STERLING SILVER SIZE 7

SILVERTONE

OK/GOOD CONDITION

SIZE 7

SIZE 9/STERLING SILVER

ADJUSTABLE SIZE

STERLING SILVER, ADJUSTABLE-16,17 OR 18"

STERLING SILVER

20" BEADED WITH LOCKET, AND GEMSTONES

SIZE 9

SIZE 7

5" OR 6" STERLING SILVER

RING SIZE 8,NECKLACE 17"

ADJUSTABLE SIZE

7"

SILVERTONE

SIZE 7

SIZE 8

SIZE 7

SIZE 6

SIZE 6

SIZE 7

SIZE 8

STERLING SILVER

SIZE 8

Nathan Oliveira, no coa, private collection, medium: oil, measurements: 25"W X 37"H Framed, mint condition Biography: Nathan Oliveira is regarded today as one America's great masters of extracting profound meaning from diaphanous images of the human 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.

4 PIECES GOOD CONDITION

Giorgio Morandi, no coa, private collection, medium: oil, measurements: 20"HX24"W no frame, good condition Biography: Giorgio Morandi was an Italian painter and printmaker who specialized in still lifes. His paintings are noted for their tonal subtlety in depicting simple subjects, mainly vases, bottles, bowls, flowers, and landscapes. Morandi practiced metaphysical painting (Italian: pittura metafisica) from 1918 to 1922. This was his last major stylistic shift; thereafter, he focused increasingly on subtle gradations of hue, tone, and objects arranged in a unifying atmospheric haze, establishing the direction his art was to take for the rest of his life. Morandi showed in the Novecento Italiano exhibitions of 1926 and 1929, but was more specifically associated with the regional Strapaese group by the end of the decade, a fascist-influenced group emphasizing local cultural traditions. He was sympathetic to the Fascist party in the 1920s,although his friendships with anti-Fascist figures led authorities to arrest him briefly in 1943. 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" EACH GOOD CONDITION

GOOD CONDITION

David Davidovich Burliuk, no coa, private collection, medium: oil, measurements: 25"wx32"h framed, mint condition Biography: David Davidovich Burliuk was a Ukrainian poet, artist and publicist associated with the Futurist and Neo-Primitivist movements. Burliuk has been described as "the father of Russian Futurism." In 1924 Burliuk published two Radio-style manifestos detailing a utopian art that would transcend space-time and aid in humanity's pursuit of knowledge and perfection.A collasal sized painting from this period titled Advent of the Mechanical Man, 1925–26, was exhibited in the Brooklyn Museum's 1926 International Exhibition of Modern Art Assembled by Société Anonyme. In New York, Burliuk developed activity in pro-Soviet oriented groups and, having written a poem for the 10th anniversary of the October Revolution, sought, in particular, to gain recognition as the "father of Russian futurism". He was a regular contributor to the Russian Voice newspaper. Burliuk published his collections, brochures, and magazines together with his wife Maria Nikiforovna, and through friends he distributed these publications mainly within the USSR. In 1925, Burliuk was a co-founder of the Association of Revolutionary Masters of Ukraine (ARMU) with the members Alexander Bogomazov, Vasiliy Yermilov, Vadym Meller, Alexander Khvostenko-Khvostov, and Palmov Victor. In 1927, he participated in an exhibition of the Latest Artistic Trends in the Russian Museum in Leningrad (St. Petersburg), together with Kazimir Malevich, Aleksandr Shevchenko, and Vladimir Tatlin. Burliuk was author of autobiographical sketches My Ancestors, Forty Years: 1890–1930. 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: measurements: 21"HX25"W framed, very 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. 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.

Nancy Spero, no coa, private collection, medium: oil, measurements: 24"WX30"H framed, very good condition Biography:Nancy Spero was an American visual artist. Born in Cleveland, Ohio, Spero lived for much of her life in New York City. She married and collaborated with artist Leon Golub. As both artist and activist, Nancy Spero had a career that spanned fifty years. Spero was born in Cleveland, Ohio in 1926. A year later her family moved to Chicago, where she grew up. After graduating from New Trier High School, she studied at the School of the Art Institute of Chicago, and graduated in 1949. Among Spero's peers at the Art Institute was a young GI who had returned from service in World War II, Leon Golub. Spero and Golub exhibited at the Hyde Park Art Center in Chicago as part of the group the Monster Roster.[4] After graduating from the Art Institute of Chicago, Spero continued to study painting in Paris at the École nationale supérieure des Beaux-Arts and at the Atelier of Andre Lhote, an early Cubist painter, teacher and critic. Soon after her return to the United States in 1950, she married Leon Golub, and the two artists settled in Chicago. 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.

9" AND 12" GOOD CONDITION

Jane Peterson, no coa, private collection, medium: oil measurements: 28"HX37"W framed, mint condition frame has some knicks Biography: Jane Peterson was a graduate of Pratt Institute and an American Impressionist and Expressionist painter. Peterson's work is hard to put into one or two single category of art. Actually, her works are more like a blend of several most prominent styles in the turn of the 20th century under the influence of her academic artistic training of many influences in both America and across Europe: Impressionism, Neo- and Post-Impressionism, Art Nouveau, Nabi, and Fauvism. Peterson love to use loose brushwork and bold colors in her paintings. From 1910 through 1916 Peterson became increasingly linked stylistically to fellow American, Maurice Prendergast. They shared similar interests in subject matter, and both had traveled and studied in Europe. Peterson and Prendergast had comparable technical skills of astute observation and loved colorful subjects but Peterson's linear movement is more aggressively flowing than Prendergast's. In 1912, Peterson went back to Paris, where she associated with the members of the American Art Association which included American Impressionist Painter Frederick Carl Frieseke. Her interest in watercolor started at this time, and, on her return to the United States in 1913, she began a six-year tenure at the Art Students League in New York as an instructor of watercolor painting. 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.

Elaine Sturtevant, no coa, private collection, medium: oil,measurements: 36"HX24"W framed Biography:Elaine Frances Sturtevant (née Horan; August 23, 1924 – May 7, 2014), also known professionally as Sturtevant, was an American artist. Sturtevant's earliest known paintings were made in New York in the late 1950s. In these works, she sliced tubes of paint open, flattened them, and attached them to canvas. Most of these works contain fragments from tubes of several colors of paint, some have additional pencil scribbles and daubs of paint.Sturtevant was close friends with Robert Rauschenberg and Jasper Johns, both of whom own paintings from this period. In 1964, by memorization only, she began to manually reproduce (or "repeat")paintings and objects created by her contemporaries with results that can immediately be identified with an original, at a point that turned the concept of originality on its head. She initially focused on works by such American artists as Roy Lichtenstein, Frank Stella, Claes Oldenburg, Jasper Johns, James Rosenquist, and Andy Warhol.Warhol gave Sturtevant one of his silkscreens so she could produce her own versions of his Flowers paintings, Warhol Flowers (1969–70).When asked about his own technique, Warhol once said, "I don't know. Ask Elaine." From the early 1980s she focused on the next generation of artists, including Robert Gober, Anselm Kiefer, Paul McCarthy, and Felix Gonzalez-Torres.[13] She mastered painting, sculpture, photography and film in order to produce a full range of copies of the works of her chosen artists. In most cases, her decision to start copying an artist happened before those artists achieved broader recognition. Nearly all of the artists she chose to copy are today considered iconic for their time or style. This has given rise to discussions among art critics on how it had been possible for Sturtevant to identify those artists at such an early stage. In 1991, Sturtevant presented an entire show consisting of her repetition of Warhol's Flowers series. 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: mixed media measurements: 29"WX38"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. Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO, alongside Al Diaz, writing enigmatic epigrams all over Manhattan, particularly in the cultural hotbed of the Lower East Side where rap, punk, and street art coalesced into early hip-hop music culture. By the early 1980s, his paintings were being exhibited in galleries and museums internationally. 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. In October 1979, at Arleen Schloss's open space called A's, Basquiat showed his SAMO montages using color Xerox copies of his works.[42] Schloss allowed Basquiat to use the space to create his "MAN MADE" clothing, which were painted upcycled garments.In November 1979, costume designer Patricia Field carried his clothing line in her upscale boutique on 8th Street in Greenwich Village.Field also displayed his sculptures in the store window.[46] When Basquiat and Diaz had a falling out, he inscribed "SAMO IS DEAD" on the walls of SoHo buildings in 1980.n June 1980, he appeared in High Times magazine, his first national publication, as part of an article titled "Graffiti '80: The State of the Outlaw Art" by Glenn O'Brien. Later that year, he began filming O'Brien's independent film Downtown 81 (2000), originally titled New York Beat, which featured some of Gray's recordings on its soundtrack. 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.

11"H MINT CONDITION

Leroy Neiman, no coa, private collection, medium: oil measurements: 29"WX41"H framed, good condition Biography: LeRoy Neiman was an American artist known for his brilliantly colored, expressionist paintings and screenprints of athletes, musicians, and sporting events. In 1994, Neiman was commissioned to create the illustrated logo for the Sherman Brothers musical Busker Alley. The illustration was used for posters and also was recreated as a five story high mural on the St. James Theater on Broadway (New York). In 1998, he did all the illustrations for a special "Sports" issue of The Nation magazine, for which he received the magazine's standard fee of $150. Neiman sponsored and supported several organizations from coast to coast that foster art activities for underprivileged children such as The LeRoy Neiman Center for Youth in San Francisco and the Arts Horizons LeRoy Neiman Art Center in Harlem. He also has established facilities at various colleges, including the LeRoy Neiman Center for Print Studies at Columbia University in New York and the LeRoy Neiman Campus Center at his alma mater, the School of the Art Institute of Chicago. Neiman donated $5 million to the School of the Art Institute, which funded the construction of the Neiman Center at the School. 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: oil, measurements: 44"HX33"W 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. 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.

16"H GOOD CONDITION

Oscar Deveza Zalameda, no coa, private collection, medium: oil, measurements: 29"hx41"w framed, good condition Biography: Oscar Deveza Zalameda (1930 - 2010) was active/lived in Philippines, Mexico. Oscar Zalameda is known for Abstract easel painting, murals. Oscar Zalameda stunned Manila audiences when he mounted an exhibition of 16 paintings at the old Hotel Filipinas along Roxas Boulevard in the 1960s, charging P7,000 then the price of a VW Beetle for each piece. From the onset of his career, Zalameda firmly believed that artists should be amply rewarded. According to his friend, Wilson Tan, Zalameda remarked that "not everyone knows art, so it should command a high price." 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.

Carl Sprinchorn, no coa, private collection, medium: oil, measurements: 30"WX20"H unframed, good condition, framed, Biography: Carl Sprinchorn was a Swedish-born American artist who studied under Robert Henri and who adopted a style of realist modernism that admiring critics saw as both abstract and revolutionary. His oil paintings and works on paper showed a wide range of subjects. He made cityscapes and street scenes, seascapes and beach scenes, bucolic landscapes and farm scenes. He drew famous dancers, society figures, and both urban and rural men at work. As one critic put the matter, "He has the rare quality of making whatever subject he essays interesting and unusual, be it bouquets of flowers, riders in six-day bicycle races, Spanish dancers or straight American landscape."He achieved acclaim for pictures he made while living in New York and during extensive travels. In 1918, a critic said his drawings showed the kind of "bold pen outline" and gift for "incisive statement" that could be seen in work by British caricaturist, Thomas Rowlandson. Another critic noted a "sensuous, aristocratic nostalgia" in Sprinchorn's urban scenes, describing them as "delicate, suggestive impressions." Throughout much of his career Sprinchorn's floral paintings in oil, pastel, and watercolor also attracted critical attention. Reviewing watercolors exhibited in 1928, a critic praised a "subtle relation of colors" in a floral work and said that "if colors could sing," these would "chant melodiously."[4] Sprinchorn made extensive visits to camps and hamlets in the North Maine Woods and the paintings and drawings he made there came to be his most celebrated works. Regarding a cluster of posthumous exhibitions held in 2002, a critic wrote, "In Sprinchorn's hands, the Maine woods come alive through the actions of men who are most comfortable among the trees: hunters, trappers, lumberjacks and river drivers, mostly. These large, rugged images are full of earthy colors that recall the blue-chill of winter, the blaze-orange glow of autumn and the shadowy scenes that accompany nighttime campfires..."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 Fedden, no coa, private collection, medium: oil, measurements: 23"WX27"H framed, good condition Biography:Mary Fedden, OBE RA PPRWA was a British artist. Sometimes mistakenly described as the daughter of Roy Fedden (who was in fact her uncle, as was Romilly Fedden), Mary Fedden was born in Bristol where she attended the city's Badminton School. At the age of 16, she studied at the Slade School of Fine Arts, London from 1932 to 1936.Of her time at the Slade, she recalled, 'after Badminton, the Slade was like stepping from hell into heaven.'At the Slade, Fedden was a pupil of the theatre designer, Vladimir Polunin. When she finished her studies, she taught, painted portraits and created stage designs for Sadler's Wells Theatre. She then returned to Bristol where she painted and taught until World War II broke out. During the Second World War, Fedden served in the Women's Land Army and the Woman's Voluntary Service and as a driver for the NAAFI in Europe. She was also commissioned to create murals for the war effort. 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.

WEDDING VASE IS 8" GOOD CONDITION SIGNED YAZZIE NAVAJO, BUD VASE HAS .5" CHIP ON RIM .

Andy Warhol and Jean Michel Basquiat, no coa, private collection, medium: oil, measurements: 40"W BY 30"H unframed, 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. 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.

Salvador Dali no coa, private collection, medium: watercolor, measurements: 30"H BY 24"W unframed, good condition framed, Biography: Salvador Dalí was born on 11 May 1904, at 8:45 am,on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain.[Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Luca Rafael Aniceto Dalí Cusí (1872–1950) was a middle-class lawyer and notary, an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874–1921), who encouraged her son's artistic endeavors.[14] In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descendants of the Moors.[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, Catalonia, Spain, 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, and is one of the most famous Surrealist paintings. 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. 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.

Sam Francis, no coa, private collection, medium: acrylic, measurements: 33"W BY 24"H unframed, good condition, framed, Biography: Samuel Lewis Francis was an American painter and printmaker. Francis was initially influenced by the work of abstract expressionists such as Mark Rothko, Arshile Gorky and Clyfford Still. His loose style was most influenced by the work of Jackson Pollock. He later became loosely associated with the second generation of abstract expressionists, including Joan Mitchell and Helen Frankenthaler, who were increasingly interested in the expressive use of color. But Francis never fit neatly into any school of art. He charted his own trajectory as one of the first global artists working around the world. He spent the 1950s in Paris, having his first exhibition there at the Galerie Nina Dausset in 1952.[While in Paris he became associated with Tachisme, and had his work championed by art critics Michel Tapié and Claude Duthuit ( the son-in-law of the painter Henri Matisse).Sam Francis was married five times, and was the father of four children. He was married from 1947 through 1952 to Vera Miller, a high school girlfriend, then to California painter Muriel Goodwin (1955–58) then to Japanese painter Teruko Yokoi with whom he had a daughter, Kayo. In 1966 he married Mako Idemitsu, with whom he had two sons: Osamu and Shingo. He married his last wife, painter Margaret Smith, in a Shinto ceremony in Japan in 1985. Their son Augustus, born in 1986, is also an 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.

LIKE NEW, great condition Rare, hard to find, retired Memazing tote bag

Joan Miro, no coa, private collection, medium: serigraph, measurements: 33"wx44"h framed, good condition Biography: Joan Miró i Ferrà was a Spanish painter, sculptor and ceramist born in Barcelona. Professionally, he was simply known as Joan Miró. Born into a family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona.The Miró surname indicates some possible Jewish roots (in terms of marrano or converso Iberian Jews who converted to Christianity).His father was Miquel Miró Adzerias and his mother was Dolores Ferrà.He began drawing classes at the age of seven at a private school at Carrer del Regomir 13, a medieval mansion. To the dismay of his father, he enrolled at the fine art academy at La Llotja in 1907. He studied at the Cercle Artístic de Sant Lluc and he had his first solo show in 1918 at the Galeries Dalmau,where his work was ridiculed and defaced.Inspired by Fauve and Cubist exhibitions in Barcelona and abroad, Miró was drawn towards the arts community that was gathering in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia. 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.

8-11" GOOD CONDITION

Jan Sluijters, no coa, private collection, medium: oil, measurements: 32"WX37"H framed, mint condition, frame has damage see pic Biography: Jan Sluijters is known for his colourful paintings, painted in a bold, vigorous manner and using a free 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.

Alan Davie, no coa, private collection, medium: oil measurements: 23"WX29"H framed, mint condition Biography: James Alan Davie was a Scottish painter and musician. Davie was born in Grangemouth, Scotland in 1920, the son of Elizabeth (née Turnbull) and James William Davie, an art teacher and painter who exhibited at the Salon des Artistes Français in 1925] Alan Davie studied at Edinburgh College of Art from 1937 to 1941. An early exhibition of his work came through the Society of Scottish Artists. After the Second World War, Davie played tenor saxophone in the Tommy Sampson Orchestra, which was based in Edinburgh and broadcast and toured in Europe.He also earned a living making jewellery during the postwar period.Davie travelled widely and in Venice became influenced by other painters of the period, such as Paul Klee, Jackson Pollock and Joan Miró, as well as by a wide range of cultural symbols.In particular, his painting style owes much to his affinity with Zen. Having read Eugen Herrigel's book Zen in the Art of Archery (1953), he assimilated the spontaneity which Zen emphasises.: Declaring that the spiritual path is incompatible with planning ahead, he attempted to paint as automatically as possible, which was intended to bring forth elements of his unconscious. In this, he shared a vision with surrealist painters such as Miró, and he was also fascinated by the work of psychoanalyst Carl Jung. Like Pollock, many of Davie's works were executed by standing above the painting, which was laid on the ground. He added layers of paint until sometimes the original painting had been covered over many times. Despite the speed at which he worked (he usually had several paintings on the go at once), however, he was adamant that his images are not pure abstraction, but all have significance as symbols.[8] Championing the primitive, he saw the role of the artist as akin to that of the shaman,and remarked upon how disparate cultures have adopted common symbols in their visual languages. 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.

Max Beckmann, no coa, private collection, medium: oil, measurements: 28"HX22"W Biography: Max Carl Friedrich Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Unlike several of his avant-garde contemporaries, Beckmann rejected non-representational painting; instead, he took up and advanced the tradition of figurative painting. He greatly admired not only Cézanne and Van Gogh, but also Blake, Rembrandt, and Rubens, as well as Northern European artists of the late Middle Ages and early Renaissance, such as Bosch, Bruegel, and Matthias Grünewald. His style and method of composition are partially rooted in the imagery of medieval stained glass. Engaging with the genres of portraiture, landscape, still life, and history painting, his diverse body of work created a very personal but authentic version of modernism, one with a healthy deference to traditional forms. Beckmann reinvented the religious triptych and expanded this archetype of medieval painting into an allegory of contemporary humanity. From his beginnings in the fin de siècle to the period after World War II, Beckmann reflected an era of radical changes in both art and history in his work. Many of Beckmann's paintings express the agonies of Europe in the first half of the 20th century. Some of his imagery refers to the decadent glamor of the Weimar Republic's cabaret culture, but from the 1930s on, his works often contain mythologized references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate. His Self-Portrait with Horn (1938), painted during his exile in Amsterdam, demonstrates his use of symbols. Musical instruments are featured in many of his paintings; in this case, a horn that the artist holds as if it were a telescope by which he intends to explore the darkness surrounding him. The tight framing of the figure within the boundaries of the canvas emphasize his entrapment. Art historian Cornelia Stabenow terms the painting "the most melancholy, but also the most mystifying, of his self-portraits" 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.

Inge Schoiler private collection, no coa medium: oil, measurements: 25"wx29"h framed, good condition, no frame, Biography:Inge Schioler studied art at the Valand Academy in Goteborg under the tutelage of Tor Bjurstrom. His father, a botanist, influenced the subjects of Schioler's works by sparking an interest in plants and the natural world. In the 1930s he traveled to Spain and France and lived in Stockholm where he struggled to live with little money, but was able to exhibit works during this period. In 1933 he was diagnosed with schizophrenia and spent the best of 27 years at St. Jorgen’s Hospital. During a period of nine years he completely lost interest in painting, but eventually picked up it again, with a renewed vibrancy. Along with his hometown of Stromstad, Schioler’s primary inspiration for painting was the islands of Koster, where he painted his famed seascapes. Schioler was a member of the Goteborg Colorists along with others including Ragnar Sandberg, Ivan Ivarson, and Nils Nilsson. Although they never exhibited together under that name, they became known as the Goteborg Colorists since they all graduated from the Valand Academy during the same period and their styles exhibit a heightened use of color. Schioler achieved success quite early on and is regarded as one of Sweden’s best landscape painters for his rich colors and bold brushwork. Inge Schiöler grew up with an inherent love of nature along the west coast and he transferred that life to his paintings. He was recognized as a brilliant colorist with a special feeling for the interplay of tones between each other and became part of the composition Gothenburg colorists. Most of the Gothenburg colorists had studied for Tor Bjurström at Valand's painting school in Gothenburg and the concept, which was launched in the 1940s, was closely linked to the legendary gallery owner Gunnar Hjorthén. 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.

Konstantin Korovin, no coa, private collection, medium: oil, measurements: 25"WX21"H framed, OK/good condition, some spots and cracks Biography: Konstantin or Constantin Alekseyevich Korovin was a leading Russian Impressionist painter. In the beginning of the 20th century, Korovin focused his attention on the theater. He moved from Mamontov's opera to the Mariinsky Theatre in St. Petersburg. Departing from traditional stage decor, which only indicated the place of action, Korovin produced a mood decor conveying the general emotions of the performance. Korovin designed sets for Konstantin Stanislavsky's dramatic productions, as well as Mariinsky's operas and ballets. He did the stage design for such Mariinsky productions as Faust (1899), The Little Humpbacked Horse (1901), and Sadko (1906) that became famous for their expressiveness. 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.

Georges Mathieu, no coa, private collection, medium: mixed media, measurements: 28"HX36"W framed, very good condition Biography: Georges Mathieu was a French abstract painter, art theorist, and member of the Académie des Beaux-Arts in Paris. He is considered one of the fathers of European lyrical abstraction, a trend of informalism. In 1946, his first abstract paintings were featured at the Salon des moins de 30 ans exhibition in Paris. He founded the first artistic group L’Imaginaire with Wols, Jean-Michel Atlan, Hartung, Bryen, Riopelle and exposes with fourteen painters at the Galerie du Luxembourg on 16 December 1947. The exhibition was called Towards Lyrical Abstraction, but the title was later changed because of the presence of works of Pablo Picasso and Jean Arp.The same year, he exposes at the Salon des Réalités Nouvelles and at the Salon des Surindépendants. The group is later expanded, with Michel Tapié, Picabia and François Stahly to form H.W.P.S.M.T.B., exposing at the Galerie Allendy. He promoted an art free from the constraints of figurative paintings and defining the concept of Lyrical Abstraction. In 1948, he put in place the first confrontation between American and French avant-garde painters : on this occasion he revealed the importance of the American abstraction of Jackson Pollock and Alton Tobey to the French audience. He painted his first large canvases as soon as 1952. 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.

Pauline Boty, no coa, private collection, medium: oil, measurements: 36"wx44"h framed, mint condition Biography: Pauline Boty was a British painter and co-founder of the 1960s' British Pop art movement of which she was the only acknowledged female member. Boty's paintings and collages often demonstrate a joy in self-assured femininity and female sexuality, as well as criticism of the "man's world" in which she lived. Boty was at her most productive two years after graduating from college. She developed a signature Pop style and iconography. Her first group show, "Blake, Boty, Porter, Reeve" was held in November 1961 at A.I.A. Gallery in London and was hailed as one of the first British Pop art shows. She exhibited twenty collages, including Is it a bird, is it a plane? and a rose is a rose is a rose, which demonstrated her interest in drawing from both high and low popular culture sources in her art (the first title references the Superman comic, the second quotes the American expatriate poet Gertrude Stein) The following spring Boty, Peter Blake, Derek Boshier and Peter Phillips were featured in Ken Russell's BBC Monitor documentary film Pop Goes the Easel, which was aired on 22 March 1962. Boty's appearance in Pop Goes the Easel marked the beginning of her brief acting career. She landed roles in an Armchair Theatre play for ITV ("North City Traffic Straight Ahead", 1962) and an episode of the BBC series Maigret ("Peter the Lett", 1963). She also appeared on stage in Frank Hilton's comedy Day of the Princeat the Royal Court, and in Riccardo Aragno's (from the novel by Anthony Powell) Afternoon Men at the New Arts Theatre. (Boty, a regular on the club scene in London, was also a dancer on Ready Steady Go!). Although acting was lucrative, it was a distraction from painting, which remained her main priority. Yet the men in her life encouraged her to pursue acting, as it was a more conventional career choice for women in the early 1960s.The popular press picked up on her glamorous actress persona, often undermining her legitimacy as an artist by referring to her physical appearance. Scene ran a front-page article in November 1962 that included the following remarks: "Actresses often have tiny brains. Painters often have large beards. Imagine a brainy actress who is also a painter and also a blonde, and you have Pauline Boty." Her unique position as Britain's only female Pop artist gave Boty the chance to redress sexism in her life as well as her art. Her early paintings were sensual and erotic, celebrating female sexuality from a woman's point of view. Her canvases were set against vivid, colourful backgrounds and often included close-ups of red flowers, presumably symbolic of the female sex.She painted her male idols—Elvis, French actor Jean-Paul Belmondo, British writer Derek Marlowe—as sex symbols, just as she did actresses Monica Vitti and Marilyn Monroe. Like Andy Warhol, she recycled publicity and press photographs of celebrities in her art. Her 1963 portrait of her friend Celia Birtwell, Celia and Her Heroes, shows the textile designer surrounded by a Peter Blake painting, a David Hockney portrait and an image of Elvis Presley. She exhibited in several more group shows before staging her first solo exhibition at Grabowski Gallery in the autumn of 1963. The show was a critical success. Boty continued to take on additional acting jobs. She was a presenter on the radio programme Public Ear in 1963–64, and in the following year, she was typecast yet again in the role of 'the seductive Maria' in a BBC serial. 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 Klasen, no coa, private collection, medium: oil, measurements: 36"WX43"H framed, mint condition Biography: German painter, photographer and sculptor Peter Klasen was born in Lübeck in 1935. He learns the techniques of lithography and the airbrushing. one can discover in his paintings elements such as pressure gauges, metal locks, tarpaulin sheets for trucks and cars, hoses for hydraulic circuits. 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.

Franz Kline, no coa, private collection, medium: oil, measurements: 16"wx20"h no frame, good condition Biography: Franz Kline was an American painter. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Franz Kline (May 23, 1910 – May 13, 1962) was an American painter. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Kline, along with other action painters like Jackson Pollock, Willem de Kooning, Robert Motherwell, John Ferren, and Lee Krasner, as well as local poets, dancers, and musicians came to be known as the informal group, the New York School. Although he explored the same innovations to painting as the other artists in this group, Kline's work is distinct in itself and has been revered since the 1950s. 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.

Samuel John Peploe, no coa, private collection, medium: oil, measurements: 22"HX26"W framed, good condition Biography: Samuel John Peploe was a Scottish Post-Impressionist painter, noted for his still life works and for being one of the group of four painters that became known as the Scottish Colourists. The other colourists were John Duncan Fergusson, Francis Cadell and Leslie Hunter. Peploe studied at the Royal Scottish Academy schools from 1893 to 1894, and then at the Académie Julian and Académie Colarossi in Paris, where he shared a room with the Scottish painter Robert Brough. He visited the Netherlands in 1895, returning with reproductions of work by Rembrandt and Frans Hals. From 1901, he undertook painting trips to northern France and the Hebrides with his friend J. D. Fergusson, another of the Scottish Colourists. Inspired by the bright sunlight, he experimented with the bold use of colour, and the influence of the rustic realism of French painters is evident in his landscapes. 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.

Federico Cantu Garzano coa, private collection, medium: oil, measurements: 22"hx26"w framed, good condition Biography: Federico Heraclio Cantú Garza was a Mexican painter, engraver and sculptor. While considered to be a member of the Mexican muralism movement, his style was noticeably different, mostly for adhering to older and more academic forms of painting and sculpture. He did monumental works such as murals and sculptures, with one of the first a mural with Roberto Montenegro in 1934.These works can be found at universities, government buildings and private homes. From 1951 to the early 1960s, he devoted most of his time painting murals in private homes, with a number of these since acquired by the government of Nuevo León. 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 R. Scumann, no coa, private collection, medium: oil, measurements: 25"HX29"W framed, mint condition, frame has wear and tear Biography: Paul Richard Schumann was a Texas impressionist seascape painter who has been called the Gulf Coast counterpart of Winslow Homer. Schumann started out as a portrait and landscape painter but became best known for his later seascapes and harbor scenes.Writers have speculated that his preference for marine subjects was influenced by a childhood experience of falling into the mill race at his father's sawmill or by his cross-ocean journey at the age of three. One critic wrote that he "catches with unfailing dexterity the kinship of the sea with the sky and the land–the storm clouds, the pouty, sulky thunderheads, or the washed sky after an April shower."Schumann built model ships for use as models for his seascapes, which sometimes featured boats and ships ranging from fishing vessels to three-masted schooners. During the 1910s, Schumann traveled extensively around the United States, painting in New Mexico, Arizona, Colorado, California, Illinois, and along the southeastern Atlantic Coast. His favorite site remained the Texas Gulf Coast, however, for its tropical colors and changeable skyscapes, and he became known as a leading interpreter of "typical Texas skies, as well as the deeper blues of the South Atlantic, and the quiet waters of the Pacific Coast." 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.

Harry Anthony Deyoung, no coa, private collection, medium: oil, measurements: 25"HX29"W framed, mint condition, frame has wear and tear and marker Biography: Harry Anthony DeYoung was born in Chicago, Illinois, on August 5, 1893. He served as a sergeant in the quartermaster corps in World War I. For a time he taught at the Academy of Art in Chicago and was the director of the Midwest Summer School of Art at Paw Paw Lake, Michigan. He also taught at Bailey's Harbor (Wisconsin) School of Art and was director of the Glen Wood School of Landscape Painting in Illinois. In Texas the artist founded and directed the De Young Painting Camp in the Davis Mountains. Recognition of his work in 1925 won him the Fine Arts Building Purchase Prize of $500 at the Art Institute of Chicago and honorable mention in landscape painting at the American Artists Exhibition of Chicago. 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.

George Tooker, no coa, private collection, medium: oil, measurements: 24'HX28"W framed, mint condition Biography: George Clair Tooker, Jr. was an American figurative painter. His works are associated with Magic realism, Social realism, Photorealism, and Surrealism. Tooker spent the late 1940s and early 1950s in Brooklyn. He studied at the Art Students League of New York under Reginald Marsh from 1943 to 1945. Kenneth Hayes Miller influenced Tooker's work by encouraging the emphasis on form rather than expressive emotion to convey a painting's meaning. Tooker regarded Harry Sternberg a good teacher at the League due to his pointed, challenging questions. Upon reading Daniel V. Thompson's The Practice of Tempera Painting, Tooker began to paint in the traditional Renaissance painting method. Tooker appreciated its slow manner of application in particular. 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.