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ARTISTS' ESTATES - Paintings, Prints, Sculpture - Fine Art

by Myers Auction Gallery


362 lots with images

April 7, 2013

Live Auction

1600 4th Street North

St. Petersburg, FL, 33704 USA

Phone: (727) 823-3249

Email: auctions@myersfineart.com

362 Lots
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A Quiet Cove American early 20C Landscape Painting

Lot 1: A Quiet Cove American early 20C Landscape Painting

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Description: "A Quiet Cove". Early 20th Century American artist. Landscape oil painting on burlap. Unsigned. In good condition. Painting measures 30" x 40". Has been reframed in a contemporary frame which measures 33" x 43".

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DENNIS AINSLEY (American 1880-1952) Pair Paintings

Lot 2: DENNIS AINSLEY (American 1880-1952) Pair Paintings

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Description: DENNIS AINSLEY (American, 20th Century). Pair of French Street Scenes. Oil on canvas board paintings. Both signed lower right Dennis Ainsley. Good condition. Both measure 8" x 10". Original frames measure 13 ½" x 15 ¾". From AskArt: "Dennis Ainsley was born in Illinois, the child of Irish and French parents. He and his family traveled extensively in Europe, living in Brittany for a number of years. Ainsley studied art there, as well as in Paris. He exhibited extensively, establishing a following for his colorful portrayal of the picturesque villages of the area. Dennis Ainsley returned to the United States in 1920 and settled in New England. While still maintaining his ties in Europe, he exhibited throughout the Northeast."

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ANCHON Boy Fishing Oil Painting Period Gilt Frame

Lot 3: ANCHON Boy Fishing Oil Painting Period Gilt Frame

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Description: R. ANCHON 20th Century impressionist painting "Boy Fishing". Oil on canvas. Illegibly signed lower left. Good condition with carved period gilt frame. Painting measures 18 ¼" x 21 ¾". Frame measure 21" x 25".

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MICHAEL ANSELL American Dancer Watercolor Painting

Lot 4: MICHAEL ANSELL American Dancer Watercolor Painting

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Description: MICHAEL ANSELL (American, 20th C). "Shriner Banquet". Watercolor painting. Signed lower right Michael Ansell c.1981. Good condition. Painting measures 15 ¼" x 23 ½". Frame measures 24 ¼" x 30 ¾". Birds-eye view of lively dancing couples and seated dinner guests against an optical geometric black and white floor.

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KARL APPEL Dutch1921-2006 Abstract 1970 Lithograph

Lot 5: KARL APPEL Dutch1921-2006 Abstract 1970 Lithograph

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Description: KAREL APPEL (Dutch, 1921-2006) Head. Lithograph. Signed lower left center in pencil Appel 70; lower left ed. Good condition, the print is not laid down and has full margins on all sides. Gloria Lura Gallery label on reverse. Sheet measures 36" x 49". Image measures 26" x 40". Frame measures 37" x 49 ¾". Large colorful abstract lithograph. Edition size 100. Lithograph is from the estate of New York artist David Porter, a friend of Appel's. Included with the print is a copied 1982 letter from David to Karel and his wife, Harriett, regarding the Bell Estate property in Amagansett, New York on the east end of Long Island. From AskArt: "Karel Appel was a painter born on April 25, 1921 in Amsterdam, Holland; his father was a barber. He studied at the Royal Academy in Amsterdam in 1940-43. Appel sought to develop an impulsive formal language based on life, in reaction to geometric academicism. He even founded with others an experimental group. In Paris in 1949, he focused on mastering creative power and did canvases that "look like they were done in a rage". (Schatz) An action painter, Appel gives full rein to his violent expressionism in numerous mural compositions and in stained glass windows. In 1958, Appel established residence in Paris, and in 1959 he came to New York, where he now spends half the year. He won the UNESCO prize at the Venice Biennale in 1952, in 1956 the Stedelijk Museum in Amsterdam commissioned a large public mural from him which was accepted after considerable public controversy. He was the youngest artist awarded first prize at the Guggenheim international exhibition in 1960.

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Arabic Persian Illuminated Manuscript Page Paintin

Lot 6: Arabic Persian Illuminated Manuscript Page Paintin

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Description: Persian 19th Century Islamic Arabic Miniature Illuminated Manuscript Page Painting. Opaque watercolor on paper. Good condition; small 1/8" hole in left margin. Full page of calligraphy on reverse. Page measures 14½" x 9 5/8". Frame measures 18 ½" x 13 ½".

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JOHN TAYLOR ARMS American, 1887-1953 Etching Print

Lot 7: JOHN TAYLOR ARMS American, 1887-1953 Etching Print

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Description: JOHN TAYLOR ARMS (American, 1887-1953) "Stockholm". Etching. Signed lower right in pencil John Taylor Arms 1940. Titled on the lower left to Barbara Price from Dorothy and John Taylor Arms 1941. In good condition with light toning. Has two pencil-point sized holes near the monument and a ½ inch abrasion on the middle pillar. There is also two light scratches on the far right pillar. Laid down on card stock. Sheet measures 10 ¼" x 16". Plate size is 7 5/8" x 13 ¾". Included with the print is an original newspaper article illustrating the print. The etching is inscribed to Chester Price's daughter Barbara. From the estate of Chester Price (the gentleman in the photograph with the printing press wheel). Biography from Birger Sandzen Memorial Gallery: John Taylor Arms was, without question, one of the most respected American printmakers in the first half of the 20th Century. His etchings are in most of the major print collections in the United States and Europe. Additionally, Arms' involvement in organized efforts to promote printmaking includes serving as president of the Society of American Etchers and publishing the Handbook of Print Making and Print Makers in 1934.The most distinctive characteristic of an etching by John Taylor Arms is the exquisitely fine detail he developed. In many cases, a magnifying glass is needed to adequately appreciate the artist's work. Of special note are his depictions of Gothic architecture from Europe. Both Birger Sandzén and his son-in-law, Charles Pelham Greenough, were captivated by Arms' etchings, and this exhibition features thirty-four of the finest examples from their respective collections. John Taylor Arms was born in Washington, D.C. in 1887. His family of businessmen, clergymen and teachers descended from a knitter of stockings who settled in Massachusetts in the seventeenth century. In 1907, upon graduation from Lawrenceville School in Washington, D.C., Arms transferred to the Massachusetts Institute of Technology to study architecture. He received a Master of Science degree in 1912 and that year joined the firm of Carré and Hastings in New York as a draftsman. He stayed with the firm for two years, after which he went into partnership with Cameron Clark, a well-known designer of houses in the Colonial Revival style. Arms soon tired of the day-to-day paperwork routine of his profession that did not satisfy his need for creative expression. He began spending evening hours on drawings he was not able to do at the office. In 1913, Arms married Dorothy Frothingham Noyes. She gave him a small etching kit for Christmas which brought about his first print in 1914, titled Sunlight and Shadow. In 1916 he dissolved his partnership with Clark and joined the Navy as a navigational officer on convoy duty during World War 1. Upon discharge in 1919 he decided to make etching his life's work. The romance and nostalgia for old buildings and churches drew Arms to Gothic architecture imagery. He developed a plan to record the major Gothic churches in prints. During the 1920s, he began three of his most important series of etchings: The French Churches, The Spanish Churches, and The Italian Series. Arms continued to travel in Europe in the 1930s. He and his wife were particularly fond of Venice, with its intricate buildings and bridges combining Gothic and Byzantine architecture. Toward the end of the decade, the Arms' found a new home-away-from-home in England. There he made many etchings of the small village churches until 1937. In the late thirties and during World War II, when travel in Europe became difficult, Arms and his family traveled to Mexico. He studied and drew Pre-Columbian ruins and Spanish Baroque architecture with his customary attention to detail and local color. Arms developed his etchings from drawings made on location. After he had settled into a location, he would select a spot with a view of the subject he found satisfying and, perched on his camp stool, would spend ten days to two weeks on one drawing. These drawings were used as preparatory plans, with details added later, sometimes with the use of photographs. To begin an etching, he used the main areas of his drawings to trace an outline on a grounded etching plate. The transferred lines appeared as distinct red markings and served as a guide when he began to draw with the etching needle on the plate. Arms often used ordinary sewing needles set in wooden handles to draw through the ground, exposing the plate surface. Once the image was satisfactory, he would print an edition of prints from the plate. Occasionally he used a magnifying glass to draw the closely packed dots and lines that suggest tonal values of sunlight and shadow on stone. The most difficult prints to make were the miniature images, with their extreme detail. Henry Noyes Arms, the son of John Taylor Arms, characterized his father as a man who felt he had been "born to draw Gothic architecture." Arms wanted those who saw his prints to have the same emotional experience he enjoyed in the presence of the great cathedrals and other imagery he represented.

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ART WORKS 4 Avant Garde MAGAZINE #138/150 Edition

Lot 8: ART WORKS 4 Avant Garde MAGAZINE #138/150 Edition

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Description: ART WORKS 4 MAGAZINE Volume 2 Number 2 Art Works: The Art-Minded Network - Published 1986 The Artworks Committee. Limited Edition # 138/150 in pencil on copyright page. Very good condition. Avant-garde esoteric artist publication limited to 150 copies. Complete with 24 original artist signed in pencil prints. The Art Works magazine edition is limited to 150 copies and the prints lay flat and protected within a mylar folder. In good condition. Contemporary Japanese artist signed prints include; Katsuhiko Hibino, Hiroshi Kanomata, Shinichi Ofusa, Kyoko Takami, Tsuyoshi Inaba, Nisioca, Harumi Ichise, Hiroshi Aiura,Tadashi Hirota, Akira Utsumi, Meguru Mikami, Yumiko Nakano, Hiroshi Takahara, Mugen Kanzaki, Yoshiaki Takafuji, Akira Saito, Isao Urushidani, Eijiro Mori, Yuichi Higashionna, Kazuo Takada, Ryo Tsutsui, Etsuko Kamimura, Setsuko Kato and Keiichi Suzuki. Copyright 1986 THE ART WORKS COMMITTEE.

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MARY G.  ASCHER (1900-1988) Oil Painting

Lot 9: MARY G. ASCHER (1900-1988) Oil Painting

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Description: MARY GOLDMANN ASCHER (1900-1988). "Dusty Rhythms". Oil on linen abstract expressionist painting. Signed lower left Ascher. Original label affixed to reverse with artist's name and title. In good condition, no damage or repair. Painting measures 9" x 12". Frame measures 15" x 18". From AskArt: "Born in Leeds, England, Mary Ascher came to the United States and studied at the New York School of Applied Design for Women, Hunter College and the Art Students League. A printmaker and painter, Ascher took part in many multicultural group exchange exhibitions including Japanese Women Artists in 1960, and Argentine Artists in 1963. In 1973, her 30-year retrospective was held in New York at the National Arts Club and her work was also exhibited at the Metropolitan Museum of Art in 1979. Ascher was honored with the artists prize at the International Women's Year Awards in 1975; she is particularly remembered as the author of "Twelve Women of the New Testament and Early Church", produced with 25 portfolios.

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REX J. ASHLOCK (American 1918-1999) Oil Painting

Lot 10: REX J. ASHLOCK (American 1918-1999) Oil Painting

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Description: REX JESSE ASHLOCK (American, 1918-1999) Still Life with Fruit. Oil on artist board. Signed lower left 11-56 Ashlock. Good condition with small chip upper left edge and lower right foreground. Painting measures 16" x 12". Frame measures18 ¾" x 14 ¾". From AskArt: "Ashlock's mature works are rooted in figurative expressionism, which bear his unique stamp. Like Cedar-tavern acquaintance, Willem de Kooning, Ashlock was fascinated by the female figure and never abandoned it as his primary source of inspiration. "I was influenced by de Kooning and Oskar Kokoschka and German Expressionism, but I didn't want to go abstract. I wanted to represent something." Born in Spokane, WA on Aug. 23, 1918. Ashlock moved to San Francisco in 1937 and was a copy boy for Associated Press while studying at the CSFA and UC Berkeley. During 1957-80 he lived in NYC and then returned to San Francisco where he remained until his demise on Dec. 23, 1999. Exh: Calif. WC Society, 1944; SFAA."

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MILTON AVERY (American, 1885-1965) Signed Prints

Lot 11: MILTON AVERY (American, 1885-1965) Signed Prints

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Description: MILTON AVERY (American, 1885-1965). Three original Christmas greeting cards given to artist Leon Polk Smith and Bob Jamieson in the 1950s and 60's by their artist couple friends Milton and Sally Michel Avery. A postdated Dec. 23, 1954 card has a tipped in linoleum block print signed in pencil "S.M." with inscription in ink. The cover of a 1957 card to Leon and Bob depicts a bird against a night sky and a 1962 card has a portrait of seated Milton Avery. Guaranteed to be authentic. From AskArt: "Known as a colorist focused on serene mood, harmony, and rounded shapes, Milton Avery was primarily a self-taught painter whose work combining abstraction and realism suggests dialogue between line, shape, muted color, and subdued emotions. Most of his subjects were either marine scenes or figure studies. Although never associated with a particular movement, Avery was a key modernist who influenced succeeding generations of artists including Color Field painters Mark Rothko and Adolph Gottlieb. Born in Altmar, New York, Avery studied art in Hartford at the Connecticut League of Art Students before settling in New York City in 1925. 1944 was a watershed year for Avery, largely because of a new gallery association with Paul Rosenberg in New York. Rosenberg had fled to New York from Europe with both a strong interest and inventory of avant-garde paintings, which he wanted to enhance. In addition to this collection, he agreed to buy twenty-five of Avery's paintings twice a year, which meant that Avery did not have to worry about money and could focus on being creative. With this new freedom, he became much more prolific, and his style changed from a brushy, painterly application and graphic detailing to denser, more even areas of flattened color within delineated forms. As his career continued, he became more and more focused on concentrated color within simple, broadly contoured shapes. He perfected the technique of applying thin washes of paint to create veiled fields of color. In January 1949, he had an heart attack that left him physically weak for the remainder of his life, and he died in 1965, having suffered a second heart attack three years earlier. Milton Avery was born in 1885, not 1893. He lied about his age, since he was so much older than his wife, Sally, so it came as a surprise to her when Barbara Haskell, who curated the retrospective at The Whitney, told her that her late husband was actually born in 1885. Many publications still list his birthdate as 1893, though it's incorrect."

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MILTON AVERY (American, 1885-1965) Painting

Lot 12: MILTON AVERY (American, 1885-1965) Painting

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Description: MILTON AVERY (American, 1885-1965). Watercolor on paper. Christmas Greeting Card - Woman on Phone. Signed: Greetings - "The Averys". Painting measures 7 ½" x 5 ¾", unfolded watercolor paper measures 15 1/3" x 5 ¾". Addressed to: Mr. M. Lekakis 395 8th Ave. New York City N.Y. Postmarked Dec. 24, 1947 with old paper Christmas seals affixed to paper edges. From the estate of artist Michael Lekakis, a dear friend of Milton and Sally Avery. Guaranteed to be authentic. From AskArt: "Known as a colorist focused on serene mood, harmony, and rounded shapes, Milton Avery was primarily a self-taught painter whose work combining abstraction and realism suggests dialogue between line, shape, muted color, and subdued emotions. Most of his subjects were either marine scenes or figure studies. Although never associated with a particular movement, Avery was a key modernist who influenced succeeding generations of artists including Color Field painters Mark Rothko and Adolph Gottlieb. Born in Altmar, New York, Avery studied art in Hartford at the Connecticut League of Art Students before settling in New York City in 1925. 1944 was a watershed year for Avery, largely because of a new gallery association with Paul Rosenberg in New York. Rosenberg had fled to New York from Europe with both a strong interest and inventory of avant-garde paintings, which he wanted to enhance. In addition to this collection, he agreed to buy twenty-five of Avery's paintings twice a year, which meant that Avery did not have to worry about money and could focus on being creative. With this new freedom, he became much more prolific, and his style changed from a brushy, painterly application and graphic detailing to denser, more even areas of flattened color within delineated forms.

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MILTON AVERY (American, 1885-1965) Card Prints (3)

Lot 13: MILTON AVERY (American, 1885-1965) Card Prints (3)

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Description: MILTON AVERY (American, 1885-1965). Christmas greeting card prints. Three printed Milton and Sally Avery Christmas cards from 1957, 1962 and one not dated. All cards are signed either Milton Avery, M. A., or To Michael Greetings Sally & Milton. From the estate of artist Michael Lekakis, a dear friend of Milton and Sally Avery. Guaranteed to be authentic. From AskArt: "Known as a colorist focused on serene mood, harmony, and rounded shapes, Milton Avery was primarily a self-taught painter whose work combining abstraction and realism suggests dialogue between line, shape, muted color, and subdued emotions. Most of his subjects were either marine scenes or figure studies. Although never associated with a particular movement, Avery was a key modernist who influenced succeeding generations of artists including Color Field painters Mark Rothko and Adolph Gottlieb. Born in Altmar, New York, Avery studied art in Hartford at the Connecticut League of Art Students before settling in New York City in 1925. 1944 was a watershed year for Avery, largely because of a new gallery association with Paul Rosenberg in New York. Rosenberg had fled to New York from Europe with both a strong interest and inventory of avant-garde paintings, which he wanted to enhance. In addition to this collection, he agreed to buy twenty-five of Avery's paintings twice a year, which meant that Avery did not have to worry about money and could focus on being creative. With this new freedom, he became much more prolific, and his style changed from a brushy, painterly application and graphic detailing to denser, more even areas of flattened color within delineated forms. As his career continued, he became more and more focused on concentrated color within simple, broadly contoured shapes. He perfected the technique of applying thin washes of paint to create veiled fields of color. In January 1949, he had an heart attack that left him physically weak for the remainder of his life, and he died in 1965, having suffered a second heart attack three years earlier. Milton Avery was born in 1885, not 1893. He lied about his age, since he was so much older than his wife, Sally, so it came as a surprise to her when Barbara Haskell, who curated the retrospective at The Whitney, told her that her late husband was actually born in 1885. Many publications still list his birthdate as 1893, though it's incorrect."

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HENRY BACON (American, 1839-1912) Watercolor

Lot 14: HENRY BACON (American, 1839-1912) Watercolor

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Description: HENRY BACON (American, 1839-1912) "Abou Simbel". Egyptian Sphinx Architecture Painting. Watercolor on tinted paper, laid down. Signed lower left Henry Bacon, Abou Simbel 1902. Good condition. Sheet measures 21 ¼" 13 ¾". Image measures 21" x 12 ½". Frame measures 32 ¼ x 24 ¼". From AskArt: "Known for both his accurately painted genre scenes and his watercolor renderings of views of Normandy and Egypt, Henry Bacon was born in Haverhill, Massachusetts in 1839. He was admitted to the Ecole des Beaux-Arts; one of his teachers there was Alexandre Cabanel. Moreover, he rubbed shoulders with Thomas Eakins in Gérôme's atelier."

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HENRY BACON American, 1839-1912 Pyramid Watercolor

Lot 15: HENRY BACON American, 1839-1912 Pyramid Watercolor

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Description: HENRY BACON (American, 1839-1912) Egyptian Pyramids Landscape Painting. Watercolor on tinted paper, laid down. Signed lower right Henry Bacon 1906. Good condition. Sheet measures 16 ½" x 22". Image measures 15 ½" x 21 ¾". Frame measures 27" x 33 ½". From AskArt: "Known for both his accurately painted genre scenes and his watercolor renderings of views of Normandy and Egypt, Henry Bacon was born in Haverhill, Massachusetts in 1839. He was admitted to the Ecole des Beaux-Arts; one of his teachers there was Alexandre Cabanel. Moreover, he rubbed shoulders with Thomas Eakins in Gérôme's atelier."

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STANLEY ROY BADMIN (British, 1906-1989) Painting

Lot 16: STANLEY ROY BADMIN (British, 1906-1989) Painting

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Description: STANLEY ROY BADMIN (British, 1906-1989) "Clearing Snow, Polo Hill". Watercolor. Signed lower right Clearing Snow, Polo Hill - S.R. Badmin. Good condition. Painting measures 6 ½" x 9 ½". Frame measures 13 ½" x 18 ½". From Wikipedia: "Badmin was born in Sydenham in 1906, and went on to study at Camberwell School of Arts and Crafts and the Royal College of Art, London; he became one of the youngest ever associate members of the Royal Watercolour Society at the age of only 26. He taught at a number of art schools in London, teaching at the Central School of Art in the 1950s. During World War II Badmin worked for the UK's Ministry of Information, before joining the RAF. A major retrospective exhibition of his work was held in 1985 to coincide with the publication of his biography. Badmin died in Bignor, West Sussex, in 1989. Badmin worked primarily in watercolour. He was particularly inspired by the English rural landscape, and was especially noted for his detailed yet evocative paintings of trees. His work shows strong affinities with contemporary neo-romantic artists such as Graham Sutherland, John Piper and Eric Ravilious. His greatest public recognition came through his book illustration and advertising work, which was also largely based on English landscape subjects. During the 1930s, Badmin began to receive commissions for magazine illustration; he produced his first book illustrations in 1937 (Highways and Byways of Essex by Clifford Bax, with further illustrations by F. L. Griggs). He wrote and illustrated three books for Puffin, the children's imprint of Penguin Books, one of which (Trees in Britain, 1943) has been described as "one of the most beautiful illustrated books of [the 20th] century".[1] The book was so successful it later became adopted as a set text by an agricultural college. Some of Badmin's most well-known work was commissioned by Shell; he worked on advertising art and book illustration for the popular Shell Guides series during the 1950s. His style also became familiar to the British travelling public through his work for London Transport and a series of posters for British Railways, among other clients. Badmin usually signed his work "S. R. Badmin", and is most widely known as such."

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LEON BAKST 1922 Costume Design Folio Book #117/250

Lot 17: LEON BAKST 1922 Costume Design Folio Book #117/250

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Description: Leon Bakst 1922 costume design folio book titled: The Story of Leon Bakst's Life. Brentanos, New York, 1922. Copyright by Alexander Kogan Publsihing Company, "Russian Art" Berlin. Hardcover. Book Condition: Good. Leon Bakst (illustrator). Limited Edition For America, #117 of 250. Folio. A spectacular book, with color plates of Bakst's great designs and costumes for the stage and Ballet Russes throughout, each with their own printed tissue guard. Also illustrated with duotone drawings, and a color portrait of Bakst by Modigliani as the frontis. Retains all 68 plates. Léon Samoilovitch Bakst (1866-1924) was a Russian painter and scene - and costume designer. He was a member of the Sergei Diaghilev circle and the Ballets Russes, for which he designed exotic, richly colored sets and costumes.

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R. BATUMI (Russian) Madonna & Child Sculpture

Lot 18: R. BATUMI (Russian) Madonna & Child Sculpture

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Description: R. BATUMI (Russian) Madonna and Child. Copper relief sculpture. Signed Batumi, R. of Georgia Oct 29, 1992 on reverse with additional information. Includes reference book with artist and this sculpture pictured. Good condition. Measures 28 ¾" x 22 ¾". Frame measures 28 5/8" x 22 5/8".

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GUSTAVE BAUMANN American 1881-1971 Woodblock Print

Lot 19: GUSTAVE BAUMANN American 1881-1971 Woodblock Print

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Description: GUSTAVE BAUMANN (American, 1881-1971) "Desert Creatures". Color Woodblock Print with metallic ink. Signed lower right in pencil Gustauv Baumann with artist Chop Mark. Edition number 81-100 with additional number 8967. Titled in pencil lower left DESERT CREATURES. Good condition. Image measures 10" x 15". Frame measures 17 ¾" x 22 ¼". From AskArt: "Born in Madgeburg, Germany, Gustave Baumann is best known for prints made from his detailed hand-carved wood blocks. His family emigrated to the United States when he was a child, and he grew up in Chicago. He returned to Germany to study in Munich at the Kunstgewerbe Schule and then took further training at the Art Institute of Chicago. He spent time in Indiana, and is much associated with the artists who gravitated to Brown County. In that state, Bauman made woodblocks illustrating work by Indiana authors. Baumann and several other artists decided to see first hand the reportedly light, clear air of New Mexico that they had been hearing about from other Chicago artists, and in 1918, he settled in Santa Fe where, for over fifty years, he participated in the art community. He created colored wood blocks from which he made prints, and also became a carver of saints and marionettes, working the Marionnette Theater, and carving his 'little people'. He also did numerous paintings in bright colors. His woodcut subjects are church figures, scenes of sacred Indian pictographs, and landscapes including the Grand Canyon. During the 1930s, he was WPA coordinator for Santa Fe."

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GUSTAVE BAUMANN (American 1881-1971) Woodblock

Lot 20: GUSTAVE BAUMANN (American 1881-1971) Woodblock

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Description: GUSTAVE BAUMANN (American, 1881-1971). "El Valorio" 1927. Color woodblock print. Signed edition in pencil: 14/120. Inscribed To Aileen and Jess Nusbaum -Gustave Baumann. In good condition. Image size: 7 ¾" x 8". Frame size: 15 ½" x 15 ¼". Margin size: 9 5/8" x 9 ¼". From AskArt: "Gustave Baumann was born in Germany in 1881. His family immigrated to the United States in 1891, settling in Chicago. At the age of 17, Baumann was working for a commercial engraving house while attending night classes at the School of the Art Institute of Chicago. Returning to Germany in 1905, Baumann enrolled in the Kunstgewerbe Schule in Munich where he studied wood carving and mastered the European technique of color wood block prints. After a year in Munich, Baumann resettled in Chicago, supporting himself in the commercial art field while searching for a place to inspire his fine art. In 1910, Brown County, Indiana offered him such a place. A village of few distractions, the hills, valleys and people of Nashville became his subjects. He produced a portfolio of color woodcuts entitled In the Hills of Brown and five large format color woodcuts. His largest woodcut, The Mill Pond, measuring 25 x 33", is the largest color woodcut produced at the time. These were shown at the 1915 Panama Pacific International Exposition in San Francisco where Baumann won the gold medal for printmaking. His color woodcuts had already been included in the 1911 Paris Salon and numerous exhibitions at the Art Institute of Chicago and the John Herron Art Institute in Indianapolis where his first solo exhibition was held in 1913. In 1916, he organized the first national exhibition of color woodcuts by American artists at the Art Institute of Chicago. Baumann viewed art as "a kind of tyrant. It pushes you around. It came to me dressed up in wanderlust." This wanderlust pushed him to Wyoming, New York; New York City and Provincetown, Massachusetts. Numerous Chicago artists including Walter Ufer, Victor Higgins and Martin Hennings effusively praised Taos as an artistic paradise and wanderlust reared again. In 1918, Baumann headed West. Taos proved too small a village so he headed to Santa Fe. The Fine Art Museum had opened the previous year and its open door policy for artists appealed to Baumann. He eventually built himself a home on Camino de las Animas, married Jane Devereux Henderson, and lived in Santa Fe until his death in 1971. Baumann's interest wasn't just limited to color woodcut. He produced oils and sculpture, created over sixty marionettes, which provided the community with annual Christmas shows and wrote and illustrated Frijoles Canyon Pictographs in 1939, which was honored with the Fifty Books of the Year Award. Today his genius and individuality are recognized, and he is considered to be an American master of color woodcut. Exhibitions of his woodcuts have been viewed across the country and they are included in almost every major museum in the United States." A major color woodblock, he had strong ties to the Brown County Indiana Colony. Worked in Provincetown, and was one of the founders of the Santa Fe Art Colony.

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GUSTAVE BAUMANN American 1881-1971 Woodblock Print

Lot 21: GUSTAVE BAUMANN American 1881-1971 Woodblock Print

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Description: GUSTAVE BAUMANN (American, 1881-1971) "CHOLLA AND SAHUARO". Woodblock print. Signed lower right in pencil Gustauv Baumann with artist Chop Mark. Edition number 49/125. Titled in pencil lower left CHOLLA AND SHUARO. Good condition. Image measures 12 ¾" x 12 ¾". Frame measures 20" x 19". His family emigrated to the United States when he was a child, and he grew up in Chicago. He returned to Germany to study in Munich at the Kunstgewerbe Schule and then took further training at the Art Institute of Chicago. He spent time in Indiana, and is much associated with the artists who gravitated to Brown County. In that state, Bauman made woodblocks illustrating work by Indiana authors. Baumann and several other artists decided to see first hand the reportedly light, clear air of New Mexico that they had been hearing about from other Chicago artists, and in 1918, he settled in Santa Fe where, for over fifty years, he participated in the art community. He created colored wood blocks from which he made prints, and also became a carver of saints and marionettes, working the Marionnette Theater, and carving his 'little people'. He also did numerous paintings in bright colors. His woodcut subjects are church figures, scenes of sacred Indian pictographs, and landscapes including the Grand Canyon. During the 1930s, he was WPA coordinator for Santa Fe."

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MARTA BECKET (American 1924-present) Oil Painting

Lot 22: MARTA BECKET (American 1924-present) Oil Painting

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Description: MARTA BECKET (American, 1924-?). "Empire Juvenile Talent Agency". Oil on masonite. Signed lower left MARTA BECKET - 1963. Good condition no damage or repair. Marta Becket is an actress, dancer, choreographer and painter who performed for more than four decades at her own theater, the Amargosa Opera House in Death Valley Junction, California. Amargosa (2000), Todd Robinson's documentary about Marta Becket won a 2003 Emmy Award. Painting measures 16" x 20". Frame measures 21 ½" x 25 ½". From the Calabi Gallery website: "Marta Becket was born in 1925 in New York. As her father was a newspaper reporter, she was introduced to the arts at an early age, attending the best opera, ballet, and theater around. By the time she was three years old, she had developed a strong desire to dance. When she was six she moved briefly to Harrisburg, Pennsylvania with her mother, and then to Philadelphia where she began developing as an artist under the guidance of Antonio Cortizas. By the time she was twelve she returned to New York, where she spent her high school years ballet dancing at Washington Irving High School. While amazing her dance teachers with her natural talent, she also studied piano and art. Becket had a successful career in New York as a professional dancer, and toured throughout the country performing her repertoire. In the spring of 1967 they discovered the Amargosa Hotel in Death Valley Junction, where she immediately felt as if time had stopped. The couple rented and renovated the tiny abandoned theater located behind the hotel, and opened its doors on February 10th, 1968, renaming it the Amargosa Opera House. After a terrible flash flood in the summer of 1968, Beckett was inspired to paint an entire audience on the theater interior. The murals took her four years to complete. On the west wall, a marble statue is painted holding a scroll written in Latin which reads, "the walls of this theater and I dedicate these murals to the past without which our times would have no beauty. Fin 1972." Since this time, the Opera House has been featured on television, premiering on The Great Mohave Desert for National Geographic. After her completion of the theater walls, she moved on to the ceiling, which took her an additional two years. In 2001, the Las Vegas Art Museum exhibited a retrospective of Becket's art "spanning over six decades." The feature length documentary Amargosa was completed, and has aired on Discovery and Sundance channels. Beckett presently continues to dance, act, and paint."

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MARTA BECKET (American, 1924-present) Painting

Lot 23: MARTA BECKET (American, 1924-present) Painting

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Description: MARTA BECKET (American, 1924-present). "Fruit Market". Oil on masonite. Signed lower right MARTA BECKET - 1962. Good condition no damage or repair. Marta Becket is an actress, dancer, choreographer and painter who performed for more than four decades at her own theater, the Amargosa Opera House in Death Valley Junction, California. Amargosa (2000), Todd Robinson's documentary about Marta Becket won a 2003 Emmy Award. Painting 16" x 20". Frame 23" x 27". From the Calabi Gallery website: "Marta Becket was born in 1925 in New York. As her father was a newspaper reporter, she was introduced to the arts at an early age, attending the best opera, ballet, and theater around. By the time she was three years old, she had developed a strong desire to dance. When she was six she moved briefly to Harrisburg, Pennsylvania with her mother, and then to Philadelphia where she began developing as an artist under the guidance of Antonio Cortizas. By the time she was twelve she returned to New York, where she spent her high school years ballet dancing at Washington Irving High School. While amazing her dance teachers with her natural talent, she also studied piano and art. Becket had a successful career in New York as a professional dancer, and toured throughout the country performing her repertoire. In the spring of 1967 they discovered the Amargosa Hotel in Death Valley Junction, where she immediately felt as if time had stopped. The couple rented and renovated the tiny abandoned theater located behind the hotel, and opened its doors on February 10th, 1968, renaming it the Amargosa Opera House. After a terrible flash flood in the summer of 1968, Beckett was inspired to paint an entire audience on the theater interior. The murals took her four years to complete. On the west wall, a marble statue is painted holding a scroll written in Latin which reads, "the walls of this theater and I dedicate these murals to the past without which our times would have no beauty. Fin 1972." Since this time, the Opera House has been featured on television, premiering on The Great Mohave Desert for National Geographic. After her completion of the theater walls, she moved on to the ceiling, which took her an additional two years. In 2001, the Las Vegas Art Museum exhibited a retrospective of Becket's art "spanning over six decades." The feature length documentary Amargosa was completed, and has aired on Discovery and Sundance channels. Beckett presently continues to dance, act, and paint."

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MARTA BECKET (American, 1924-) Oil Painting

Lot 24: MARTA BECKET (American, 1924-) Oil Painting

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Description: MARTA BECKET (American, 1924-). The Kite Flyer. Oil on masonite. Signed lower left Marta Becket. Good original condition. Marta Becket is an actress, dancer, choreographer and painter who performed for more than four decades at her own theater, the Amargosa Opera House in Death Valley Junction, California. Amargosa (2000), Todd Robinson's documentary about Marta Becket won a 2003 Emmy Award. Painting measures 14" x 10". Frame measures 20½" x 16½". From the Calabi Gallery website: "Marta Becket was born in 1925 in New York. As her father was a newspaper reporter, she was introduced to the arts at an early age, attending the best opera, ballet, and theater around. By the time she was three years old, she had developed a strong desire to dance. When she was six she moved briefly to Harrisburg, Pennsylvania with her mother, and then to Philadelphia where she began developing as an artist under the guidance of Antonio Cortizas. By the time she was twelve she returned to New York, where she spent her high school years ballet dancing at Washington Irving High School. While amazing her dance teachers with her natural talent, she also studied piano and art. Becket had a successful career in New York as a professional dancer, and toured throughout the country performing her repertoire. In the spring of 1967 they discovered the Amargosa Hotel in Death Valley Junction, where she immediately felt as if time had stopped. The couple rented and renovated the tiny abandoned theater located behind the hotel, and opened its doors on February 10th, 1968, renaming it the Amargosa Opera House. After a terrible flash flood in the summer of 1968, Beckett was inspired to paint an entire audience on the theater interior. The murals took her four years to complete. On the west wall, a marble statue is painted holding a scroll written in Latin which reads, "the walls of this theater and I dedicate these murals to the past without which our times would have no beauty. Fin 1972." Since this time, the Opera House has been featured on television, premiering on The Great Mohave Desert for National Geographic. After her completion of the theater walls, she moved on to the ceiling, which took her an additional two years. In 2001, the Las Vegas Art Museum exhibited a retrospective of Becket's art "spanning over six decades." The feature length documentary Amargosa was completed, and has aired on Discovery and Sundance channels. Beckett presently continues to dance, act, and paint."

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SANDOR BERNATH (American, 1892-1989) WC Painting

Lot 25: SANDOR BERNATH (American, 1892-1989) WC Painting

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Description: SANDOR BERNATH (American, 1892-1989) Sailing Ship. Watercolor painting., Signed lower left Sandor Bernath. Good condition. Painting measures 15 ¼" x 20 ¾". Frame measures 28" x 31 ½". From AskArt: "Sandor Bernath was known for his stylized watercolors of sailing ships. He was a student of Edward Hopper. Born in Hungary on December 30, 1892, Bernath immigrated in his youth to the United States, and by the early 1920s had begun to establish himself within New York art circles. Like many of his peers, Bernath worked as a teacher and illustrator to support himself. In order to escape the tedium of these dreaded day-jobs, many retreated to the villages of Maine and Massachusetts where artists' communities such as those at Monhegan Island, Gloucester and Ogunquit had sprung from the modern artist's desire to study natural forms. By 1923, Bernath's fascination with these forms becomes apparent with the complete shift in focus of his subject matter from the sights and scenes of his urban surroundings to the land and seascapes of New England. In 1925, he served on the Jury of Selection as well as on the Hanging Committee of the American Watercolor Society's annual exhibition but 1926, was his last year of participation. After a final exhibition with the Brooklyn Museum in 1927, it appears that Bernath took up residence in Eastport, Maine, where he continued to cultivate his relationship with the natural world. However, one work has been found listing W. Tunkhannock, Penna. as an address and watercolors exist of a Pueblo scene, leading to the conclusion that Bernath, like so many of his contemporaries, was drawn to explore the possibilities of the Southwest including Taos, New Mexico. ("Taos at Night" and "Footprints")."

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WILLIAM M. BERRA (American, b.1952) Oil Painting

Lot 26: WILLIAM M. BERRA (American, b.1952) Oil Painting

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Description: WILLIAM M. BERRA (American, b.1952) "View from Tano Road" 1982. Oil on canvas. Signed on lower right. Titled on reverse. Tano Road is in Santa Fe, New Mexico. Painting measures 27" x 17". Frame measures 30" x 20". From AskArt: "Berra is deeply inspired by his surroundings and enjoys painting on location both in northern New Mexico, where he resides, and abroad. When he paints, Berra begins by visualizing the composition. As the work evolves, it becomes a synthesis of visual stimuli, memory and experience. He likes to stretch the spacial boundaries of his skies with both subtle and acute rendering of clouds, color, and light. Many of his recent works are painted on gold leaf-covered panels. The luminosity of metal showing through the brushwork imparts a deep, rich glow to these pieces. The greatest influence on Berra's approach to painting is the work of the Macchiaioli, a group of 19th century Italian painters. While the Macchiaioli held many of the same concepts as did the French impressionists, they were not as scientific in their approach to painting. Berra's paintings have been exhibited extensively in the United States and are represented in private and public collections around the world, including those in Taiwan, Spain, and the U.S. State Department."

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JOHANN BERTHELSEN (American, 1883-1972)  Painting

Lot 27: JOHANN BERTHELSEN (American, 1883-1972) Painting

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Description: JOHANN BERTHELSEN (American, 1883-1972) Empire State Building. Oil on artist board. Signed lower right Johann Berthelsen. Good condition, light craquelure and surface scratch in lower foreground. Painting measures 19 7/8" x 24". Frame measures 23 ¾" x 27 ½". From AskArt: "As a hobby Berthelsen created pastels and watercolors featuring New York scenes. They were exhibited to excellent reviews, and in 1926, he was elected to membership in the American Watercolor Society. Established in New York artistic musical and theatrical circles, his professional reputation grew. Financially comfortable, fulfilled and happy, the family was a part of the vital New York arts community. Of the many subjects he painted, the one that he would become most identified with was the city itself. The New York snow scenes - his most famous and popular works - burst with movement. Cars, trucks, taxis and people seem to rejoice in the snow that turns the city into a wonderland. He was able to maintain the pace of creation and the level of quality with a draftsman's precision, an unerring eye, and deep feeling. Though he was exclusively self taught he totally owned his craft and technique. As his paintings become more visible and more popular, his reputation increased. His New York scenes were acquired by, among others, William Randolph Hearst and Richard Berlin, the president of Hearst's magazine empire, who purchased six paintings. In the mid-1930s, Berthelsen became involved in several New Deal art projects. By 1940, his reputation had grown to the point where he was asked to join The Lecture Bureau of the Columbia Broadcasting System. I

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JOHANN BERTHELSEN (American, 1883-1972) Painting

Lot 28: JOHANN BERTHELSEN (American, 1883-1972) Painting

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Description: JOHANN BERTHELSEN (American, 1883-1972) View Along Central Park. Oil on linen. Signed lower right Johann Berthelsen. Good condition with a small 3/8" puncture in lower right corner; light craquelure in foreground. Painting measures 16" x 20". Frame measures 20 ¾" x 25". From AskArt: As a hobby Berthelsen created pastels and watercolors featuring New York scenes. They were exhibited to excellent reviews, and in 1926, he was elected to membership in the American Watercolor Society. Established in New York artistic musical and theatrical circles, his professional reputation grew. Financially comfortable, fulfilled and happy, the family was a part of the vital New York arts community. Of the many subjects he painted, the one that he would become most identified with was the city itself. The New York snow scenes - his most famous and popular works - burst with movement. Cars, trucks, taxis and people seem to rejoice in the snow that turns the city into a wonderland. He was able to maintain the pace of creation and the level of quality with a draftsman's precision, an unerring eye, and deep feeling. Though he was exclusively self taught he totally owned his craft and technique. As his paintings become more visible and more popular, his reputation increased. His New York scenes were acquired by, among others, William Randolph Hearst and Richard Berlin, the president of Hearst's magazine empire, who purchased six paintings. In the mid-1930s, Berthelsen became involved in several New Deal art projects. By 1940, his reputation had grown to the point where he was asked to join The Lecture Bureau of the Columbia Broadcasting System.

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JOHANN BERTHELSEN (American, 1883-1972)  Painting

Lot 29: JOHANN BERTHELSEN (American, 1883-1972) Painting

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Description: JOHANN BERTHELSEN (American, 1883-1972) Washington Square Park NYC. Oil on artist board. Signed lower right Johann Berthelsen. Good condition with light craquelure. Painting measures 16" x 20". Frame measures 18 ¾" x 22 ¾". From AskArt: "As a hobby Berthelsen created pastels and watercolors featuring New York scenes. They were exhibited to excellent reviews, and in 1926, he was elected to membership in the American Watercolor Society. Established in New York artistic musical and theatrical circles, his professional reputation grew. Financially comfortable, fulfilled and happy, the family was a part of the vital New York arts community. Of the many subjects he painted, the one that he would become most identified with was the city itself. The New York snow scenes - his most famous and popular works - burst with movement. Cars, trucks, taxis and people seem to rejoice in the snow that turns the city into a wonderland. He was able to maintain the pace of creation and the level of quality with a draftsman's precision, an unerring eye, and deep feeling. Though he was exclusively self taught he totally owned his craft and technique. As his paintings become more visible and more popular, his reputation increased. His New York scenes were acquired by, among others, William Randolph Hearst and Richard Berlin, the president of Hearst's magazine empire, who purchased six paintings. In the mid-1930s, Berthelsen became involved in several New Deal art projects. By 1940, his reputation had grown to the point where he was asked to join The Lecture Bureau of the Columbia Broadcasting System.

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OLIVE BERTRAND (American, 1912-2006) Oil Painting

Lot 30: OLIVE BERTRAND (American, 1912-2006) Oil Painting

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Description: OLIVE ELENA BERTRAND (American, 1912-2006) "Autumn". Oil on artist board. Signed lower right BERTRAND. Period hand carved Impressionist frame. Good condition, light scuff bottom foreground, miniscule chip upper middle. Painting measures 16" x 20". Frame measures 18 ¾" x 23". Olive Bertrand studied under Rockport artist Jacob Greenleaf. We have included images of Olive in her studio later in life.

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HENRY BILLINGS (American, 1901-1985) Gouache

Lot 31: HENRY BILLINGS (American, 1901-1985) Gouache

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Description: HENRY BILLINGS (American, 1901-1985) "Crumpled Form". Gouache on tinted paper. Signed lower right H. Billings 61. Good condition, glazed and matted. Sheet measures 20" x 26 ½". Image 17 ½" x 24". AskArt: "A painter, illustrator, muralist and art teacher at Bard College from 1935 to 1953, Henry Billings was active for most of his career in New York City where his work is in the collection of the Whitney Museum of American Art. He was the grandson of John Shaw Billings, who was a Civil War Surgeon and the first director of the New York Public Library. Henry Billings took his undergraduate education at St. Paul's School in Concord, New Hampshire, and studied at the Art Students League in New York. He worked in the offices of architecture and engineering firms in New York City and spent much time in Woodstock, New York where he was a member of the Art Colony. For the third floor ladies powder room at Radio City Music Hall at Rockefeller Center Billings completed a decorative mural in 1932 that "stylistically moves away from Art Deco and toward Surrealism, where dreams and unreality were key themes. In this mural a crouching panther dominates the fore ground." (Roussel, 28) Giving the appearance of stalking and suggesting power and cunning, the image was startling for many viewers, and was certainly a departure from traditional 'pretty' decoration of upscale women's restrooms.

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HENRY BILLINGS (American, 1901-1985) Gouache

Lot 32: HENRY BILLINGS (American, 1901-1985) Gouache

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Description: HENRY BILLINGS (American, 1901-1985) "Draped Form". Gouache on textured paper. Signed lower right H. Billings 63. Good condition, matted and glazed. Sheet measures 19 ½" x 24". Image measures 18 ½" x 23. AskArt: "A painter, illustrator, muralist and art teacher at Bard College from 1935 to 1953, Henry Billings was active for most of his career in New York City where his work is in the collection of the Whitney Museum of American Art. He was the grandson of John Shaw Billings, who was a Civil War Surgeon and the first director of the New York Public Library. Henry Billings took his undergraduate education at St. Paul's School in Concord, New Hampshire, and studied at the Art Students League in New York. He worked in the offices of architecture and engineering firms in New York City and spent much time in Woodstock, New York where he was a member of the Art Colony. For the third floor ladies powder room at Radio City Music Hall at Rockefeller Center Billings completed a decorative mural in 1932 that "stylistically moves away from Art Deco and toward Surrealism, where dreams and unreality were key themes. In this mural a crouching panther dominates the fore ground." (Roussel, 28) Giving the appearance of stalking and suggesting power and cunning, the image was startling for many viewers, and was certainly a departure from traditional 'pretty' decoration of upscale women's restrooms.

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ARTHUR E. BLACKMORE (New York 1854-1921) Painting

Lot 33: ARTHUR E. BLACKMORE (New York 1854-1921) Painting

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Description: ARTHUR EDWARD BLACKMORE (American, New York, 1854-1921). Landscape. Oil on linen, 1911. Signed lower right Blackmore. Also signed on stretcher on reverse Arthur E. Blackmore 104 East 14th St. New York 1911. Retains the original Salmagundi Club Auction label as well as Frederick Loeser Art Gallery label. Painting 12" x 16". Period frame 26" x 30". In good condition, no damage or repairs, with light craquelure.

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EDMUND BLAMPIED (British, 1886-1966) Etching

Lot 34: EDMUND BLAMPIED (British, 1886-1966) Etching

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Description: EDMUND BLAMPIED (British, 1886-1996) "Farm Hands". Etching. Signed in pencil lower right E. Blampied; titled in pencil lower left. Sheet is hinged not laid down. In good condition with light toning and one pencil point size spot of foxing on right outside of impression. Plate measures 9 ¼" x 11 ¾". Sheet measures 11 3/8" 18 1/8". Marked Made in England. Also signed on plate. From the estate of Chester Price (the gentleman in the photograph with the printing press wheel). Edmund Blampied was one of the most eminent artists to come from the Channel Islands, yet he received no formal training in art until he was 16 years old. He was noted mostly for his etchings and drypoints published at the height of the print boom in the 1920s, but was also a lithographer, caricaturist, cartoonist, book illustrator and artist in oils, watercolours, silhouettes and bronze.

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EDMUND BLAMPIED (British, 1886-1966) Etching

Lot 35: EDMUND BLAMPIED (British, 1886-1966) Etching

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Description: EDMUND BLAMPIED (British, 1886-1996) Titled on mat window "San Sebastian-Harbor Scene". Etching. Signed lower left in pencil E. Blampied; stamped MADE IN ENGLAND lower left edge. Sheet is hinged not laid down. In good condition with two pencil point size brown dots top outer edge of margin 1" from plate; one pencil size dot left margin 3/16" from plate. Impression measures 8" x 11 1/8". Sheet measures 11 1/8" x 18 1/8". Edmund Blampied was one of the most eminent artists to come from the Channel Islands, yet he received no formal training in art until he was 16 years old. He was noted mostly for his etchings and drypoints published at the height of the print boom in the 1920s, but was also a lithographer, caricaturist, cartoonist, book illustrator and artist in oils, watercolours, silhouettes and bronze.

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Blue Horse 20th C Modern Linear Painting 42

Lot 36: Blue Horse 20th C Modern Linear Painting 42" x 58"

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Description: Blue Horse 20th Century Art Moderne Acrylic on Linen. Good condition with inpainting at all edges; scattered inpainting. Style shows influences of Picasso's linear simplification and abstracting of subject. Painting 36" x 52". Frame size 42" x 58".

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HENK BOS (Dutch, 1901-1979) Oil Painting

Lot 37: HENK BOS (Dutch, 1901-1979) Oil Painting

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Description: HENK BOS (Dutch, 1901-1979), Copper Kettle and Fruit - Still Life. Oil on linen. Good condition no damage or repairs. Painting 18" x 16". Frame 24 ½" x 22 ½". From the Mir Appraisal Services website: "Henk Bos was born in 1901 in Huizer, The Netherlands. In his youth he was heavily influenced by more traditional works of art. However, the world around Bos was becoming enthralled with modern art and the avant-garde approach to creating. This caused problems for Bos because his work was often pushed aside and seen as outdated. However, his pieces were eventually able to gain popularity and he is now a respected artist, which is a testament to his skill as a painter. He passed away in 1979."

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M. BOUCHERY (French, 20th C) Oil Painting

Lot 38: M. BOUCHERY (French, 20th C) Oil Painting

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Description: M. BOUCHERY (French, 20th C) "Petit Dejeuner" Interior scene. Oil on linen. Signed bottom center M. Bouchery. Good condition. Signed and titled on reverse, M. Bouchery, 1986-90 Petit Dejeuner (ASQUINS). Painting measures 39 ½" x 31 ¾". Frame measures 45" x 37 ½".

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HARRIETTE BOWDOIN (American, 1880-1947) Painting

Lot 39: HARRIETTE BOWDOIN (American, 1880-1947) Painting

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Description: HARRIETTE BOWDOIN (American, 1880-1947) "The Gazebo". Landscape painting. Oil on linen. Unsigned with estate stamp on reverse center, FROM THE ESTATE OF HARRIETTE BOWDOIN 1947. Good condition, light craquelure. Small repair patch on right side; light inpainting. Painting measures 21'x 16 ½". Frame measures 23x 18 ½". From AskArt: "Harriette Bowdoin was born in South Hadley Falls, Massachusetts. She had a varied and very artistic career. Known as a painter, illustrator, and worker in crafts and as a teacher she spent most of her adult life in and around New York City. Bowdoin studied painting with Sir Frank Brangwyn in France and with Henry Snell and Elliott Daingerfield in New York. Her wonderful and sensitive impressionist renderings of interior motifs endear her to that movement at the turn of the century. She exhibited two paintings in the 1917 exhibit of the Society of Independent Artists, listing her address at the time as studio 417, 1947 Broadway, New York. One of the paintings was illustrated in the catalogue for this exhibition. Memberships: American Watercolor Society, New York Society of Painters, National Association of Women Painters and Sculptors."

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HARRIETTE BOWDOIN (American, 1880-1947) Painting

Lot 40: HARRIETTE BOWDOIN (American, 1880-1947) Painting

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Description: HARRIETTE BOWDOIN (American, 1880-1947) Impressionist landscape painting. Oil on linen. Unsigned with estate stamp on reverse center, FROM THE ESTATE OF HARRIETTE BOWDIN 1947. Good condition, light craquelure. Un-stretched canvas measures 20" x 15 ¾". Image measures 17 ¾" x 14". Frame measures 25 ½" x 21 ½". From AskArt: "Harriette Bowdoin was born in South Hadley Falls, Massachusetts. She had a varied and very artistic career. Known as a painter, illustrator, and worker in crafts and as a teacher she spent most of her adult life in and around New York City. Bowdoin studied painting with Sir Frank Brangwyn in France and with Henry Snell and Elliott Daingerfield in New York. Her wonderful and sensitive impressionist renderings of interior motifs endear her to that movement at the turn of the century. She exhibited two paintings in the 1917 exhibit of the Society of Independent Artists, listing her address at the time as studio 417, 1947 Broadway, New York. One of the paintings was illustrated in the catalogue for this exhibition. Memberships: American Watercolor Society, New York Society of Painters, National Association of Women Painters and Sculptors."

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HARRIETTE BOWDOIN (American, 1880-1947) Gouache

Lot 41: HARRIETTE BOWDOIN (American, 1880-1947) Gouache

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Description: HARRIETTE BOWDOIN (American, 1880-1947) "The Promenade". Gouache on paper impressionist landscape painting. Unsigned with estate stamp, FROM THE ESTATE OF HARRIETTE BOWDIN 1947. Good condition; three small repaired tears along bottom edge. Small edge tears along upper left. Painting measures 18" x 21 ½". Image measures 17" x 19 ½". Frame measures 24" x 26 ½". From AskArt: "Harriette Bowdoin was born in South Hadley Falls, Massachusetts. She had a varied and very artistic career. Known as a painter, illustrator, and worker in crafts and as a teacher she spent most of her adult life in and around New York City. Bowdoin studied painting with Sir Frank Brangwyn in France and with Henry Snell and Elliott Daingerfield in New York. Her wonderful and sensitive impressionist renderings of interior motifs endear her to that movement at the turn of the century. She exhibited two paintings in the 1917 exhibit of the Society of Independent Artists, listing her address at the time as studio 417, 1947 Broadway, New York. One of the paintings was illustrated in the catalogue for this exhibition. Memberships: American Watercolor Society, New York Society of Painters, National Association of Women Painters and Sculptors."

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ADRIAN LOUIS BREWER (American 1891-1956)  Painting

Lot 42: ADRIAN LOUIS BREWER (American 1891-1956) Painting

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Description: ADRIAN LOUIS BREWER (American, 1891-1956) Sunset Trees. Landscape painting. Oil on board. Signed lower left Adrian Brewer. Good condition. Painting measures 8" x 10". Frame measures 12" x 14". From AskArt: "A portrait and landscape painter who received special attention for his floral work, Adrian Brewer was born in St. Paul, Minnesota and raised between there and New York City as one of six sons of Rose Koempel Brewer and Nicholas Brewer, prominent late 19th-century portrait and landscape artist. Adrian Brewer attended St. Thomas College in St. Paul and also the University of Minnesota. During this time, he studied with Delle E Randall at the Art Institute of St. Paul and at the Art Students League in New York City. But he later said he learned more from his father's friends including Charles Hawthorne, Edwin Blashfield, and Irving Wiles than from his art classes. During World War I, he was a pilot and did patriotic illustration. After the War, he traveled with his father to assist him with commissions and began getting recognition for his own work. He enrolled at the School of the Art Institute of Chicago and in 1920, was elected a member of the Palette and Chisel Club of Chicago.

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WALKER E. BRIGHTWELL (American 1919-2005) Painting

Lot 43: WALKER E. BRIGHTWELL (American 1919-2005) Painting

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Description: WALKER E. BRIGHTWELL Jr. (American, 1919-2005) Springtime landscape painting. Oil on linen. Signed lower right Brightwell. Good condition with scattered inpainting in upper area. Newspaper clipping on reverse referring to mural by Brightwell with photo from newspaper; and label reading "Property of Catherine Helfenbein" Painting measures 16" x 20". Frame measures 21 ½" x 25 ½". From Ask Art: "Walter Brightwell, Jr., divided his life into three parts: First: From his birth in 1919 in Temple Texas, until World War II. Of this time he writes that he "lived with the family and my little circle, never traveling." During this time he lived in Temple, Texas and Nashville, Tennessee. During World War II he entered the military and traveled to Georgia, Kansas, Washington State, New Jersey and then went on the Queen Mary to Scotland. He traveled to England, Algeria, Sicily, Italy. He made four Atlantic crossings. He studied art in New York at the Art Students League of New York. Brightwell, Jr., did drawings and painting from a young age. For two years, prior to his military service he studied at a commercial art school in Nashville, Tennessee. Brightwell did many paintings and a number of them were issued as prints. He sometimes signed paintings "Westal" (his middle name was Estal). He painted a good deal on military themes, in the Northeast (i.e. Maine) and he lived the last 30 years or so in Florida (he lived in Vero Beach when we corresponded). He painted much of the landscape and nature of Florida".

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RICHARD BRITELL (American, 1944-) Painting

Lot 44: RICHARD BRITELL (American, 1944-) Painting

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Description: RICHARD BRITELL (American, 1944-) "Night Street With Rain". Modern contemporary acrylic on paper painting. Signed lower right R. BRITELL 1995. Good condition. Katharina Rich Perlow Gallery New York, NY label on reverse. Painting measures 40 ½" x 30 ½". Frame measures 54 ½" x 43 ¾".

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Frank H. BRUCKMANN (American, 20th C) Painting

Lot 45: Frank H. BRUCKMANN (American, 20th C) Painting

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Description: FRANK HARPER BRUCKMANN (American, 20th C). "Subway". Triptych Oil on linen. Unsigned. Page from the Advocate and Greenwich Time 1993, with a photograph of the original painting "Subway" by Frank Bruckmann. Member of Silvermine Guild of Artists, New Cannan, Conn. Good condition. Bruckmann has been represented by Kehler Liddell Gallery, New Haven; Lupine Gallery Monhegan Island and others. Modern contemporary triptych oil painting measures total 48" x48". Frame measures 49" x 49".

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TORTIANA  G BRUNI (1902-1979) Watercolor

Lot 46: TORTIANA G BRUNI (1902-1979) Watercolor

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Description: TATIANA GEORGIEVNA BRUNI. (1902-1979). Floral Bouquet. Watercolor painting on paper of wildflowers. Signed lower right with monogram and dated 56. Image measures 20" x 12". Frame measures 26" x 18 ½".

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HENRY F. BULTITUDE (American, 20th C) Painting

Lot 47: HENRY F. BULTITUDE (American, 20th C) Painting

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Description: HENRY F. BULTITUDE (American, 20th C). Autumn Scene Landcape. Oil on artist board. Signed lower left Henry F. Bultitude. Good condition. Painting measures 12" x 16". Period Impressionist gilt frame measures 13 ¾" x 17 ¾".

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PAUL CADMUS (American, 1904-1994) Etching

Lot 48: PAUL CADMUS (American, 1904-1994) Etching

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Description: PAUL CADMUS (American, 1904-1994) "Mother and Child". Etching print. Signed in pencil lower right, Paul Cadmus. Good condition. Extensive bio information on reverse. Image size measures 4 ½" x 3 ½". Sheet size 10 ¼" x 8". From AskArt: "Paul Cadmus was born in New York City on December 17, 1904 and lived and worked in New York City. He came from an artistic family. His father was a lithographer who painted in a modest way; his mother did illustrations for children's books; his sister was a designer. Paul began to draw when he was two and one-half. When he was fourteen, he entered the National Academy of Design and the Art Students League. He was the pupil of Joseph Pennell, William Aurbach-Levy, Charles Locke, and Jared French.

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CAJIAO 1930's Oil Painting Manner of Modigliani

Lot 49: CAJIAO 1930's Oil Painting Manner of Modigliani

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Description: CAJIAO early 20th Century European. Modern figurative portrait of a woman with an elongated face in the manner of Modigliani. Oil on canvas painting. Signed lower right and on reverse. Cleaned, restored, strip lined at bottom with repair. Painting measures 29" x 23 ½". Frame measures 31" x 25 ½".

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ALEXANDER CALDER (American, 1898-1976) Lithograph

Lot 50: ALEXANDER CALDER (American, 1898-1976) Lithograph

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Description: ALEXANDER CALDER (American, 1898-1976) Bareback Circus Girl. Color Lithograph. Signed lower right Calder. Good condition with a small light stain at lower left edge. Edition 23/100. Print measures 31 ½" x 23 ½". Frame measures 37 ½" x 29".

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