, medium: oil measurements: 37'wx32"h framed, ok condition Biography: Walter Elmer Schofield ROI RBA was an American Impressionist landscape and marine painter. Although he never lived in New Hope or Bucks County, Schofield is regarded as one of the Pennsylvania Impressionists.chofield's works are in the collections of the National Gallery of Art, the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts (PAFA), the Fine Arts Museums of San Francisco, the Los Angeles County Museum of Art, the Woodmere Art Museum, and other American museums. In Europe, his works are in the collections of the Godolphin Estate in England, and the Musée d'Orsay in France. Two paintings are in the Juan Manuel Blanes Museum in Montevideo, Uruguay. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.