24" SILVERTONE

STERLING SILVER ON 18-20" ADJUSTABLE CHAIN/AUTHENTIC

RARE/SIZE 8 /STERLING SILVER

SILVERTONE

GOLDTONE 16"

24" GOLDTONE

SIZE 7

16"

6"

NEW

2 PAIRS OF MENS SNEAKERS USED, LIKE NEW BOTH SIZE 13US, WITH BOXES/C-SERIES NEVER WORN

Gottardo Fidele Ponziano, no coa, private collection, medium: oil measurements: 28"W BY 24"H good condition Biography: Gottardo Fidele Piazzoni was a Swiss-born American landscape painter, muralist and sculptor of Italian heritage, a key member of the school of Northern California artists in the early 1900s. Piazzoni was born on April 14, 1872, in Intragna, Ticino, Switzerland.[1] He moved at the age of 15 to his father's dairy farm in the Carmel Valley. His uncle Luigi Piazzoni, had the Luigi Piazzoni ranch adjacent to his father's ranch.After training with Arthur Frank Mathews at the Mark Hopkins Institute of Art (later the San Francisco Art Institute),Piazzoni trained for three years in Paris at the Académie Julian and under Jean-Léon Gérôme.[4] He then returned to California to begin his career and set up his own teaching studio. Specializing in landscapes in a muted palette, most scholars count Piazzoni among the Tonalists,[6] and was one of the most influential exponents of this style in California.[7] He sought out the lighting effects of certain times of day, taking a "special interest in full moonrises, the viewing of which became a family ritual. Venturing up a hill, the family would cheer the appearance of the moon. Piazzoni knew the exact time for each moonrise and kept precise records."He was able to portray the essential qualities of a scene and achieve a strong mood, using only minimal descriptive details. 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.

Atsuko Tanaka, no coa, private collection, medium: oil, measurements: 54" W BY 30"H framed, good condition Biography: Atsuko Tanaka was a Japanese avant-garde artist. She was a central figure of the Gutai Art Association from 1955 to 1965. As Tanaka's solo artistic career soared throughout the late 50s and early 60s, her relationship with Yoshihara Jiro became strained.[1] Due to her mental instability and the tension within the group, Tanaka decided to leave Gutai in 1965 and married Kanayama.[1] They moved into a house at the temple Myohoji in Osaka.[1] She produced most of her works at home and in the flat on the second floor of her parents' house, ten minutes from where she had lived.[9] In 1972, Tanaka and her husband moved to Nara. In her post-Gutai period, Tanaka mainly created large paintings, applying synthetic resin enamel paints to horizontally laid canvases. She developed unique motifs of colorful circles and intertwining lines from her earlier drawings inspired by Electric Dress and Bell. Her paintings from this period continued to attract attention in Japan and from abroad. 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.

Kazuo Shirago no coa, private collection, medium: oil measurements: 33"H by 28"w framed, good condition Biography: Kazuo Shiraga was a Japanese abstract painter and the first-generation member of the postwar artists collective Gutai Art Association. Shiraga is best known for his abstract paintings, or the so-called “foot painting”, which he created by spreading oil paint initially on paper and later on canvas with his feet. Through this original method he had invented in 1954, he made a critical engagement with the tradition of painting, the result of which resonated with European and American gestural abstraction of the 1950s, such as Informel and Abstract Expressionism. In the 1960s and 1970s, he reintroduced tools such as boards and spatulas for spreading the paint. His experiments outside painting, such as Challenging Mud and Ultramodern Sanbaso, were closely associated with the notion of “picturing,” derived from e (?), or “picture” in Japanese, that Gutai members shared in exploring new ways of painting. At the same time, his innovations were at times associated with his embrace of violence and the grotesque, which Shiraga had been fascinated with since his childhood. 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.

Pablo Picasso, no coa, private collection, medium: watercolor and goache measurements: 43"W BY 33"H framed, 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. Picasso's output, especially in his early career, is often periodized. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919), also referred to as the Crystal period. Much of Picasso's work of the late 1910s and early 1920s is in a neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work often combines elements of his earlier styles. 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.

Fern Coppedge, no coa, private collection, medium: oil measurements: 29"WX25"H framed, good condition Biography:Fern Isabel Coppedge was an American impressionist painter Fern attended the Art Institute of Chicago, the Art Students League of New York, and the Pennsylvania Academy of the Fine Arts.During her artistic career she received several awards including the Shillard Medal in Philadelphia, a Gold Medal from the Exposition of Women’s Achievements, another Gold Medal from the Plastics Club of Philadelphia, and the Kansas City H.O. Dean Prize for Landscape. She was a member of several prominent art organizations including the Philadelphia Art Alliance, the Art Students League of New York, and the Philadelphia Ten. Coppedge became well known for her work as a landscape impressionist, painting snow scenes of the villages and farms of Bucks County. 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.

4-16" GOOD CONDITION

Orrin Augustine White no coa, private collection, medium: measurements: 30"W BY 30"H no frame, good condition Biography: Orrin Augustine White was an American painter. His studio was in Pasadena, California. White was born in 1883 in Hanover, Illinois.He graduated from the University of Notre Dame in 1902. He was an assistant professor of Chemistry at the University of Portland in Oregon White began his artistic career as a textile designer until he became an interior designer in Los Angeles in 1906, and he took up painting in 1912.[1] Two of his paintings were exhibited at the Panama–Pacific International Exposition in San Francisco in 1915.He served in World War I, and he later opened a studio in Pasadena.He was on the advisory council of the South Pasadena chapter of the National Society of Arts and Letters. 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.

Mauro Malang Santos, no coa, private collection, medium: acrylic, measurements:35"H BY 29"W framed, good condition Biography: Mauro Malang Santos, commonly known by the mononym Malang, was a Filipino and award-winning cartoonist, illustrator, and fine arts painter. As a comics artist he is best known for the series Kosme the Cop, Chain Gang Charlie and Beelzebub. In 1957, Philippine Art Gallery founder, Lyd Arguilla, included Malang in the Twelve Artists in the Philippines-Who's Who. In 1958, the Art Directors Guild of the Philippines conferred Malang the Award for Editorial Design. Malang won in competitions sponsored by the Society of Philippine Illustrators and Cartoonists. In 1964, the Society of Philippine Illustrators and Cartoonists named Malang as the Artist of the Year. Malang won awards in the annual art competitions held by the Art Association of the Philippines, namely for his Street Fight (Second Prize, 1951), Traffic (Third Prize, 1953), The Yellow Sky (Honorable Mention, 1959), Quarter Moon (Second Prize), and Gate to Intramuros (Honorable Mention, 1963). In 1963, Malang was included among the Ten Outstanding Young Men of the Philippines. In 1981, the City of Manila awarded him the Patnubay ng Sining at Kalinangan ("Guide of Arts and Culture") award. 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 Brymner, no coa, private collection, medium: oil, measurements: 42"W BY 29"H framed, ok condition, has been repaired see pic Biography: William Brymner, CMG RCA was a Canadian figure and landscape painter and educator. In addition to playing a key role in the development of Impressionism in Canada, Brymner taught numerous artists who became leading figures in Canadian modern art. Following architectural studies, Brymner enrolled at the Académie Julian in Paris, France, in 1878, where his instructors were William-Adolphe Bouguereau and Tony Robert-Fleury.[3] Both of his teachers were famous exponents of 'Grand manner' naturalism. During this period at the Salon Brymner became interested in the work of Jean-Louis Ernest Meissonier, who was already popular with the French public.[3] In the spring of 1884, Brymner travelled to Runswick Bay, North Yorkshire, England, with the British artist Frederick W. Jackson (1859-1918) and Scottish-Canadian artist James Kerr-Lawson (1862-1939). It was there that Brymner completed his major works A Wreath of Flowers (1884), which later served as his diploma submission for the Royal Canadian Academy of Arts, and The Lonely Orphans Taken to Her Heart (1884). 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.

Gabriele Munter, no coa, private collection, medium: oil, measurements: 31W BY 25"H framed, good condition Biography:Gabriele Münter was a German expressionist painter who was at the forefront of the Munich avant-garde in the early 20th century. She studied and lived with the painter Wassily Kandinsky and was a founding member of the expressionist group Der Blaue Reiter. Münter was heavily focused on German Expressionism, and she worked in various media, including a significant output in wood- and linocuts.[4] She kept a journal and documented her journeys with a state-of-the-art camera. She was familiar with many of the more famous artists of the time; in one of her journals, she stated that she wanted to learn from the avant-garde artists in France. Münter and Kandinsky traveled together from 1903-1908. From 1906-1907, they spent time in Sèvres, a suburb of Paris. They both exhibited works in the Salon des Independents and the Salon d'Automne. 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.

Lucio Fontana, no coa, private collection, medium: oil, measurements: 29"H BY 25"W framed, good condition Biography: Lucio Fontana was an Argentine-Italian painter, sculptor and theorist. He is known as the founder of Spatialism and exponent of abstract painting as the first known artist to slash his canvases - which symbolizes an utter rejection of all prerequisites of art. Fontana often lined the reverse of his canvases with black gauze so that the darkness would shimmer behind the open cuts and create a mysterious sense of illusion and depth.[10] He then created an elaborate neon ceiling called "Luce spaziale" in 1951 for the Triennale in Milan.[11][12] In his important series of Concetto spaziale, La Fine di Dio (1963–64), Fontana uses the egg shape. With his Pietre (stones) series, begun in 1952, Fontana fused the sculptural with painting by encrusting the surfaces of his canvases with heavy impasto and colored glass. In his Buchi (holes) cycle, begun in 1949–50, he punctured the surface of his canvases, breaking the membrane of two-dimensionality in order to highlight the space behind the picture.From 1958 he purified his paintings by creating matte, monochrome surfaces, thus focusing the viewer's attention on the slices that rend the skin of the canvas. 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.

5-13" EACH GOOD CONDITION, HEAVY 10LBS

Sonja Sekula, no coa, private collection, medium: acrylic measurements: 40"H BY 34"W framed, good condition Biography: Sonja Sekula was an American artist linked with the abstract expressionist movement, notable for her activity as an "out" lesbian in the New York art world during the 1940s and early 1950s. She met the surrealists in exile in New York during 1942. In New York Sekula befriended American poet Carl Sandburg and met the surrealists in exile during 1942. It was during this time that she became part of an international circle of artists, writers, choreographers, and composers in New York in the 1940s, when she was in her early twenties. Peggy Guggenheim included Sekula in the 1943 exhibition "31 Women" at her Art of This Century gallery, and gave Sekula her first solo exhibition in 1946.[5] Betty Parsons Gallery exhibited Sekula's work in 1948.In 1949, she had a third one-man show and was also included in a Betty Parson's group show with Theodoros Stamos, Jackson Pollock, and Barnett Newman. Despite people holding good opinions of her work, the same could not be said about the artist. Sonja was seen as unfortunate due to not only her mental state, but also her open sexuality. Thus her work is often overlooked.[6] Sekula returned to Switzerland with her family in 1955 and remained there for the rest of her life, although she did return to New York in 1957.[5] In 1955 Sekula had a solo exhibition at Galerie Palette, Zurich. 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.

Aaron Douglas, no coa, private collection, medium: oil, measurements: 30"H BY 26"W framed, good condition Biography:Aaron Douglas was an American painter, illustrator, and visual arts educator. He was a major figure in the Harlem Renaissance. He developed his art career painting murals and creating illustrations that addressed social issues around race and segregation in the United States by utilizing African-centric imagery. In 1925, Douglas intended to pass through Harlem, New York, on his way to Paris to advance his art career.[6] He was convinced to stay in Harlem and develop his art during the height of the Harlem Renaissance, influenced by the writings of Alain Locke about the importance of Harlem for aspiring African Americans.[2][6][3] While in Harlem, Douglas studied under Winold Reiss, a German portraitist who encouraged him to work with African-centric themes to create a sense of unity between African Americans with art; Douglas was included in Alain Locke's 1925 anthology The New Negro as Reiss's pupil. 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.

Jeffrey Edson Smart, no coa, private collection, medium: oil measurements: Biography: Frank Jeffrey Edson Smart AO was an expatriate Australian painter known for his precisionist depictions of urban landscapes that are "full of private jokes and playful allusions". Smart was born and educated in Adelaide where he worked as an Art teacher. Smart is one of Australia's best known artists[citation needed] with his almost iconic and unique imagery, heavily influenced by various artists and art forms. His stark portrayals of contemporary life, both realistic and absurd, have been the basis of many artistic discussions.Critics and admirers of Smart's paintings often debate his subject matter but in interviews Smart has preferred not to discuss his style; "Leaving the interpretation as the prerogative of the individual viewer."Smart states that he "paints a picture because he likes the shape", and when asked why his skies are always so gloomy and smog-laden or why his faces never wear a smile, he claims "I need a dark sky for the composition, because pale blue at the top of a frame looks nothing ... [and] because a smiling face is too hard to paint". 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.

Keith Haring, no coa, private collection, medium: acrylic measurements: 42"H BY 29"W Framed, good condition Biography:Keith Allen Haring was an American artist whose pop art emerged from the New York City graffiti subculture of the 1980s. His animated imagery has "become a widely recognized visual language" Haring was born in Reading, Pennsylvania, on May 4, 1958He was raised in Kutztown, Pennsylvania, by his mother, Joan Haring, and father, Allen Haring, an engineer and amateur cartoonist. He had three younger sisters, Kay, Karen and Kristen.[8] He became interested in art at a very young age, spending time with his father producing creative drawings. His early influences included Walt Disney cartoons, Dr. Seuss, Charles Schulz, and the Looney Tunes characters in The Bugs Bunny Show. Haring's family attended the United Church of Christ. In his early teenage years, he was involved with the Jesus movement.He later hitchhiked across the country, selling T-shirts he made featuring the Grateful Dead and anti-Nixon designs.He graduated from Kutztown Area High School in 1976. He studied commercial art from 1976 to 1978 at Pittsburgh's Ivy School of Professional Art, but eventually lost interest, inspired to focus on his own art after reading The Art Spirit (1923) by Robert Henri. 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.

Jonas Lie, no coa, private collection, medium: oil measurements: 32"W BY 26"H framed, good condition Biography: Jonas Lie was a Norwegian-born American painter and teacher. Lie is best known for his Expressionist paintings of the New England coastline and New York City. He documented construction of the Panama Canal with thirty canvases, and represented the United States in the 1928 Summer Olympics art competition. Jonas Lie often depicted the sea, channels, and ships with dramatic perspective and powerful use of color. He became known for colorful impressionistic scenes of harbors and coves, painted during the many summers he spent on the coasts of New England and Canada. Throughout his prolific career he painted brilliantly colored images of the rocky coves and harbors that identify the region's dramatic shoreline. Lie painted a landscape mural in honor of his wife, Sonia, in the sanctuary of the First Unitarian Society of Plainfield, New Jersey in 1929. It is inscribed, "I will lift up mine eyes unto the hills." 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" EACH GOOD CONDITION, SOME CHIPS, HEAVY 6LBS

Donald Baechler, no coa, private collection, medium: mixed media measurements: 32"H BY 28"W framed, good condition Biography: Donald Baechler was an American painter and sculptor associated with 1980s Neo-expressionism. He had lived in Manhattan and Stephentown, New York Baechler's early work was noted for childlike imagery and thematics—associations which recurred throughout his career.[16] "Like Art Brut," wrote Steven Vincent in Art in America, "Donald Baechler's seemingly ingenuous depictions of everyday objects and simple figures succeed in large part by tapping into our nostalgia for childhood, that period of life before the rivening onset of self-consciousness and guilt. It's a myth, of course: children are hardly angelic, and alienation is the state of humanity—while Beachler's art works hard to achieve its trademark appearance of prelapsarian sincerity and artlessness." 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 Michael Harnett, no coa, private collection, medium: oil, measurements: 41"W BY29"H framed, good condition Biography: William Michael Harnett was an American painter known for his trompe-l'œil still lifes of ordinary objects. The style of trompe-l'œil painting that Harnett developed was distinctive and inspired many imitators,but it was not without precedent. A number of 17th-century Dutch painters, Pieter Claesz for instance, had specialized in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneered the form in America.[4] What sets Harnett's work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting.[5] Harnett painted musical instruments, hanging game, and tankards, but also painted the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a boardHe painted a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and paper currency. 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.

Ernest Hemingway, no coa, private collection, medium: mixed media, measurements: 42"H BY 29"W framed, good condition Biography: Ernest Miller Hemingway was an American novelist, short-story writer and journalist. Known for an economical, understated style that influenced later 20th-century writers, he has been romanticized for his adventurous lifestyle and outspoken, blunt public image. Ernest Miller Hemingway (/'h?m??we?/ HEM-ing-way; July 21, 1899 – July 2, 1961) was an American novelist, short-story writer and journalist. Known for an economical, understated style that influenced later 20th-century writers, he has been romanticized for his adventurous lifestyle and outspoken, blunt public image. Some of his seven novels, six short-story collections and two non-fiction works have become classics of American literature, and he was awarded the 1954 Nobel Prize in Literature. 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.

Roy Lichtenstein, no coa, private collection, medium: acrylic measurements:40"W BY 30"H 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, Lichtenstein served as an orderly, draftsman, and artist. 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.

Bernard Buffet, no coa, private collection, medium: mixed media measurements: 38"W BY 31"H framed, good condition Biography: Bernard Buffet was a French painter, printmaker, and sculptor. An extremely prolific artist, he produced a varied and extensive body of work. His style was exclusively figurative and is often classified as Expressionist or "miserabilist". As a painter, Buffet produced religious pieces, landscapes, portraits and still-lifes. Influenced by Francis Gruber,[4][5] he often painted "Miserabilist" scenes of despair, including scenes of poverty and Holocaust victims, but he also portrayed subjects as varied as ashtrays, clowns, and table lamps.[1][6] His work was characterized by thick black lines, elongated forms, and a lack of depth of field.[1][6] In 1946, he had his first painting shown, a self-portrait, at the Salon des Moins de Trente Ans at the Galerie Beaux-Arts. In 1948, he won his first major prize, the Prix de Critique, sharing it with fellow Expressionist Bernard Lorjou.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 4-8" GOOD CONDITION

William Theophilus Brown, no coa, private collection, medium: acrylic measurements: 35"H BY 39"W framed, good condition Biography:William Theophilus Brown (April 7, 1919 – February 8, 2012) was an American artist. He became prominent as a member of the Bay Area Figurative Movement. In the early 1960s, Brown and Wonner moved to Santa Monica, where they developed a close friendship with fellow gay couple, novelist Christopher Isherwood, and portrait artist Don Bachardy. Over the years, Brown and Wonner also fostered friendships with playwright William Inge, composer and conductor André Previn, actress Eva Marie Saint and her husband, director Jeffrey Hayden, and New Zealand novelist Janet Frame. In his later years, Brown still managed to paint daily. Theophilus Brown resided in San Francisco, California at the time of his death. His papers are held at the Archives of American 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.

Grandma Mosesm no coa, private collection, medium: oil, measurements: 29"W BY 25"H framed, good condition Biography: Anna Mary Robertson Moses, or Grandma Moses, was an American folk artist. She began painting in earnest at the age of 78 and is a prominent example of a newly successful art career at an advanced age. Anna Mary Robertson was born in Greenwich, New York, on September 7, 1860; she was the third of ten children born to Margaret Shanahan Robertson and Russell King Robertson. She was raised with four sisters and five brothers. Her father ran a flax mill and was a farmer.[2] She briefly attended a one-room school.[1] That school is now the Bennington Museum in Vermont, which has the largest collection of her works in the United States.She was inspired to paint by taking art lessons at school. As a child, she started painting using lemon and grape juice to make colors for her "landscapes"and used ground ocher, grass, flour paste, slacked lime, and sawdust. 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 & Jean Michel Basquiat, no coa, private collection, medium: oil, measurements:38"W BY 29"H framed, good condition 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. Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement. The young New York graffiti artist and Pop Art icon produced more than 150 works together. 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.

Charles Frederic Ramsey, no coa, private collection, medium: OIL, measurements: 28"W BY 34"H framed, good condition Biography: Charles Frederic Ramsey (1875-1951) was the earliest artist to champion the radical ideas of abstraction within the established Impressionist art colony of New Hope, Pennsylvania. Although some of Ramsey's innovative paintings were just as avant-garde as those of leading New York modernists, his work was virtually unknown outside of the New Hope colony. Omitted from all of the major exhibition catalogues devoted to American abstract paintings over the past thirty years, with the exception of one with regional focus, Charles Ramsey's ambitious and daring modernist work is now fertile material for criticism and acclaim. 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.

Emily Carr, no coa, private collection, medium: oil, measurements: 28"H BY 23" W framed, good condition Biography: Emily Carr was a Canadian artist who was inspired by the monumental art and villages of the First Nations and the landscapes of British Columbia. She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose". Carr's keynote paintings, such as The Indian Church (1929), were not widely known in Canada at first. But her stature as one of Canada's most important artists continued to grow. Today, she is considered a cherished figure of Canadian arts and letters.Scholars and the public alike regard her as a Canadian national treasure and the Canadian Encyclopedia describes her as a Canadian icon. 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.

4"-15" GOOD CONDITION

Salvador Dali, no coa, private collection, medium: watercolor, measurements: 42"W BY 32"H framed, good condition Biography: Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol gcYC, known as Salvador Dalí, was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work. Born in Figueres in Catalonia, Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age, he became increasingly attracted to Cubism and avant-garde movements.He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments.

Jackson Pollock, no coa, private collection, medium: oil, measurements: 43"W BY 31"H 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. At the peak of his fame, Pollock abruptly abandoned the drip style.[23] Pollock's drip paintings were influenced by the artist Janet Sobel; the art critic Clement Greenberg would later report that Pollock "admitted" to him that Sobel's work "had made an impression on him." Pollock's work after 1951 was darker in color, including a collection painted in black on unprimed canvases. These paintings have been referred to as his "Black pourings" and when he exhibited them at the Betty Parsons Gallery in New York, none of them sold. Parsons later sold one to a friend at half the price. These works show Pollock attempting to find a balance between abstraction and depictions of the figure. 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.

Alexander Goudie, no coa, private collection, medium: oil measurements: 35"W BY 29"H framed, good condition Biography: Alexander Goudie was a Scottish figurative painter.As a portraitist his sitters included Her Majesty Queen Elizabeth II, Lord Chancellor Lord Mackay of Clashfern, and the comedian and actor Billy Connolly, as well as a host of other figures drawn from the worlds of politics, commerce, and entertainment. He was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. In 1979, he was the focus of a three-part BBC Television series, entitled 'Portrait'. 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.

Granville Redmond, no coa, private collection, medium:oil measurements: 28"W BY 23"H framed, good condition Biography: Granville Richard Seymour Redmond was an American landscape painter and exponent of Tonalism and California Impressionism. He was also an occasional actor for his friend Charlie Chaplin. In 1893 Redmond won a scholarship from the California School of the Deaf, which made it possible for him to study in Paris at the Académie Julian under teachers Jean-Paul Laurens and Jean-Joseph Benjamin-Constant. He roomed with the sculptor Douglas Tilden, another graduate of the California School for the Deaf. "Tilden was a tremendous help to Redmond, teaching him French and how to get around in Paris; they became best friends for the rest of their lives." In 1895, Redmond's painting Matin d'Hiver was accepted for the Paris Salon. 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.

Maud Lewis, no coa, private collection, medium: oil, measurements: 26"W BY 22"H framed, good condition Biography: Maud Kathleen Lewis (née Dowley; March 7, 1903 – July 30, 1970) was a Canadian folk artist from Nova Scotia.She lived most of her life in poverty in a small house in Marshalltown, Nova Scotia. She achieved national recognition in 1964 and 1965 for her cheerful paintings of landscapes, animals and flowers, which offer a nostalgic and optimistic vision of her native province.[3] Several books, plays and films have been produced about her. She remains one of Canada's most celebrated folk artists. Her works are displayed at the Art Gallery of Nova Scotia, as well as her restored house, whose walls she adorned with her art. Despite her recognition, Lewis never had a museum exhibition, nor was her work collected by art galleries or museum during her lifetime. Many of her paintings are quite small, no larger than eight by ten inches, although she is known to have done at least five paintings that are 24 inches by 36 inches. For several years, Everett cut the boards for the paintings to size, although near the end of her career she was purchasing Masonite pre-cut to set dimensions. The size of her paintings was limited by the extent she could move her arms, which were affected by arthritis. She used mostly wallboard and tubes of Tinsol, an oil-based paint. Her technique consisted of first coating the board with white, then drawing an outline, and applying paint directly out of the tube. She never blended or mixed colours. 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.

3-8" EACH GOOD CONDITION

Alain Jacquet, no coa, private collection, medium: acrylic measurements: 40"H BY 30"W No frame, good condition Biography: Alain Jacquet was a French artist representative of the Nouvelle Figuration movement that was linked to the American Pop Art movement. Jacquet lived in New York and Paris and taught at the École Nationale Supérieure des Arts Décoratifs. Alain Jacquet (22 February 1939 – 4 September 2008) was a French artist representative of the Nouvelle Figuration movement that was linked to the American Pop Art movement. Jacquet lived in New York and Paris and taught at the École Nationale Supérieure des Arts Décoratifs. He was married (1992) to Sophie Matisse, great-granddaughter of the French Fauvist artist Henri Matisse. They had one daughter, Gaïa Jacquet-Matisse. 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.

Frederick Judd Waugh, no coa, private collection, medium: oil, measurements: 30"W BY 24"H no frame, good condition Biography: Frederick Judd Waugh was an American artist, primarily known as a marine artist. During World War I, he designed ship camouflage for the U.S. Navy, under the direction of Everett L. Warner. 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.

Sister Gertrude Morgan, no coa, private collection, medium: mixed media measurements: 38"W BY 30"H framed, good condition Biography: Sister Gertrude Morgan was a self-taught African-American artist, musician, poet and preacher. Born in LaFayette, Alabama, she relocated to New Orleans in 1939, where she lived and worked until her death in 1980. Sister Morgan achieved critical acclaim during her lifetime for her folk art paintings. In 1956, Sister Gertrude Morgan received another revelation from God urging her to paint. She understood the act of painting as a tool to be used in her service to the Lord, just as she used music in her street preaching. Sister Morgan used her early paintings as visual aids in her sermons and teachings, often with children. Her paintings depict religious subject matter almost exclusively, illustrating scenes from scripture. The Book of Revelation was of special significance, and provided subject matter that she would return to over and over again in her work. 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: 45"W BY 35"H framed, 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 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.

Roland Peterson, no coa, private collection, medium: oil measurements: 45"W BY 33"H framed, good condition Biography: Roland Conrad Petersen is a Danish-born American painter, printmaker, and professor. His career spans over 50 years, primarily in the San Francisco Bay Area and is perhaps best-known for his "Picnic series" beginning in 1959 to today. He is part of the Bay Area Figurative Movement. He taught painting at Washington State University from 1956 to 1992; and painting and printmaking at University of California, Davis from 1956 to 1991. He won a Guggenheim Fellowship in 1963;and a Fulbright Fellowship to France in 1970. In March 2010, Petersen's work was the subject of a major retrospective ("Roland Petersen: 50 Years of Painting") held at the Monterey Museum of Art in Monterey, California. Petersen, his daughter, and his wife, the photographer Caryl Ritter, were present. In 2016 a one man show In Perspective was held at his current gallery The Studio Shop Gallery in Burlingame, California, and again on September 22 – October 15, 2017—the show is called Six Decades of Painting—resulting in a bound book of Petersen's work under the same title. 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.

James Darrell Northup Weeks, no coa, private collection, medium: acrylic, measurements: 36"W BY 24"H no frame , good condition Biography: James Darrell Northrup Weeks (December 1, 1922 – January 3, 1998) was an American artist and an early member of the Bay Area Figurative Movement. James Darrell Northrup Weeks was born on December 1, 1922, in Oakland, California to Anson Weeks and Ruth Daly, both musicians.[3] Weeks graduated from Lowell High School in 1940 and enrolled at the California School of Fine Arts. In 1943, Weeks enlisted in the US Air Force, returning to CSFA in 1946 following the end of World War II.In the following years, Weeks studied with William Gaw and David Park at CSFA and attended Marian Hartwell's school of design. 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.

Jacob Armstead Lawrence, no coa, private collection, medium: oil, measurements: 43"H by 33"W framed, good condtion Biography: Jacob Armstead Lawrence was an American painter known for his portrayal of African-American historical subjects and contemporary life. Lawrence referred to his style as "dynamic cubism," an art form popularized in Europe which drew great inspiration from West African and Meso-American art. Lawrence is among the best known twentieth-century African-American painters, known for his modernist illustrations of everyday life as well as narratives of African-American history and historical figures. At the age of 23 he gained national recognition with his 60-panel The Migration Series, which depicted the Great Migration of African Americans from the rural South to the urban North. The series was purchased jointly by the Phillips Collection in Washington, D.C., and the Museum of Modern Art (MoMA) in New York. 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.

Mary Deneale Morgan, no coa, private collection, medium: oil, measurements: 34"W BY 28"H framed, good condition Biography: Mary DeNeale Morgan also known as M. DeNeale Morgan, was an American plein air painter, especially in watercolor, and printmaker. She was the director the Carmel Summer School of Art sponsored by the Carmel Arts and Crafts Club and a founding member of the Carmel Art Association in Carmel-by-the-Sea, California. Morgan opened a studio in Oakland in 1896, and for a short while also taught art at Oakland High School. In 1907, she had her first solo exhibition, at the Hahn Gallery in Oakland. In 1903, Morgan came to Carmel-by-the-Sea before purchasing a home and studio in 1909 from watercolorist Sydney Yard, located on Lincoln near Seventh Street.She was the first artist to sell a painting when the Hotel Del Monte gallery opened in 1907.Her favorite subject was the Monterey cypresses. 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.