24" SILVERTONE

16" OR 18" STERLING SILVER

STERLING SILVER

SILVERTONE

GOLDTONE 16"

24" GOLDTONE

SIZE 9

16"

6"

NEW

GOLD TONE

16" STERLING SILVER

SIZE 7

16" STERLING SILVER

SIZE 9

Attributed to David Schluss, no coa, private collection, medium: oil,measurements: 29"HX41"W framed, good condition Biography: David Schluss, was born in 1943. He started painting at a very early age in Israel. 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 Theophilus Brown, no coa, private collection, medium: watercolor, measurements: 19"HX24"W framed, good condition Biography:William Theophilus Brown was an American artist. He became prominent as a member of the Bay Area Figurative Movement. A descendant of early-American intellectuals, Brown was born in Moline, Illinois. His great-grandfather was friends with Ralph Waldo Emerson and Henry David Thoreau. Brown's father was an inventor and chief designer, at the John Deere Company in Moline, Illinois. While attending Yale University in the late-1930s, Brown met composer Paul Hindemith and poet May Sarton, with whom he would share lifetime friendships. After graduating in 1941, Brown was drafted in World War II. Following his discharge, he began to study painting, moving between New York City and Paris, meeting an impressive range of artists that included Pablo Picasso, Braque, Giacometti, Balthus, and de Kooning, among others. Brown, who studied piano at Yale, was also close to a number of composers, including John Cage, Poulenc, Samuel Barber, and Igor Stravinsky. 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: watercolor, measurements: 24"WX30"H framed good condition, Biography:Andy Warhol was an American visual artist, film director, and producer who was a leading figure in the visual art movement known as pop art. After exhibiting his work in several galleries in the late 1950s, he began to receive recognition as an influential and controversial artist. 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 promoted a collection of personalities known as Warhol superstars, and is credited with inspiring the widely used expression "15 minutes of fame". In the late 1960s he managed and produced the experimental rock band The Velvet Underground and founded Interview magazine. He authored numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. He lived openly as a gay man before the gay liberation movement. In June 1968, he was almost killed by radical feminist Valerie Solanas, who shot him inside his studio.After gallbladder surgery, Warhol died of cardiac arrhythmia in February 1987 at the age of 58 in New York City. 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.

Carlos V. Fransisco, no coa, private collection, medium: oil, measurements: 25"hx29"w framed, very good conditiobn, some chipping throughout, Biography:Carlos Modesto "Botong" Villaluz Francisco was a Filipino muralist from Angono, Rizal. Francisco was a most distinguished practitioner of mural painting for many decades and best known for his historical pieces. He was one of the first Filipino modernists along with Galo Ocampo and Victorio C. Edades who broke away from Fernando Amorsolo's romanticism of Philippine scenes. According to restorer Helmuth Josef Zotter, Francisco's art "is a prime example of linear painting where lines and contours appear like cutouts. 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.

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

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.

Ernest Hemingway, no coa, private collection, medium: mixed media, measurements: 42"H BY 29"W needs new frame, 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.

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.

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.

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

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

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

Roy Lichtenstein, no coa, private collection, medium: oil measurements: 19"H X16"W framed, good condition Biography: Roy Fox Lichtenstein was an American pop artist. During the 1960's, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Lichtenstein then left New York to study at Ohio State University, which offered studio courses and a degree in fine arts.[2] His studies were interrupted by a three-year stint in the Army during and after World War II between 1943 and 1946.After being in training programs for languages, engineering in the Army Specialized Training Program,and pilot training, all of which were cancelled, he served as an orderly, draftsman, and artist.All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

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

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

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.

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.

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.

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.

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.

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.